Wassily Wassilyevich Kandinsky

But all of Kandinsky's theory, as well as his paintings, ultimately revolved about the principal of art as the expression of internal necessity.

On the basis of its general features Kandinsky's work can also be divided into 5 major periods which contain some variations but are stylistically consistent. The early Russian jobs (1896-1907) as well as the early German period (1908-1914), which encompasses the Murnau and Blaue Reiter phases, aren't regarded here. Kandinsky were noting down his ideas on art from time to time" since 1901 and they have been the ideas that had been brought together in Over a Spiritual in Art. The ideas on color and individual expression had been created in conjunction with the vivid jobs of his Blaue Reiter period, but this review is going to be limited to his abstract works on the last 3 periods. These had been the period on the very first abstract styles which share what could possibly be referred to as organic types (Munich, 1910-1914, and Russia, 1914-1921), the Bauhaus period with its new interest in clear lines, geometric shapes and sharp angles (1922-1944), and also the last years in Paris when the paintings featured a combination of organic and geometric types (1933-1944).

Kandinsky perpetually found himself in the midst of wars and revolutions, as did most Europeans inside the first half of this century. But he had the opportunity to work steadily and his feelings around the world.

Despite Kandinsky's apocalyptic notions and his complaints about materialist culture, Grohmann believed that Kandinsky's works "did not reflect what was going on outside the studio." But the early abstract paintings tell another story. Sheppard has traced themes in Kandinsky's work from this period and has mentioned how intimately they had been connected to Kandinsky's ideas around the state with the world. During the works before 1914, for example, Sheppard demonstrates several instances of Kandinsky's concern with redemption as images of salvation or resurrection are "set against and act as being a theological interpretation of the violence and turmoil on the painting as a whole." Highly abstracted, but nonetheless identifiable, figures and objects seem during the titled works of this period and inside the Improvisation series. An good illustration of this tendency is discovered in Improvisation 30 (1913) with its images of cannons spraying the walls of towns and redemptive, perhaps angelic, figures rising more than them. Kandinsky refused to explicitly relate the subject matter of these works to any specific war and it has been advised that what can be noticed in these works is Kandinsky's own "mystical expectation of Armageddon." Yet Sheppard has noted that as World War A single became imminent the images of salvation and redemption disappeared within the "surface" in the jobs and could only be known with the assist of preparatory sketches and related works within the earlier years. One of the finest examples of this transferal of themes into 'hidden' motifs inside entirely non-objective paintings could be the monumental Composition VII (1913).

The thoughts presented in On a Spiritual in Art were formulated in the many years leading as much as his very first non-objective works. At the heart in the theory was the notion of "internal necessity" which was, he maintained, produced up of 3 "mystical necessities."

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