abandoned only because academic usage had made it lifeless.
abandoned realism but used it for the painting of feeling
abandoned. In this way the material object was made more abstract
like a tennis ball over the net between the two parties
above the clouds.
absolute necessity to the composition, or should they be replaced
absolute shadow-side to the picture, never a piece of unrelieved
abstract by the concrete and spoil the concrete by the abstract.
abstract form, we shall produce works which are mere decoration,
abstract, but is applied as an element of some other object, and
abstract, the non-material. Consciously or unconsciously they are
abstract, their mutual relations, either individually or as parts
abstraction.
abuse him as charlatan or madman. So in his lifetime stood
academism. Even music has a grammar, which, although modified
according to the relation to other forms of the form which causes
accuracy of form to the inner need, the material of which his art
accurately speaks, such a mixture produces what is called
an artistic expansion of space. The combination of both
achieved simultaneously by several forms of art, each art
achieves greater prominence.
active element gradually disappears. But this active element is
active force, for they stand the, one in motionless discord, the
active warmth of yellow or the active coolness of blue
admirably expressed it. But in everything he did he showed the
admixture of black, for black quenches the glow, or at least
advances, what is today a phrase of inner harmony becomes
affections dark as Erebus: Let no such man be trusted. Mark the
after a new sense of form approached the same problem. Cezanne
Again, let us take the case of the definitely religious picture.
against black with clear strength.
Light yellow against white is
against materialism,
against the demand that everything should be
aggressive character.
all intent dies the moment the atmosphere alters which nourished
all these open great vistas of artistic possibility.
All these works have the solemn and regular architecture of a
“symbolist” school
almost a household word. the name of the movement is
the alone of the language, of sound and beat stands alone, without
alone.
And at times when the human soul is gaining greater strength, art
and blue, colours in themselves of no physical relationship, but
and blue. Harmony today rests chiefly on the principle of
and complementary one to the other. Conversely, at those times
and contradiction, we can draw the easy conclusion that for a
And conversely, self-sacrifice, mutual help, lofty thoughts,
and devote ourselves purely to combination of pure colour and
and disposes, as he wills, these three elements. IT IS CLEAR,
and drawings by Kandinsky.
and emerge as the ballet.
and especially between music and painting. Goethe said that
and fear, etc.–are too material and naive for the abstract ideas
and fears. When one stage has been accomplished, and many evil
and finally impotent, so the spirit perishes if untended. And for
and finally, since a book of such drawings by a child of twelve
and grandiloquent language. Partly for this reason, partly from
and grief. These artists have filled their pictures with a bitter
and have different spiritual values.
and yellow is as close as between black and blue, for blue can be
angles and abruptness. In the second case motion and dance are
angles. So his aim is smaller and more limited than Kandinsky’s
another uses its methods, so that the methods may afterwards be
answer, there is always a possibility that the same “something”
antithesis–an ex-and concentric movement. If two circles are
anxiety to state his case, to court criticism, the author has
Any attempt to free painting from this material limitation
any clearness and moderation. Some people will say that any such
any human being. Sensitives cannot, for example, remain in a room
Any preponderance in green of yellow or blue introduces a
anything “as it really is” and without fantastic imagination.
Apollinaire, “Les Peintres Cubistes.” Collection Les Arts. Paris,
appeal of an upright triangle is more steadfast and quiet than
appeal of the nothingness that is before birth, of the world in
appeal to men grows weaker and more distant. In music a light
appeal, and the inclination of the colour to yellow or to blue,
appeal, but assuming either a more material or more non-material
appeal, or must remain a purely non-material symbol.
applause. It is very important for the artist to gauge his
application of every method, but that that power must be
applied to the borrower’s art from the beginning, and suitably.
appreciated by people today; but a modern work of art which is
approach the problem of the spirit by way of the INNER knowledge.
approaching the spectator, the cold ones retreating from him.
are sympathetic to him, and expresses himself through them. So
are the sad, middle tones of a cello. A cold, light red contains
are there, certainly, but they get no further than the nerves,
are therefore four shades of appeal–warm and light or warm and
are tragic or passionate poems. He also sacrifices conventional
are unmusical–either wholly, by nature, or partly, for lack of
are used as symbols, almost as though they were mere
arise a crowd of gifted and skilful painters, so easy does the
art (this is the element of pure artistry, which is constant in
art an abstraction of thought and arrive finally at purely
art held general sway over the “Naturalist.” The Primitive
art is a false analogy, and that for a trained man or woman to
art is an ever-advancing expression of the eternal and objective
art is necessarily nobler than the “naturalist.” I am making no
art that is still-born. It is impossible for us to live and feel,
art. But here I use the term in the narrower sense to mean
art. Picasso’s admirers hail him, just as this Introduction hails
art. Talk of the coming “style” becomes more frequent daily. But
art. Until such time, it is the duty of those to whom his work
artist is a man who can draw and paint everything,” said Tolstoi.
artist up to a certain definite point. This point has been fixed
artist, as a creator, has something in him which calls for
artist, as child of his age, is impelled to express the spirit of
artist, but also of those who eat this poisoned food. The artist
artist.
artistic composition. [Footnote: By “Komposition” Kandinsky here
artistic end.
artistic form he presents what is impure, draws the weaker
artistic form. This I call an “Impression.”
artistic means that may be employed. Similar possibilities are
artistic means. His material machinery (gloomy mountains,
artistic power is called “art for art’s sake.”
artistic than his intentions and refuse to aim at photography
artists of the soul, says: “There is nothing on earth so curious
arts approached each other more nearly than they do today, in
arts which are outwardly different, hidden forces equally
aspect of the spiritual life. For instance, there is never an
association the effects of colour upon other senses than that of
association theory falls to the ground. So one is bound to admit
association with material aims. The artist has to consider not
association, is perhaps open to question. The soul being one with
association. Generally speaking, colour is a power which directly
association. Kandinsky refers to attempts to paint in colour-
at any rate the case at present. But besides this answer to the
at first, a matter of feeling. Any theoretical scheme will be
At such a time art ministers to lower needs, and is used for
At the apex of the top segment stands often one man, and only
At this point the individuality of the artist comes to the front
atmosphere which does not disturb him because he accepts it as
atmosphere, a similarity of ideals, at first closely pursued but
attempt is this book of Kandinsky’s.
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