kandinski seminarski

7/23/2019 Kandinski Seminarski

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Univerzitet “Džemal Bijedić” u Mostaru

Nastavnički fakultet

Likovne umjetnosti

Seminarski rad iz predmeta !storija umjetnosti "#$ stoljeća !

%ema Sinestezija kod &andinsko'

Mentori(a do($ dr$ )sja Mandić Studenti(a SanjaMajić

Mostar* maj "#+,$



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+$ Uvod 1"$ Život i djeloVasilija Kandinskog……………………………………………. 26-$ ……………………………. 39.$ …………………………………………. 48

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/aključak …………………………….………………………….

Literatura ………………….…………………………………….

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Kandinski je rođen 4. decembra 1866. !oskvi dobrostoje"oj trgova#koj obitelji koja

se kasnije i$ !oskve %reselila &des. 'o(ađao je klasi#n gimna$ij) a %rivatno je #io svirati

klavir i #elo) te $imao #asove crtanja. *akon ra$voda braka Vasilijevi( roditelja) brig o njem

%re$ela je njegova tetka +li$abeta ,i(ajev koja je nastojala ra$vijati djetetov ma-t i



sen$ibilitet %rema mjetnosti #itaj"i m rske i njema#ke bajke.1 ako je %o$nat %o slikarstv)

Kandinski je odvijek $a svoje slikarske radove ins%iracij nala$io m$ici. &tac Kandinskog)

im"ni moskovski trgovac #ajem) %ri/eljkivao je da m sin %ostane %ravnik. 1886. godine

Kandinski je oti-ao !oskv na stdij %rava i %oliti#ke ekonomije) gdje je i di%lomirao kao

odli#an stdent. 1892. %o#eo je %redavati %ravo na !oskovskom niver$itet) a 1893. %ostao je

docent. 1896. godine) tada tridesetogodi-nji Kandinski) imenovan je $a %ro0esora na Katedri $a

%ravo na niver$itet ,art. a vrijeme stdija s%o$naje veli#in srednjovjekovni( rski(

ikona) a 1889. godine na i$let Vologd %o$naje narodn mjetnost sjeverne sije) -to "e

imati dalekose/ne %osljedice na njegov kasniji rad.2

'reloman trentak Vasilijevom /ivot bio je odla$ak na i$lo/b 0rancski( im%resionista

koja je gostovala !oskvi 189. godine. &d-evljenje djelima koja je vidio na i$lo/bi) a

%osebno slikom 5lada !oneta 7togovi sijena) %robdilo je njem /elj da se %ot%no %osveti slikarstv. ,akođer) $na#ajan događaj $a 0ormiranje mjetni#kog sen$ibiliteta Kandinskog

je %osjeta moskovskoj dvorskoj o%eri kada je sl-ao Vagnerovog oengrina i isksio sna/an

sinesteti#ki do/ivljaj.3 rok od ne%ni( godin dana na%stio je s%je-n karijer

niver$itetskog %ro0esora i odl#io da ot%tje !in(en kako bi stdirao slikarstvo.

:odine 1896. Kandinski je %reselio !in(en ; koji se to vrijeme smatra jednim od

centara evro%ske mjetnosti ; gdje je %o#eo stdirati slikarstvo na %resti/noj %rivatnoj -koli

<ntona <$bea. , je stekao %rva $nanja o anatomiji) crte/ i kom%o$iciji slikarskog djela. 19==.

godine %re-ao je na !in(ensk akademij) gdje je di%lomirao %od mentorstvom >ran$a von

7tcka.

19=1.osnovao je >alang) mjetni#ki %okret i -kol) gdje je i %redavao. to vrijeme Kandinski

%o#inje tretirati teme i$ stari( rski( bajki stvaraj"i $adivljj"e slike koje jo- vijek

%odra/avaj %redmetni svijet. #etiri godine Kandinski je organi$irao dvanaest i$lo/bi #lanova

>alange.

7lika ?,(e @le ider? 19=3. je korak do stvaranja moderne a%straktne mjetnosti.

1 KandinskA) B. C1996D. O duhovnom u umetnosti: posebno u slikarstvu: sa osam slika i deset originalnih drvoreza. @eogradE ' +sot(eria) str 11.

2 Ibid, str.12.

3 Ibid, str. 12.



Slika + ,(e @le ider) 19=3.4

Kandinski je na jednom ljetnom krs %ri !in(enskoj mjetni#koj akademiji %o$nao mlad

slikaric :abrijel !nter. ,alentovana :abrijela i nje$in devet godina stariji %redava# %ostali s

tokom naredni( godina veoma bliski %rijatelji) a 19=4. godine nakon ra$la$a sa svojom %rvom

s%rgom <nnom 5(imAakininom) %o#inj $ajedni#ki /ivot.

ajedno s obi-li nekoliko evro%ski( $emalja) kao i 7jevern <0rik. *ji(ova ljbav trajala je sve

dok :abrijela nije %o#ela %ro0esionalno da se daljava od svoga #itelja i da slikarstv traga $a

so%stvenim stilom. *aviknt na :abrijelino divljenje Kandinski nije mogao da %ri(vati njen

ne$avisnost. 'o#etak 'rvog svjetskog rata i odla$ak sij %osl/ili s m kao i$govor da se

4 http://www.wikiart.org/en/wassily-kandinsky/blue-rider-1903



dalji od nje. ako s se jo- mjesecima do%isivali) nakon jednog kra"eg ssreta 7tock(olm

191. godine vi-e se nis vidjeli..

%o$nao je također <lekseja Von FaGlenskog) !arianne von Bere0kin) te >ran$ !arca.

Kasnije im se %ridr/je <gst !acke. %eriod nakon $avr-etka stdija %a do 191=.)

Kandinski je mnogo %tovao i i$lagao. *aj$na#ajniji od ti( %teva bio je onaj 'ari$ 19=9. kad

je do-ao dodir sa mjetno-" 'ala :agina) %ostim%resioni$mom i 0ovi$mom. 'od ovim

tjecajima) njegova djela %ostajala s koloristi#ki ja#a i vi-e neredna. $ ovo) %o#eo je ra$vijati

vlastite misli o ja#ini #iste boje i ne%redmetnoj slici.

:odine 191=.) Kandinski je vodenim bojama naslikao svoj %rv a%straktn slik) te je %o#eo

0ormlirati svoje va/no teoretsko djelo & d(ovnom mjetnostiH) koje je %rvi %t i$dano na

njema#kom 1912. tom djel) istra/ivao je 0i$iolo-ke #inke boje i na%ravio je s%oredbe

i$međ slikarstva i gla$be.

:odine 1911.) Kandinski $ajedno sa >ran$om !arcom osniva eks%resionisti#k mjetni#k

gr% Ier @lae eiter C'lavi ja(a#D) koja je dobila ime $bog Kandinskijeve ljbavi %rema %lavoj

boji i !arcove ljbavi %rema konjima.

?@le ider?. 1911;1914

n 1911 KandinskA toget(er Git( (is 0riend) >rantsem !ark) an artist) establis(ed a gro% called

@le ider C@lae eiterD. <ccording to t(e artist) ?t(e accent Gas made on revealing associative

%ro%erties o0 color) line and com%osition) and t(eA sed varios sorces) sc( as :oet(e and

'(illi% ngeJs romantic t(eorA o0 color) ?Fgendstil? and dol0 7teinerJs t(eoso%(A?.

?,(ere Gas no anA ot(er time G(en KandinskAJs %ainting develo% as %rom%tlA as dring t(e

!nic( Aears?) Grote !.K. acoste) ?<t times it is (ard to nderstand) G(A at t(e beginning t(e

0onder o0 abstract %ainting selected t(e %lots tA%ical 0or @idermeierstAle ; 0ans) crinolines)

riders. ,(e stAle o0 (is Gorks o0 t(e earlA %eriod can be called neit(er conditional nor %retentios

bt in t(em not(ing %ortended a radical renovation o0 %ainting. oGever) onlA 0eG artists are

knoGn to (ave lck to s(oG simltaneoslA originalitA in 0orm and content. <t 0irst) it Gas

im%ortant 0or KandinskA to trA (is oGn o%%ortnities o0 eL%ression. ,(og( one cannot bt admit

t(at +vening C19=4;19=D (as its oGn originalitA) (oGever) it is di00iclt to imagine t(at it Gas



created bA t(e verA artist G(o in 0ive;siL Aears Gold bring t(e 0irst abstract Gork C191=D in

(istorA o0 art into t(e Gorld. B(at a great creative 0orce s(old o%erate in KandinskAM B(at

%rom%t evoltion 0rom 19=8 to 1914 ; 0rom landsca%es) t(og( bold alreadA in color and 0orm)

bt still tre to natre) as ?oses in !rna on &bermarkt? ?C19=8D) % to a c(aotic sketc(

called ?:orge? C1914D and restless com%ositions in a series o0 %ictres ?7easons? in

:ggen(eimJs !sem C<tmnD. t Gold be di00iclt to gess a (and o0 t(e same artists in

rat(er objective ?5rsaders? C19=3D and in sc( an abstract Gork) as ?5om%osition V?) 1913)

des%ite t(eir common dAnamics. ere ; a constrained im%lse) t(ere ; a liberated movement?.

<t t(e same time KandinskA rendered tribte to literarA activitA. n 1912 ?5oncerning t(e

7%irital in <rt? Gas %blis(ed. ,rning %side doGn t(e establis(ed idea abot art in general)

t(is book became t(e 0irst t(eoretical 0ondation o0 abstractionism. aving come to an idea) t(at?t(e %r%oses Cand t(ere0ore) meansD o0 natre and arts are essentiallA) organicallA and according

to t(e laGs o0 t(e niverse are varios ; and eNallA great... and eNallA strong?) t(e artist

%roclaimed creative %rocess o0 ?sel0;eL%ression and sel0;develo%ment o0 s%irit?. @esides)

KandinskA Grote memoirs ooking @ack C1913DO in ssian translation ; 7tairsD) t(e collection o0

verses 7onds C1913D Git( black;and;G(ite and color lit(ogra%(s.

etrning to ssia. 1914;1921

B(en t(e Borld Bar began KandinskA Gas com%elled to leave :ermanA. &n <gst) 3rd) 1914

(e and :abriela moved to 7Git$erland G(ere KandinskA started to Gork on t(e book abot ?%oint

and line?. @A *ovember o0 t(e same Aear t(eA (ad %arted. :abriela came back to !nic() and

KandinskA Gent to !oscoG. n t(e atmn o0 1916 KandinskA got acNainted Git( *ina

<ndreevskaAa) t(e dag(ter o0 t(e ssian :eneral) and (e married (er in >ebrarA) 191P.

Iring t(ese crisis Aears o0 revoltion KandinskA alternated among (al0;abstract idiom)

m%ressionist landsca%es and romantic 0antasies. n (is abstract %ictres geometri$ation o0

se%arate elements became stronger) t(e reason 0or t(at is) 0irst) t(e %ro%er %rocess o0

sim%li0ication) and) secondlA ; t(e <vant;:arde artistic atmos%(ere o0 !oscoG o0 t(at time.

n ssia KandinskA Gas in t(e vein o0 t(e %ost revoltionarA cltral and %olitical develo%ment.

>rom 1918 till 1921 (e coo%erated Git( 7& o0 *arkom%ros C'eo%leJs 5ommittee o0 +dcationD



in t(e 0ield o0 art training and msem re0orm. 1919 and 1921 (e %blis(ed siL big articles. <s

5(airman o0 t(e 7tate 'rc(asing 5ommission at t(e !sem @rea o0 t(e 7& Ie%artment o0

*arkom%ros (e %artici%ated in 0onding tGentA tGo %rovincial msems. @t Kandinskt renders

t(e biggest in0lence as a teac(er o0 t(e !oscoG 7vomas C>ree Borks(o%sD) and t(en

Vk(temas. @eing its 'ro0essor since &ctober) 1918) (e designed a s%ecial crriclm based on

t(e analAsis o0 color and 0orm) develo%ing t(e ideas stated in &n t(e 7%irital in <rt. ,(en)

%artici%ating in t(e 0ondation and management o0 t(e !oscoG nstitte o0 <rtistic 5ltre

Cnk(kD (e designed a crriclm 0or it) based on (is t(eorA. oGever) (is o%inion di00ered 0rom

t(e o%inion o0 t(e @oard o0 t(e nstitte. KandinskAJs o%%onents ; odc(enko) 7te%anova and

'o%ova ; are 0or t(e eLact analAsis o0 materials) 0or t(eir constrctive arrangement and setting.

<nA dis%laA o0 irrationalitA in creative %rocess Gas em%(aticallA denied. KandinskA) in (is trn)

vigoroslA o%%osed t(e 5onstrctivist o%%onentsE ?Fst becase an artist ses JabstractJ met(ods)it does not mean t(at (e is an JabstractJ artist. t doesnJt even mean t(at (e is an artist. Fst as t(ere

are enog( dead triangles Cbe t(eA G(ite or greenD) t(ere are jst as manA dead roosters) dead

(orses or dead gitars. &ne can jst as easilA be a ?realist academic? as an ?abstract academic?. <

0orm Git(ot content is not a (and) jst an em%tA glove 0ll o0 air?. ,(e nceasing attacks o0 (is

colleages;artists considering (is Gorks as ? mtilated s%iritism ? C'ninD Gere a determinative

0or KandinskA to leave !oscoG in Iecember) 1921. ,(e %ressre o0 socialist ideologA %on t(e

art) G(ic( led eventallA to a%%earance o0 socialist realism) began a0ter 1922. KandinskiiJs

%ictres 0or manA Aears are %t aGaA 0rom t(e 7oviet msems.

@a(as. 1922;1933

<0ter retrning to :ermanA) KandinskA acce%ts an invitation o0 Balter :ro%is) t(e 0onder o0

t(e Gell;knoGn @a(as Ct(e ig(er sc(ool o0 constrction and art designingD and (e and *ina

moved to Beimar G(ere KandinskA (eaded a 0resco Gorks(o%. e again tag(t and develo%ed

t(e ideas. ,(eA dealt) 0irst o0 all) Git( t(e dee% analAtical stdAing o0 se%arate elements o0 a

%ictre) G(ic( reslted into ?'oint and ine to 'lane? in 1926. KandinskA also Gorked mc( and

eL%erimented Git( color) a%%lAing (is analAtical 0ondation and t(e conclsions in (is teac(ing.

KandinskAJs Gorks again nderGent c(angesE individal geometrical elements increasinglA

entered t(e 0oregrond) (is %alette Gas sated Git( cold color (armonies G(ic() at times) are

%erceived as a dissonance) t(e circle is sed di00erentlA) as a sensal sAmbol o0 %er0ect 0orm.



?5om%osition V?) 1923 is t(e main Gork o0 t(e Beimar %eriod. <longside Git( conce%tal

Gorks) at t(is time (e created 7mall Borlds ric( in 0antasA 0or 'ro%ilei 'blis(ing ose and

some c(amber) ?intimate? %ictres) sc( as ?7mall Iream in ed?) 192. <lso KandinskA

lectred and eL(ibited in t(e 7<) (aving establis(ed toget(er Git( Git( >eininger) Favlenskii)

and Klee ?@le >or?.

n 192) de to t(e rig(t Ging %artiesJ attacks @a(as in Beimar Gas closed. ,(e second %eriod

o0 @a(as in Iessa began in Nite 0avorable conditionsE KandinskA and ot(er artists condcted

some 0ree classes o0 %ainting G(ere t(eA) besides teac(ing) cold %aint 0reelA. ?QelloG;ed;

@le?) 192) is one o0 t(e signi0icant Gorks describing a stage o0 ?cold romanticism? in

KandinskAJs %ainting. ?< circle) G(ic( se recentlA so o0ten) cold not be called ot(erGise bt

romantic. <nd t(e %resent daA romanticism is essentiallA dee%er) more beati0l) more sbstantialand more saltarA ; it is a %iece o0 ice) in G(ic( 0ire is brning. <nd i0 %eo%le 0eel onlA cold and

do not 0eel 0ire ; so mc( t(e Gorse 0or t(em...? n Iessa KandinskA Git( a neG 0orce Gas

carried aGaA Git( romantic ideas o0 ?:esamtknstGerk? Can idea o0 sAnt(esis o0 arts in one

GorkD. ,(ese ideas Gere embodied in QelloG 7ond and in gra%(ic s%%ort o0 !ssorgskiiJs

'ictres to t(e +L(ibition.

KandinskAJs %ainting o0 t(e last Aears in @a(as Gas %enetrated Git( ease and strange (mor)

G(ic( again Gold be s(oGn in (is late 'arisian Gorks) >or eLam%le) (is %ictre ?5a%ricios?)

193=) can be %ossiblA re0erred to t(em) it evokes some cosmicallA +gA%tian associations and is

0illed Git( 0antastic sAmbolical images in t(e s%irit o0 'al :le) t(e artist Git( G(om KandinskA

made 0riends at t(at time. <bot 1931 national socialists started a large scale cam%aign against

@a(as) G(ic( led to its closing in 1932. KandinskA Git( (is Gi0e emigrated to >rance G(ere

t(eA took % t(eir residence in a neG (ose in t(e 'arisian sbrb *eillA;sr;7eine. @etGeen

1926 and 1933 KandinskA %ainted 19 oils and 3== Gater colors. !anA o0 t(em) n0ortnatelA)

(ave been lost a0ter *a$is declared KandinskAJs and manA ot(er artistsJ %aintings to be

?degenerate? Cone o0 t(em ; !arc 5(agallD.

@iomor%(ic <bstraction. 'aris. 1934;1944



,(e 'arisian artistic environment trned to be reserved to KandinskAJs %resence. ,(e reasons 0or

t(at Gere (is isolation 0rom 0oreign colleages and absence o0 recognition o0 abstract %ainting in

general. <s a reslt o0 t(is t(e artist lived and Gorked lonelA) being limited to sociali$e onlA Git(

(is old 0riends. <t t(is time t(e last trans0ormation o0 (is %ainting sAstem (a%%ened. *oG

KandinskA did not se a combination o0 %rimarA colors bt Gorked Git( so0t) re0ined) sbtle

nances o0 color. 7imltaneoslA) it s%%lemented and com%licated t(e re%ertoir o0 0ormsE on

t(e 0oregrond t(ere a%%ear biomor%(ic elements) G(ic( 0eel at ease in t(e s%ace o0 a %ictre as i0

0loating all over t(e sr0ace o0 a canvas. KandinskAJs %ictres o0 t(is %eriod are 0ar 0rom t(e

0eeling o0 ?cold romanticism?) in t(em li0e seet(es and boils Csee %ictres ?7kA @le?) 194=)

?5om%leL;7im%le?) 1939) ?5olor0l +nsemble?) 1938 R ST.D. ,(e artist named t(is %eriod o0 (is

creativitA to be ?reallA a %ictresNe 0airA tale?. Iring t(e Gar;time %eriod becase o0 t(e

s(ortage o0 materials t(e 0ormats o0 (is %ictres become ever less) % to t(at moment G(en t(eartist Gas com%elled to be content Git( goac(e %ainting on cardboards o0 a small 0ormat. <nd

again (e con0ronted Git( aversion o0 t(e %blic and colleages. <nd again (e develo%ed and

im%roved t(e basics o0 (is t(eorAE ?<bstract art %laces a neG Gorld) G(ic( on t(e sr0ace (as

not(ing to do Git( ?realitA)? neLt to t(e ?real? Gorld. Iee%er doGn) it is sbject to t(e common

laGs o0 t(e ?cosmic Gorld.? <nd so a ?neG Gorld o0 art? is jLta%osed to t(e ?Gorld o0 natre.?

,(is ?Gorld o0 art? is jst as real) jst as concrete. >or t(is reason %re0er to call so;called

?abstract art? ?concrete art.?. KandinskA % to t(e verA end (ad not dobted (is ?inner Gorld?) t(e

Gorld o0 images G(ere t(e abstraction Gas not an end in itsel0) and t(e langage o0 0orms Gas not

?deadborn?O t(eA arose 0rom Gill to %it(iness and vitalitA.

Vasilij Kandinski) >ga) 1914.) lje na %latn) 129. U 129. cm) @asel

Kandinskijev tjecaj na mjetnost . stolje"a %oja#an je njegovim djelovanjem kao teoreti#ar i

kao %redava#. &d 1918. do 1921. %redavao je !oskvi) a od 1922. do 1933. *jema#koj.

*akon 'rvog svjetskog rata) Kandinskijeva a%strakcija %ostajala je sve geometri#nija 0ormi) sve

vi-e $a%ostavljaj"i vodenast i nejasan oblik. kasnijim djelima) %re-ao je na elegantniji)

kom%leksniji stil) koji je re$ltirao kristalno;#istim slikama.

Kasniji /ivot i smrt



!arc i Kandinski s organi$irali mnoge avangardne i$lo/be mnogim galerijama) -to je

do%rinijelo ra$voj njema#kog eks%resioni$ma. *akon dolaska itlerovog nacisti#kog re/ima na

vlast 1933.) Kandinski je morao odst%iti sa mjesta %redava#a Beimar) te se %reselio 'ari$

gdje je ostao do smrti.

Vasilij Kandinski %remino je 13. %rosinca 1944.

Kandinski se danas smatra jednim od najtjecajniji( slikara svoje generacije) do%rinjev-i ra$voj

eks%resioni$ma i a%strakcije svojim radom. *jegova djela s%adaj mjetni#ki %okret danas

$nan kao a%sktaktni eks%resioni$am.

2. tt%EWWGGG.GassilAkandinskA.netW

3. Vasilij Kandinski) stvaralac #ije slike ra$igrani( kom%o$icija i rasko-ni( boja %rivla#e veoma

-irok krg ljbitelja metnosti) bio je ne samo talentovani slikar nego i jedan od naj$na#ajniji(

likovni( teoreti#ara %rve %olovine 2=. veka. <%straktni %ri$ori na njegovim slikama mog se

%onekom laik #initi kao %roi$vod sl#ajnosti ili metnikovog (ira. %ak svaka boja na

njegovim %latnima simboli$je određeno ras%olo/enje) a svaka ta#ka i linija i svaki oblik)

geometrijski ili amor0ni) deo s %a/ljivo osmi-ljeni( kom%o$icija koje odra/avaj metnikov

intimni niver$m.

istoriji metnosti ime Vasilija Kandinskog %redstavlja sinonim $a a%straktni eks%resioni$am)

likovni %ravac koji se %ojavio vreme kada se civili$acija so#avala sa stra(otama globalni(



međljdski( skoba i ra$aranja. metnost tog i$$etno obra$ovanog slikara %o#ivala je na

ticajima tada moderni( likovni( %ravaca) %o#ev od im%resioni$ma %reko kbi$ma i 0ovi$ma) sve

do eks%resioni$ma kojem je Kandinski) ins%irisan teorijom m$ike) %si(ologijom) etnogra0ijom)

0ilo$o0ijom i drgim na#nim disci%linama) dao %oseban a%straktni i$ra$.

'lavi ja(a# i @a(as

'blika je radove Vasilija Kandinskog %rvi %t bila %rilici da %ogleda @erlin 19=2. godine) a

dve godine kasnije njegova dela %redstavljena s i 'ari$ na Fesenjem salon. a Kandinskog

je bavljenje slikarstvom od samog %o#etka bilo neodvojivo od teorijski( ra$mi-ljanja o metnostii anga/ovanog odnosa %rema stvarala#kom %roces. *ekoliko godina %o dolask !in(en

#estvovao je stvaranj *ove min(enske metni#ke asocijacije) koja je %ret(odila #venoj

metni#koj gr%i 'lavi ja(a# CIer @lae eiterD.

7lik 'lavi ja(a# Kandinski je naslikao 19=3. godine. !ala sileta konjanika ogrntog %la-t)

koja vi-e %odsje"a na sl#ajn 0lek na velikoj $elenoj %ovr-ini nego na konkretn 0igr koja

jri %ro%lankom) jedan je od %rvi( nagovje-taja te/nje Kandinskog ka a%straktnom slikarstv.

:r%a osnovana 1911. godine) koja je dobila na$iv %ravo %o toj slici) ok%ljala je mjetnike

naklonjene eks%resioni$m. njoj s bili i >ranc !ark) <leksej 0on Favlenski) !arijana

Verjovkina) kao i 'al Kle. :r%a je objavila almana( 'lavi ja(a# i organi$ovala dvije i$lo/be.

ako je %o#etak 'rvog svetskog rata %rekino njen djelatnost) gr%a je $ dre$denske mjetnike

ok%ljene gr%i !ost CIie @rckeD ostvarila naj$na#ajniji tjecaj na ra$voj njema#kog

slikarstva %rvoj %olovini 2=. stolje"a.

*e%osredno %red %o#etak i tokom 'rvog svjetskog rata mnogi mjetnici s njema#kog govornog

%odr#ja osjetili s %otreb da na svojim %latnima iska/ /as $bog te stra-ne globalne %o-asti.

,ako s stvorena djela %re%na tjeskobne atmos0ere) s %e#atljivim koloritom koji nije odra$

stvarnosti nego ntra-nji( %re/ivljavanja atora. *a trag takvog i$ra$a) ali i %od sna/nim



tjecajem so%stveni( intelektalni( resrsa) Kandinski je vremenom ra$vio so%stveni stil) kasnije

na$van a%straktni eks%resioni$am.

'o#etkom 'rvog svjetskog rata vratio se !oskv) do#ekav-i velike dr-tvene %romjene koje je

donela &ktobarska revolcija. novoj 7ovjetskoj siji Kandinski je %o#etk bio veoma

anga/ovan i svesrdno se trdio da kao gledan mjetnik do%rinese kltrnim i mjetni#kim

re0ormama. #estvovao je osnivanj nekoliko stanova kltre) međ kojima s bili !$ej

slikarske kltre i ska akademija mjetni#ki( naka. Velika %osve"enost dr-tvenom rad na

kratko ga je odvojila od kista i slikarskog %latna) ali je ve" 1921. godine) kao i mnoge njegove

kolege) ne$adovoljan odnosom sovjetske vlasti %rema mjetnicima i mjetnosti odl#io da se

vrati *jema#k. *a %o$iv Valtera :ro%ijsa oti-ao je Vajmar da %redaje @a(as.

Kandinski je #venoj -koli $a ar(itektr i %rimjenjen mjetnost %redavao osnove di$ajna)

vodio krs na%redne teorije mjetnosti i dr/ao #asove crtanja. 'rogrami %o kojima se radilo bili

s veoma na%redni $a svoje vrijeme. @a(as je bio osmi-ljen tako da %ro0esore i stdente

%odstakne da se bave istra/ivanjima oblasti di$ajna i da mjetnost %ove$j s drgim

disci%linama i oblastima) kao -to s ar(itektra ili indstrijska %roi$vodnja. ,okom rada

@a(as nastavio je da ra$rađje svoje likovne teorije. Koriste"i sa$nanja i$ %si(ologije %osebno

se %osvetio anali$i odnosa boja i o%a/anja.

'objeda naci$ma *jema#koj 1933. godine %rimorala ga je da emigrira >rancsk) iako je %et

godina ranije dobio njema#ko dr/avljanstvo. br$o nakon itlerovog dolaska na vlast @a(as je

$atvoren kao rasadnik ljevi#arski( ideja. Kandinski je vr-ten gr% i$o%a#eni( metnika)

kojoj s bili iE &to Iiks) +rnst dvig Kir(ner) :eorg :ros) 'al Kle) <leksej 0on Favlenski)

!ark Xagal) &skar Koko-ka i drgi. *acisti s kon0iskovali P njegovi( slika) i $ajedno s djelima

ostali( ne%odobni( mjetnika %redstavili i( na $loglasnoj i$lo/bi Iegeneri#ke mjetnosti) koja

je obi-la mnoge njema#ke gradove.

Ioseliv-i se 'ari$ Kandinski je nastavio da se bavi slikarstvom i likovnom teorijom. to

vrijeme evro%skoj mjetni#koj %rijestonici modi s bili im%resioni$am i kbi$am) dok

a%straktno slikarstvo) a %osebno geometrijsko) nije bilo naro#ito cijenjeno. Živio je malom



stan %rili#no i$olovano) viđaj"i se samo s malim brojem %rijatelja i kolega. !eđ njima s bili

an !iro) ans <r% i <lberto !anjeli) na #ije je i$lo/be redovno odla$io. 7likao je dnevnoj

sobi) koj je %reredio atelje. tom %eriod nastale s i dve njegove %oslednje velike

kom%o$icije) deveta i deseta. KandinskA je mro 'ari$ svojoj P8. godini od aterosklero$e.

*a stvarala-tvo Vasilija Kandinskog tjecali s vode"i mjetni#ki %ravci %rve %olovine 2=.

stolje"a) ali je %resdn log ra$vijanj mjetnikovog i$ra$a imao njegov ogromni

intelektalni %otencijal. jbav %rema m$ici) etnogra0iji) %si(ologiji) $animanje $a teo$o0sk

doktrin) kao i %o$navanje geometrije i drgi( eg$aktni( naka) tkani s njegove magi#ne

likovne kom%o$icije i im%rovi$acije.

>asciniranost bojama

#estvj"i tokom stdija nekoliko etnogra0ski( eks%edicija Kandinski je i$#avao rske

obi#aje i obrede) istorij religije i tradicij. 'osebno je bio 0asciniran /ivo%isnom ar(itektrom i

0olklornim dekorom na k"ama i crkvama koje je vidio tokom obilaska Vologdske gbernije na

sjever sije. *akon tog %tovanja svaki %t kada bi se na-ao nekoj crkvi) katedrali ili ka%eli

osje"ao se kao da je -ao slik. 'ojedini istra/iva#i njegovog slikarstva viđaj ve$ drevni(

-amanski( #enja i ritala sa simbolikom motiva na njegovim %latnima.

@io je 0asciniran bojama) na -ta je naro#ito tjecalo njegovo $animanje $a %si(ologij. a$vio je

teorij %rema kojoj svaka boja ti#e na #ovjeka 0i$i#ki i d(ovno Y i$a$ivaj"i %rijatan osje"aj

ok i istovremeno %roi$vode"i vibracije d-i. 5rven je de0inisao kao to%l) /iv i $bdljiv

boj koja ova%lo"je %okret. 'omije-ana sa crnom) crvena %rela$i braon i %ostaje te-ka) /ta joj

%oja#ava to%lin i %renosi njen %okret na okr/enje) %retvaraj"i je narand/ast) dok dodir s

%lavom %ostaje mirnija i (ladnija) odnosno ljbi#asta. @ijela je) %rema teoriji Kandinskog) simbol

s%okoja i a%soltne ti-ine) %re%ne mog"nosti) dok je crna ni-tavilo) vje#na ti-ina be$ nade.

svom veoma tjecajnom djel & d(ovnom mjetnosti) objavljenom 1911. godine) Kandinski

$ast%a idej da je boja atonomni element slike) ne$avisna od vi$elnog o%isa %redmeta)

odnosno od 0orme.



'od tjecajem teo$o0skog #enja o %ostojanj d(ovno na%redni( %ojedinaca koji %ravljaj

civili$acijom) ra$vio je so%stven teorij o mjetnik kao %rorok koji se nala$i na vr( d(ovne

%iramide #ovje#anstva) i ima misij da %omogne drgima da se $dign.

<negdota

'rema anegdoti) Kandinski je a%straktno slikarstvo otkrio sl#ajno. ,okom stdija !in(en

jednom %rilikom je) navodno) nakon dgog i iscr%ljj"eg rada na slici oti-ao -etnj da

%reda(ne. Iok je bio na%olj njegova %rijateljica :abrijel !inter -la je da o#isti atelje) ali je %o

$avr-etk %osla %latno ostavila okrento nao%ako. Kada se vratio i$ -etnje gledao je slik. *e

%re%o$nav-i so%stveni rad %ao je na koljena i $a%lakao) tvrde"i da je to najlje%-a slika koj je

ikada vidio.

Kom%o$icije i im%rovi$acije

jbav %rema m$ici ins%irisala je Kandinskog da svoja na%rijed osmi-ljena djela o$na#i kao

kom%o$icije) dok je s%ontane radove na$ivao im%rovi$acijama. %oređj"i slikanje s

kom%onovanjem) boje s dirkama) a d- s klavirom koji ima mno-tvo /ica) metnika je video kao

rk koja svira i i$a$iva vibracije klavir) odnosno d-i.

4. (tt%EWWGGG.cosmo%olis.c(Wenglis(WartWP4WGassilAZkandinskAZt(eZ%at(ZtoZabstraction.(tm

6assil7 &andinsk7

%8e pat8 to a9stra(tion

<rticle added on <gst 1) 2==6

,ate !odern in ondon reglarlA o00ers otstanding tem%orarA eL(ibitions. 5rrentlA) in

coo%eration Git( t(e Knstmsem @asel) Wassily Kandinsky: The path to abstraction is t(e

eL(ibition to visit.

<lt(og( BassilA KandinskA C1866;1944D is not onlA one o0 mA 0avorite artists) bt is recogni$ed

GorldGide as one o0 t(e 0onders o0 +L%ressionism and 2=t( centrA <bstract art) it Gas as late as

in 2==1) t(at <c(im !oeller >ine <rt Gas able to o00er t(e Gatercolor Entwurf zu lauer !leck

http://www.cosmopolis.ch/english/art/74/wassily_kandinsky_the_path_to_abstraction.htm

http://www.cosmopolis.ch/english/art/74/wassily_kandinsky_the_path_to_abstraction.htm



C1912W13) o%aNe G(ite and ndia ink on %a%erD at t(e GorldJs leading art 0air) <rt @aselO a

master%iece immediatelA Gold (ave bog(t i0 onlA mA %ockets Gere dee% enog(.

n 2==6) ,ate !odern dis%laAs P4 Gorks bA BassilA KandinskA. 9=[ o0 t(em (ave never been

s(oGn in t(e K be0ore. 6= o0 t(e Gorks are %aintings) making it t(e 0irst CMD major K

eL(ibition to 0ocs on t(e %aintings o0 t(e ssian artists G(o made (is breakt(rog( to

abstraction in :ermanA and s%ent t(e last decade o0 (is li0e in 'aris.

,(e Gorks on dis%laA at ,ate !odern come 0rom msems) %rivate and %blic collections in

+ro%e) t(e nited 7tates and ssia. ,(e 7tate ermitage !sem in 7t 'etersbrg sent) among

ot(er Gorks) KandinskAJs "omposition #$ C1913D and ,(e ,retAakov :allerA in !oscoG) t(e

eL(ibitionJs largest %rovider o0 artGorks) sent "omposition #$$ C1913D. ,(ese tGo major oils oncanvas demonstrate alreadA KandinskAJs 0llA develo%ed abstract stAle) and t(eA are t(e %ainterJs

largest Gorks ever Git( dimensions o0 19cm L 3==cm and 2==cm L 3==cm.

,ate !odern eL(ibition Wassily Kandinsky: The path to abstraction concentrates on t(e Aears

0rom 19= to 1921. 19= Gas t(e Aear in G(ic( KandinskA and (is lover and 0ormer %%il

:abriele !\nter staAed in ,nis. ,(is jorneA is not to con0ond Git( t(e mc( more 0amos

Tunisreise bA Klee) !acke and !oilliet in 1914. 7till) KandinskAJs enconter Git( t(e s%ecial

lig(t and color in ,nis (ad an im%act on (is artistic develo%ment.

1921 is t(e Aear in G(ic() disenc(anted Git( Git( t(e increasing %olitical control over artistic

eL%ression in t(e 7oviet nion) KandinskA le0t (is native ssia 0or :ermanA) never to retrn.

<0ter t(e otbreak o0 t(e &ctober evoltion) a0ter G(ic( (e lost (is 0ortne and %ro%ertA)

KandinskA %rodced no more %aintings ntil 1919) G(en earlA signs o0 (is geometric) more

astere stAle emergedE Two Ovals) White Oval and #iolet Wedge s(oG a sim%li0ication o0 0orm

and a more com%re(ensible strctre.

,(e 'eo%leJs 5ommissariat 0or +nlig(tenment Gas 0onded in 1918. ,(e (ead o0 its Visal <rts

7ection C&D) Vladimir ,atlin) reNested KandinskAJs %artici%ation. e came in contact Git(



Aong artists o0 t(e vangard and) 0rom &ctober) (e rn a >ree 7tate <rt 7tdio. e Gas

a%%ointed director o0 t(e >ilm and ,(eatre 7ection o0 t(e & and became a %ro0essor at t(e 7tate

ig(er <rtistic and ,ec(nical Borks(o%s. n Fne 1919) KandinskA Gas a%%ointed director o0 t(e

!sem 0ro 'ainting in !oscoG) G(ic( (e (eaded ntil 1921. ,oget(er Git( odc(enko and

ot(ers) (e 0onded 22 %rovincial msems and acNired 0or t(em contem%orarA Gorks) inclding

(is oGn.

<s a member o0 &) KandinskA Gas involved in t(e 0onding o0 t(e nstitte o0 <rtistic 5ltre

in !oscoG) G(ic( (ad t(e task o0 sAstemi$ing art t(eories in concordance Git( 5ommnist

%rinci%les. n !aA) (e took over t(e section dealing Git( monmental art. oGever) (is teac(ing

%roject Gas rejected at t(e 0irst %an ssian congress o0 t(e directors o0 t(e 'eo%leJs

5ommissariat 0or +nlig(tenment. ,(e 5onstrctivists) led bA odc(enko) rejected KandinskAJsconce%t as ?sbjective? and ?intitive? and boAcotted (im. KandinskA le0t t(e instittion in !aA

192=. n Fne) (e Gas given t(e title (onorarA %ro0essor bA t(e niversitA o0 !oscoG.

n &ctober 1921) KandinskA) toget(er Git( 'eter Kogan and <. !. odionov) 0onded t(e

sssian <cademA o0 <rtistic 7ciences. e took over t(e direction o0 t(e %(Asical;%sAc(ological

de%artment. n addition) (e became t(e c(airman o0 t(e 5ommission 0or t(e 7tdA o0 istorical

and ,(eoretical 'roblem in <rt. n an intervieG in FlA) KandinskA critici$ed t(e main

re%resentatives o0 t(e ssian avant;gardeE ?instead o0 %ainting) creating Gorks) t(eA eL%eriment.

,(eA %rse eL%erimental art in laboratories. t(ink t(ese are toG di00erent t(ings.? KandinskA

Gas not a member o0 t(e 5ommnist 'artA. is vieGs Gere increasinglA t(reatened bA t(e 7oviet

regime.

n 1921) KandinskAJs son Vsevolod died. e Gas overlooked 0or t(e %residencA o0 t(e <cademA.

,oget(er Git( t(e rejection o0 (is %rogram 0or t(e nstitte o0 <rtistic 5ltre) t(e intellectal

isolation and t(e catastro%(ic economic sitation 0olloGing t(e civil Gar %ersaded (im to leave

ssia at t(e end o0 1921.

<0ter time s%ent in @erlin) (e joined t(e in0lential @a(as earlA in 1922) G(ere t(e organic

0orms o0 (is earlier Gork Gere re%laced bA geometric 0orms. <lt(og( KandinskA began to



integrate geometric 0orms into (is Gork as earlA as 191P in ssia in lue %rch &'idge( and

es%eciallA in 1919 Cas mentioned aboveD) (e develo%ed (is more astere later stAle at t(e

@a(as. ,(e eL(ibition at ,ate !odern ends Git( t(e lack )pot C1921) oil on canvas)

Knst(as \ric(D and "ircles on lack C1921) oil on canvas) 7olomon . :ggen(eim !sem)

*eG QorkD. ,(ese tGo and t(e ot(er %aintings o0 1921 s(oG still a %artlA %laA0l KandinskA G(o

(as not Aet given % com%letelA to t(e severitA o0 %re geometric 0orms) des%ite introdcing

elements sc( as circles) ovals and rectangles. n s(ort) t(e eL(ibition concentrates on (is best

Aears.

,(e recommendable cataloge Wassily Kandinsky: The path to abstraction begins Git( an article

bA ein(ard immermann Ctranslated 0rom t(e :ermanDE ?+arlA m%rints and n0lences?. &ne

Gold (ave Gis(ed a similar article regarding KandinskAJs trans0ormation 0rom (is earlier +L%ressionist Aears) notablA 0rom being a member o0 t(e @le ider gro% C *er laue 'eiter D) to

(is later Aears in ssia G(ere (e (ad to retrn to becase o0 t(e otbreak o0 t(e >irst Borld Bar

in 1914 Git( :ermanA and ssia becoming enemies. +s%eciallA a detailed eLamination o0 t(e

in0lence o0 ssian 5onstrctivists sc( as Kasimir !alevic( and +l issit$kA com%ared Git(

t(e in0lence o0 t(e artists teac(ing at t(e @a(as in :ermanA in KandinskAJs move toGards

geometric 0orms Gold (ave been eLciting.

ein(ard immerman introdces t(e readers to t(e colors o0 t(e s%irital and re%resentational

earlA Gorks o0 KandinskA 0rom 1896 to 19=8) to t(e in0lence o0 m%ressionists and 'ost;

m%ressionists) t(e >avists and t(e colorist !atisse) and to (is gradal move toGards

+L%ressionism and <bstraction. n !rna) in t(e @avarian %rovince) G(ere :abriele !\nter (ad

bog(t a (ose) KandinskA moved aGaA 0rom m%ressionism. ,(e some 12= !rna landsca%es

%ainted betGeen 19=8 and 191= s(oG stronger colors) in0lenced bA t(e >aves and !atisse.

19=9 and 191= Gere Aears o0 major develo%ments Git( t(e introdction o0 5om%ositions and

m%rovisations) a neG 0orm o0 %ainting. ncidentallA) KandinskAJs enconter Git( BagnerJs

+ohengrin at t(e 5ort ,(eatre in 7t 'etersbrg Gas a keA moment in (is decision to dedicate

(imsel0 to art. t is no coincidence t(at t(e KandinskA terms ?5om%osition? and ?m%rovisation?

re0er to msic since (e stated t(at %ainting s(old be as ?abstract? as msic.



5olor Gas a im%ortant 0or KandinskA t(rog(ot (is career) be it t(e colors o0 ssian religios

cons or o0 :erman ,interglasmalerei C@avarian 0olk art %aintings on glassD. n (is Gorks) color

Gas ?an inde%endent com%ositional element) serving not merelA to re%resent objects bt Jliving a

li0e o0 t(eir oGn) Git( all t(e necessarA Nalities 0or 0rt(er) atonomos eListenceJ.? Cein(ard

immermann citing KandinskAD. KandinskA moved aGaA 0rom traditional contents o0 %ainting

sc( as classical mAt(s and (istorical events. nstead) (e concentrated on t(e t(e sol) t(e inner

s%irit) t(e vibrations in a vieGers sol. >or KandinskA) everA color and everA line (ad a %articlar

sond and a %articlar emotional vale. ,(ere0ore) a %ainting is an ensemble o0 sonds) (ence a

5om%osition or an m%rovisation. e eL%ressed (is t(eories in detail in t(e book "oncerning the

)piritual in %rt C1912D. ,o eL%lain t(e book in detail and to eL%lore (is relation Git( The lue

'ider group C *er laue 'eiter D Gold need tGo additional articles.

,(e most im%ortant t(ing abot KandinskA are not (is t(eories) bt (is master%ieces) o0 G(ic(

manA can be admired at ,ate !odern) inclding -urnau "astle "ourtyard $ C19=8) oil on

cardboard) ,(e 7tate ,retAakov :allerA) !oscoGD) $mprovisation / C191=) oil on canvas)

7taatsgalerie 7tttgartD) $mprovisation 01 C7econd Version) 1912) oil on canvas) 7olomon .

:ggen(eim !sem) *eG QorkD and manA more.

. (tt%EWWGGG.glA%(s.comWartWkandinskAW

&andinsk7 :ompositions

) ;evie< 97 Mark =arden

&andinsk7 :ompositions

bA !agdalena IabroGski

'blis(ed bA t(e !sem o0 !odern <rt

11 Best 3 7treet

*eG Qork) *Q 1==19. ]4.==

BassilA KandinskA Gas one o0 t(e most original and in0lential artists o0 t(e tGentiet(;centrA.

is ?inner necessitA? to eL%ress (is emotional %erce%tions led to t(e develo%ment o0 an abstract

stAle o0 %ainting t(at Gas based on t(e non;re%resentational %ro%erties o0 color and 0orm.

http://www.glyphs.com/art/kandinsky/

http://www.glyphs.com/art/kandinsky/#mark

http://www.glyphs.com/art/kandinsky/

http://www.glyphs.com/art/kandinsky/#mark



KandinskAJs com%ositions Gere t(e clmination o0 (is e00orts to create a ?%re %ainting? t(at

Gold %rovide t(e same emotional %oGer as a msical com%osition. ,(e eL(ibition ?KandinskAE

5om%ositions?) organi$ed bA !agdalena IabroGski and on dis%laA at t(e os <ngeles 5ontA

<rt !sem ntil 7e%tember 3) 199) %resents t(ese monmental Gorks toget(er 0or t(e 0irst and

%ossiblA last time and %rovides an o%%ortnitA to Gitness t(e creative %rocess o0 KandinskA.

>Bla(k? is like t8e silen(e of t8e 9od7 after deat8* t8e (lose of life$

; BassilA KandinskA) 1911

KandinskA vieGed t(e com%ositions as major statements o0 (is artistic ideas. ,(eA s(are several

c(aracteristics t(at eL%ress t(is monmentalitAE t(e im%ressivelA large 0ormat) t(e conscios)

deliberate %lanning o0 t(e com%osition) and t(e transcendence o0 re%resentation bA increasinglA

abstract imagerA. Fst as sAm%(onies de0ine milestones in t(e career o0 a com%oser) KandinskAJs

com%ositions re%resented t(e clmination o0 (is artistic vision at a given moment in (is career.

egrettablA) t(e 0irst t(ree com%ositions Gere destroAed dring Borld Bar . ,(eA are

re%resented in t(e eL(ibition bA 0ll;scale) black;and;G(ite %(otogra%(ic re%rodctions. &ne o0

t(e strengt(s o0 t(e eL(ibition is t(e assemblA o0 %reliminarA stdies 0or most o0 t(e Gorks. ,(ese

Gere done in oil) Gatercolor) ink and %encil. ,(ese (el% conveA a sense o0 t(e t(ree lost

com%ositions) bt cannot (o%e to re%lace t(e actal canvasses. ,(e vieGer is le0t Git( a %ro0ond

0eeling o0 loss 0or t(e destroAed Gorks.

?5om%osition V?) 1911

C 639 L 4=4 W 9 k W j%eg D

,(is 0eeling %rovides a contrast t(at en(ances t(e im%act o0 5om%osition V) a maelstrom o0

sGirling colors and soaring lines. ,(e %ainting is divided abr%tlA in t(e center bA tGo t(ick)

black vertical lines. &n t(e le0t) a violent motion is eL%ressed t(rog( t(e %ro0sion o0 s(ar%)

http://www.glyphs.com/art/kandinsky/comp4640.jpg




jagged and entangled lines. &n t(e rig(t) all is calm) Git( sGee%ing 0orms and color (armonies.

Be (ave 0olloGed KandinskAJs intention t(at or initial reaction s(old reslt 0rom t(e emotional

im%act o0 t(e %ictorial 0orms and colors. oGever) %on closer ins%ection t(e a%%arent

abstraction o0 t(is Gork %roves illsorA. ,(e dividing lines are actallA tGo lances (eld bA red;

(atted 5ossacks. *eLt to t(em) a t(ird) G(ite;bearded 5ossack leans on (is violet sGord. ,(eA

stand be0ore a ble montain croGned bA a castle. n t(e loGer le0t) tGo boats are de%icted.

<bove t(em) tGo monted 5ossacks are joined in battle) brandis(ing violet sabers. &n t(e loGer

rig(t) tGo lovers recline) G(ile above t(em tGo robed 0igres observe 0rom t(e (illside.

KandinskA (as redced re%resentation to %ictogra%(ic signs in order to obtain t(e 0leLibilitA to

eL%ress a (ig(er) more cosmic vision. ,(e deci%(ering o0 t(ese signs is t(e keA to nderstanding

t(e t(eme o0 t(e Gork. <n aGareness o0 KandinskAJs %(iloso%(A leads to a reading o0

5om%osition V as eL%ressing t(e a%ocalA%tic battle t(at Gill end in eternal %eace. 5om%ositionV Gorks on mlti%le levelsE initiallA) t(e colors and 0orms eLercise an emotional im%act over t(e

vieGer) Git(ot need to consider t(e re%resentational as%ects. ,(en) t(e decoding o0 t(e

re%resentational signs involves t(e vieGer on an intellectal level. 0ind t(at can no longer vieG

5om%osition V Git(ot atomaticallA translating t(e imagerA to re%resentational 0orms. Qet t(is

solving o0 t(e GorkJs mAsteries does not draG t(e li0e 0rom itO rat(er) t(e original emotional

im%act is strengt(ened in a neG GaA.


C 639 L 446 W 61 k W j%eg D

ater in 1911) KandinskA %rodced 5om%osition V) a mc( more abstract Gork. ere) t(e t(eme

is t(e esrrection o0 t(e Iead. ,(e iconogra%(A is mc( more di00iclt to discern. 5om%arison

mst be made to more re%resentational Gorks t(at treat t(is t(eme done bA KandinskA arond t(e

same time. e0erence to t(ese more literal de%ictions o0 t(e moti0s alloG s to %erceive t(eir

abstracted 0orms Git(in 5om%osition V. 7everal angels bloGing t(eir trm%ets are inclded in t(e

%%er %ortion o0 t(e canvas. ,(e strong black line crossing 0rom rig(t to le0t can be 0elt as a





re%resentation o0 t(e bloGing o0 t(e trm%ets. <bove t(is line) t(e toGers o0 a Galled;in citA are

visible. @eloG t(e line) t(e t(in a%%lication o0 %aint %rodces a lminescence t(at a00ects or

%erce%tion o0 s%ace in t(at %ortion o0 t(e canvas. ,(e lminescence conveAs a sense o0 in0initA

t(rog( t(e lack o0 volme and t(e absence o0 %ers%ectival illsion. &t o0 t(is void) t(e vieGer

can sense t(e rising o0 t(e dead.


C 64= L 421 W 6= k W j%eg D

7tanding beloG t(e siL bA ten 0oot eL%anse o0 5om%osition V) t(e vieGer cannot (el% bt brace

(imsel0 against t(e im%ending cras( o0 a tidal Gave o0 colliding 0orms and colors. <nd) in 0act)

t(e t(eme o0 t(is Gork is ,(e Ielge. KandinskA de0ined t(ree centers to t(is 5om%osition)

G(ic( are discerned seNentiallA bA t(e vieGer. nitiallA) t(e eAe is draGn to t(e %ink and G(ite

vorteL in t(e le0t center. ,(e mlti%le lines re%resenting torrential rain carrA t(e 0ocs to t(e rig(t

section) G(ere a darker center o0 discordant 0orms and stronger rain lines adds to t(e tmlt.

>rom t(is second center) t(e eAe slides to t(e loGer center) G(ere a ble 0orm otlined in black

coGers beloG t(e torrents o0 rain and cras(ing Gaves. n t(is Gork) KandinskA (as %s(ed 0rt(er

beAond re%resentation to t(e verA limits o0 abstraction.

?5om%osition V?) 1913C 64= L 426 W 69 k W j%eg D

5om%osition V is t(e %innacle o0 KandinskAJs %re;Borld Bar &ne artistic ac(ievement. ,(e

creation o0 t(is Gork involved over t(irtA %re%aratorA draGings) Gatercolors and oil stdies. +ac(

o0 t(ese is inclded in t(e eL(ibition) docmenting t(e deliberate creative %rocess sed bA







KandinskA in (is com%ositions. <ma$inglA) once (e (ad com%leted t(e %re%aratorA Gork)

KandinskA eLected t(e actal %ainting o0 5om%osition V in less t(an 0or daAs. ,(e eL(ibition

incldes a series o0 0or %(otogra%(s taken betGeen *ovember 2 and 28) 1913) o00ering a

0ascinating record o0 KandinskAJs artistic %rocedre. ,(rog( all o0 t(e %re%aratorA Gorks and in

t(e 0inal %ainting itsel0) t(e central moti0 Can oval 0orm intersected bA an irreglar rectangleD is

maintained. ,(is oval seems almost t(e eAe o0 a com%ositional (rricane) srronded bA sGirling

masses o0 color and 0orm. n 5om%osition VJs 0inal 0orm) KandinskA (as obliterated almost all

%ictorial re%resentation. <rt sc(olars) t(rog( KandinskAJs Gritings and stdA o0 t(e less abstract

%re%aratorA Gorks) (ave determined t(at 5om%osition V combines t(e t(emes o0 ,(e

esrrection) ,(e ast Fdgment) ,(e Ielge and ,(e :arden o0 ove in an o%eratic otbrst o0

%re %ainting.


C 64= L 442 W 3 k W j%eg D

,(e vieGer receives Nite a s(ock in moving 0rom t(e a%ocalA%tic emotion o0 5om%osition V to

t(e geometrical r(At(m o0 5om%osition V. 'ainted ten Aears later in 1923) 5om%osition V

re0lects t(e in0lence o0 7%rematism and 5onstrctivism absorbed bA KandinskA G(ile in ssia

%rior to (is retrn to :ermanA to teac( at t(e @a(as. ere) KandinskA (as moved 0rom color to

0orm as t(e dominating com%ositional element. 5ontrasting 0orms noG %rovide t(e dAnamic

balance o0 t(e GorkO t(e large circle in t(e %%er le0t %laAs against t(e netGork o0 %recise lines in

t(e rig(t %ortion o0 t(e canvas. *ote also (oG KandinskA ses di00erent colors Git(in t(e 0orms to

energi$e t(eir geometrAE a AelloG circle Git( ble (alo verss ble circle Git( AelloG (aloO a rig(t

angle 0illed Git( ble and an acte angle colored %ink. ,(e backgrond also Gorks to en(ance t(e

dAnamism o0 t(e com%osition. ,(e design does not a%%ear as a geometrical eLercise on a 0lat

%lane) bt seems to be taking %lace in an nde0ined s%ace. ,(e laAered backgrond colors ; lig(t

ble at bottom) lig(t AelloG at to% and G(ite in t(e middle ; de0ine t(is de%t(. ,(e 0orms tend to

recede and advance Git(in t(is de%t() creating a dAnamic) %s(;%ll e00ect.





?5om%osition ?) 1936

C 64= L 3P2 W 39 k W j%eg D

t Gas anot(er ten Aears be0ore KandinskA com%leted anot(er canvas t(at (e Gold call a

5om%osition. 5om%osition re0lects KandinskAJs eL%osre in 'aris to 7rrealist imagerA.

<lt(og( (e denied anA 7rrealist in0lence in (is Gork) t(e biomor%(ic s(a%es distinctlA recall

t(e %ictorial langage o0 !iro in %articlar. ,(ere is onlA one %re%aratorA draGing 0or

5om%osition and none 0or 5om%osition . <ccording to *ina KandinskA) t(e artist at t(is

stage o0 (is develo%ment Gas able to visali$e a %ainting entirelA in (is (ead and t(en translate it

directlA to t(e canvas. ,(is eL%lains t(e %acitA o0 stdies 0or t(e late com%ositions. 5om%osition

is %ossiblA t(e least im%ressive o0 t(e series. ,(e Gide diagonal colors serve as a solid

backgrond 0or t(e biomor%(ic and geometrical s(a%es t(at seem to 0loat in 0ront o0 it. ,(ere is

an almost dream;like NalitA to t(e r(At(m and n0rling o0 t(e 0orms. n t(e 0inal analAsis)

(oGever) 5om%osition (as a tangible decorative 0eel to it t(at makes it %ale in com%arison to

t(e emotional intensitA o0 t(e earlier com%ositions.

?5om%osition ?) 1939

C 639 L 419 W 6 k W j%eg D

>ive Aears be0ore (is deat( in 1944) KandinskA com%leted t(e 0inal Gork in t(e series. ,(e

otstanding c(aracteristic o0 5om%osition is obvioslA t(e stark) black grond. ,(e colors and

0orms a%%ear %articlarlA s(ar% against t(e black backgrond. ,(e brilliance o0 t(e colored

s(a%es brings to mind t(e ctots done bA !atisse over a decade later. ,(e movement o0 t(e

0orms is distinctlA %Gard and otGard 0rom bot( sides o0 a central aLis rnning t(rog( t(e

book;like 0orm near t(e to% o0 t(e canvas. ,(is movement en(ances t(e evocation o0 (ot;air


http://www.glyphs.com/art/kandinsky/cmp10640.jpg


http://www.glyphs.com/art/kandinsky/cmp10640.jpg



balloon 0orms rising into an in0inite s%ace. ,(e rond 0orm betGeen t(e book s(a%e and t(e

broGn balloon s(a%e (as a lnar 0eel to it t(at even conveAs a 0eeling o0 literal ?oter s%ace?.

KandinskA (ad alGaAs eL%ressed a strong dislike 0or t(e color black and it is signi0icant t(at (e

c(ose it as t(e dominating color o0 (is last major artistic statement.

6.(tt%EWWGGG.GassilAkandinskA.netWblaereiter.%(%

+$ @%8e Blue ;ider@

n 1911) dring t(e creation o0 t(e almanac ?,(e @le ider?) KandinskA is combined Git( a

gro% o0 Aong artists o0 t(e avant;garde in t(e same international association in !nic( and

!rna. Bit( KandinskA at t(e origins o0 t(e association is >ran$ !arc. ts name Gas born in a

conversation over a c% o0 co00eeE t(eA bot( loved in t(e %aintings o0 t(e color ble) !ark ;

(orses) and KandinskA ; riders.

,(e gro% consists o0 <gst !acke) !arianna Verevkina) <leLei FaGlenskA) 'al Klee) also in

t(e activities o0 t(e ?,(e @le ider? take %artici%ations artists brot(ers @rliks) :abrielle

!nter) obert IelanaA) bt also dancers and com%osers. ,(e gro% takes an active %art in t(e

movement 0or t(e revival o0 :erman art o0 t(e earlA 2=t( centrA. n t(is t(eA are nited Git( t(e

ot(er artistic association ?,(e @ridge? C0onded a 0eG Aears earlier in @erlin and IresdenD. ,(e

@le ider? becomes trlA international commnitA. ,(e ssians) t(e :ermans) t(e >renc(; t(eAare all nited bA t(e desire to create neG art) inde%endent o0 t(e eListing rles and canons) move

aGaA 0rom t(e ?modernist contem%orarA art %rogram) oriented to t(e eLternal?. 0 t(e

re%resentatives o0 t(e ?,(e @ridge? gravitate to 0igrative eL%ressionism) t(at manA %artici%ants

o0 t(e ?,(e @le ider? seek to abstract com%ositions) set t(e color and %ictorial and decorative

%roblems) looking 0or associative soltion.

,(e 0irst eL(ibition o0 t(e association takes %lace in !nic(^s gallerA ,ann(aser) in Iecember

18) 1911. 'aintings o0 varios members o0 t(e gro%) nclded in t(e eL(ibition) are verA close to

eac( ot(er. ,(e nning orse? o0 5am%endonk) most likelA) ins%ired bA t(e creative Gork o0

>ran$ !arc Cin %articlar) t(e %ictre o0 ?,(e @ig @le orses?D) ?,(e 7torm? at(ors(i% !acke

0olloGs t(e traditions o0 KandinskA) G(o in trn) sbmits to t(e cort connoissers o0 %ainting)

t(e color eL%eriments ?5om%osition ? and ?m%rovisation 22?.

http://www.wassilykandinsky.net/work-115.php






,(e second eL%osre o0 t(e association takes %lace in t(e gallerA o0 :. olt$ in !arc() 1912.

,(ere also ot(er gro% %ainters take %artici%ation) in %articlar) t(e association _,(e @ridge`)

s%rematists and cbists. n !aA o0 t(e same Aear) ,(e @le iderH %blis(es Cand dring o0

onderbnd;5ologne s eL(ibition disseminatesD almanac) in G(ic( %artici%ants o00er t(eir

re0lections on t(e (istorA and develo%ment o0 %ainting. <rticles are accom%anied bA illstrations

t(at demonstrate t(e commonalitA o0 ancient art in di00erent %arts o0 t(e Gorld. ,(e at(ors %aA

mc( attention to t(e c(ildrenJs draGing) considering it as a 0ll;0ledged %ainting) G(ic( becomes

Nite revoltionarA idea. ,(e com%anA is still tre to its %rinci%le o0 sAnt(esis o0 t(e arts ; several

colmns 0ocsed on t(e msic.

,(e Gork o0 KandinskA ?5oncerning t(e 7%irital in <rt? becomes a Nintessence o0 t(ese trends)G(ere great attention is %aid to t(e aest(etics o0 0orm and color) %sAc(ological role o0 t(e s(ade.

e creates t(e color0l %ictres) t(e 0igrative is gradallA disa%%earing 0rom (is Gork C?,(e

black arc(?D) similar to a %(otogra%(ic %(enomena) G(ic( are Gritten in %aint.

,(e second Ct(e lastD released ?,(e @le ider? in 1914. < Aear earlier) t(e last large;scale

eL(ibition o0 t(e association is in @erlin in t(e bilding) %rovided maga$ine ,(e 7tormH.

KandinskA le0t :ermanA) G(en begins t(e >irst Borld Bar) and t(is %eriod o0 t(e ?,(e @le

ider? is ended in (is biogra%(A. <nd t(e gro% itsel0 actallA ceases to eList Git( t(e con0sion

o0 its leaders. n t(e 2=t( Aears a0ter t(e revoltion in ssia) KandinskA retrned to :ermanA) is

a member o0 t(e @a(as sc(ool and Gill once again meet t(ere Git( some old colleages in

?,(e @le ider? Cinclding KleeD. oGever) t(e association (as not risen in t(e old 0orm.

Bau8aus

7oon a0ter (is retrn to :ermanA at t(e end o0 1921)

KandinskA received an invitation to become a teac(er at

t(e @a(as in Beimar. ,(is Gas an eL%erimental

sc(ool;stdio) G(ere 0or t(e training o0 masters o0

a%%lied a neG sAstem o0 edcation. ts 0onder) Balter


http://en.wikipedia.org/wiki/Walter_Gropius





:ro%is) %reac(ed t(e idea o0 sAnt(esis o0 arts) considering t(at t(e %ainting) arc(itectre and

scl%tre s(old be combined toget(er to create a bilding t(e 0treH. n t(e mani0esto 1919) (e

stated t(e ltimate objective o0 all edcational activitA is t(e bildingM ... @etGeen t(e artist and

cra0tsman needn^t to be %rinci%al di00erences. etJs create a neG Gorks(o% o0 cra0tsmen Git(ot

scattering on classes o0 arrogance) striving to bild a (ig( Gall betGeen cra0tsmen and artists...H

*eG ideas Gere close KandinskA) and (e gladlA acce%ts t(e invitation. n 1922) (e (eaded t(e

@a(as Gorks(o% o0 %ainting. >or organi$ation o0 t(e training %rocess :ro%is gat(ered in t(e

sc(ool t(e most modern and original artists. @A t(e time o0 KandinskA) t(ere (ad alreadA Gorked

(is 0riends 'al Klee) .>eininger) as Gell as &. 7c(lemmer) :. !arcks) . 7c(reAer and :.

!c(e. ,(e training is condcted in %arallel in t(e art and %rodction Gorks(o%s ; t(is Gas t(e

decision o0 :ro%is. <ll stdents at 0irst listen to a general introdctorA corse) G(ic( reveals t(et(eoretical 0ndamentals o0 t(e art) its 0ormal elements. ,(en t(e stdents 0amiliari$e Git( more

detailed materials) met(ods) tools. &n t(e 0olloGing corses t(eA stdA t(e individal materials

CGood) stone) glass) teLtileD in t(e creative Gorks(o%s) and in t(e end all knoGledge are combined

in sc( corses as IesignH and 5onstrction and engineering skillsH.

KandinskA in t(e @a(as read a 0eG corsesE _<nalAtical draGing`) t(e main objective o0 G(ic(

is to teac( stdents to %enetrate into t(e essence o0 t(ings and nderstand abstractionO _t(e @asics

o0 artistic design`) G(ic( are) in 0act) t(e t(eorA o0 t(e designO and t(e most 0amos o0 (is corse

5olorH. n t(is corse) KandinskA teac(es t(eorA o0 color 0rom t(e (istorA o0 develo%ment o0

varios color sAstems to modern %sAc(ologA o0 %erce%tion o0 color. n (is training corse

KandinskA reali$es a radicallA neG a%%roac( to teac(ing abot t(e color) based on t(e analAsis o0

individal elements ; a %oint) a line) a %lane) and eLamining t(eir relations(i%s. ,(e reslt o0 t(is

analAsis Gill be (is Gork H'oint and line to %laneH. ,(e creativitA KandinskA^s Beimar %eriod

C1923;192D is nder t(e in0lence o0 ideas o0 s%rematism and constrctivism) G(ic( reign in

t(is time in t(e @a(as. is main Gork in t(ose Aears ; a monmental 5om%osition VH. @t

to t(is %eriod belong sc( a c(amber) almost intimate %ictre as ittle dream in t(e redH) Gritten

in a gi0t to (is Gi0e.

n 192 %oGer o0 Beimar sto%ed sbsidi$ing t(e @a(as becase o0 attacks and criticism o0


http://www.wassilykandinsky.net/book-117.php










rig(t;Ging %olitical %arties. ,(e sc(ool moved to Iessa) active Aong citA near ei%$ig. ere

0or t(e sc(ool Gas bilt a neG bilding) designed bA :ro%is. ,(is bilding is considered to be

one o0 t(e brig(test eLam%les o0 arc(itectre o0 0nctionalism. :radallA %rogram o0 sc(ool

reoriented toGards t(e %ractical needs o0 t(e constrction. <lso t(e content o0 t(e training corses

is c(anged. Fst in Iessa starts to develo% a %articlar stAle o0 @a(as) G(ic( Gas mani0ested

0rom t(e trend toGards greater tilitariani$m and mac(ine 0nctionalitA. ,(is 0nctionalism) a

%ragmatic a%%roac( to art leads to con0lict Git(in t(e sc(ool. 7%%orters o0 aest(etics) >aininger)

Klee) KandinskA are nder t(e 0ire o0 criticism 0or (is a%%roac( to learning. Klee and >aininger

go ot) KandinskA more and more Git(draGs 0rom t(e teac(ing. n t(e same 192) (e creates tGo

im%ortant %aintingsE n bleH and QelloG ; red Y bleH. ,(e second %ainting marks t(e

a%%earance o0 a neG cold romanceH) G(ic( (as become t(e main trend in (is Gorks o0 t(e

@a(as^ %eriod.

Ies%ite attem%ts bA t(e management to make t(e ideologA o0 t(e sc(ool o0 adeNate %olitical

sitation) it (asn^t sccess. 7ince 1931 a large;scale cam%aign o0 rig(t;Ging circles begins against

@a(as) sccess0llA conclded in 1932) G(en t(e sc(ool Gas closed) declaring it ?a (otbed o0

bols(evism in cltre?. >amilA t(e KandinskA^s makes a di00iclt decision ; to leave :ermanA.

,(eA go to 'aris) t(e citA G(ic( Gill be t(e 0inal stage o0 t(e creative and t(e GaA o0 li0e o0

KandinskA. >or some time t(e (eads o0 t(e @a(as %rolong its eListence as a %rivate edcational

instittion in @erlin) bt in 1933 t(e *a$is 0inallA close t(e sc(ool. !anA teac(ers migrate to t(e

nited 7tates. n 193P in 5(icago Gas 0onded ?t(e *eG @a(as? CIirector Gas . !o(oA;

*agAD) and :ro%is and @reer organi$ed at arvard niversitAJs 7c(ool o0 Iesign.

,(e %rogram o0 t(e @a(as (ad a (ge im%act on t(e develo%ment o0 art edcation and

+ro%ean art. <rc(itects and designers o0 0tre generations contined to stdA t(e collections o0

scienti0ic and t(eoretical articles teac(ers o0 t(e sc(ool. ,(e !sem;arc(ive o0 @a(as Gas

0onded in 196=) 0or G(ic() in 19P9) Gas bilt a s%ecial bilding in @erlin) %rojected bA :ro%is.

<t t(e %resent time in Iessa o%erates t(e design centre @a(as;IessaH.









L!%4;)%U;)

ibliografi2a

1 KandinskA) B. C1996D. O duhovnom u umetnosti: posebno u slikarstvu: sa osam slika i deset

originalnih drvoreza. @eogradE ' +sot(eria

kandinski seminarski

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