Über das Geistige in der Kunst

Über das Geistige in der Kunst Theory is the lamp which sheds light on the petrified ideas of yesterday and of thedistant past. The first time I saw a painting by Kandinsky was in the Guggenheim Museum Back then, I really didn t have much appreciation for visual art, least of all abstract paintings Nevertheless, I remember being intrigued, and finally fascinated by his work The way he was able to select forms reminiscent of, but not dependent on, real life objects delighted my eye Later, I saw a special exhibition of Kandinsky s work in Madrid It was divided by place and time, taking me through his Russian, German, and Parisian period, during which he moved from representative art to complete abstraction I came away from that exhibit with my interest in Kandinsky re confirmed, and now I can say that he is one of my favorite 20th century artists Concerning the Spiritual in Art is a short booklike an extended essay by Kandinsky, detailing his personal philosophy of art For Kandinsky, the artist is like a prophet, able to see farther, thinkdeeply, and feelkeenly than ordinary people The great artist s function is to satisfy the cravings of the spirit In music this is done through rhythm and melody in painting through color and form The spiritual function of art has been hampered by what Kandinsky calls materialism representative art The accurate reproduction of an object s appearance is pointless in itself what matters is its truth to the inner, not the outer, reality Then follows a long chapter on Kandinsky s theory of colors which colors evoke which emotions, and their relationship to one another As a work of theory, Kandinsky s book is somewhat disappointing It isof a manifesto than a treatise a simple declaration of Kandinsky s opinions As such, it isinteresting as a look into the mind of a great artist than as a piece of art theory Kandinsky s discussion of colors and shapes, for example, is silly as analysis, but fascinating as a peek into Kandinsky s brain Triangles, circles, squares reds, yellows, blues all these were like characters for Kandinsky, with their own personalities and temperaments It was a pleasure to get to know him better. This was worth reading Some of the language was a little flowery so I will probably read it again at some point It makes some interesting points I wish the art was in color and not black and white since he talks so much about the significance of color especially red It was a fast read and interesting so it was worth my time to read this one. A wonderful essay both plain and in his writing of a philosophical and very strong reflexive reach What are works of art, if not a genuine internal cry artists In that sense they also speak to the audience, in many ways color or form in painting, for example It is interesting to compare these about Kandinsky in his works personally I found that it brought to light a significant his paintings Here he tries to restore its credentials to painting and the arts in general, reminding that they must feed the mind of the viewer, and so in that sense they are absolutely not in vain and useless Magnificent test for an equally beautiful thought. I hit my artistic peak with my rendering of my uncle s Conan the Barbarian upper arm tattoo complete with blood splatter when I was eight Truly appreciating art always seemed like the province of finer souls A secret protected on par with gypsy divination and Shamrock shakes I guess I always thought art was beyond words Kandinsky, in his brief book, proves otherwise Incredibly lucid and articulate, Kandinsky leads the reader to move past an intellectual appreciation of art The spectator is too ready to look for a meaning in a picture i.e., some outward connection between its various parts Our materialistic age has produced a type of spectator or connoisseur, who is not content to put himself opposite a picture and let it say its own message Instead of allowing the inner value of the picture to work, he worries himself in looking for closeness to nature, or temperament, or handling, or tonality, or perspective, or what not His eye does not probe the outer expression to arrive at the inner meaning pg 49. With academic discipline, he explains the effects of color and form on the very non academic soul He effectively evokes the spiritual response to color through metaphor It would be easy for Kandinsky to hide behind vague explanations to increase the sense of profundity in abstract art But he doesn t He maps out the themes of abstraction concisely All in an effort to go beyond meaning and aesthetic His goal is to attune the soul to the effect of color It s all quite sincere and inspiring. Wassily Kandinsky Was One Of The Most Influential Painters Of The Twentieth Century, And This Text, In Which He Laid Out The Tenets Of Painting As He Saw Them And Made The Case For Nonobjective Artistic Forms, Is Universally Recognized As An Essential Document Of Modernist Art Theory A Brilliant Philosophical Treatise And An Emphatic Avant Garde Tract, It Provides The Theoretical Underpinnings For Kandinsky S Own Work And That Of His Associates In The Blaue Reiter Movement While Michael Sadler S Masterful Translation Has Been Available And Authoritative Since Its Original Publication In , What Hasn T Been Published Until Now Is The Significant Correspondence Between The Translator And The Artist, Who Followed The Progress Of His Book S Transformation Closely, And Who Offered Numerous Insights Into And Explanations Of Its Meanings These Letters, From The Archives Of Tate Britain, Have Here Been Appended To Kandinsky S Text To Provide The First Comprehensively Annotated Edition Of This Seminal Work This Volume, Which Supersedes Any Previous Edition, Includes The Letters, Kandinsky S Prefaces And Prose Poems Relating To The Period In Which The Book Was Written And Sadler S Selected Writings On Art It Is Than An Expanded Edition It Is A Major Event, The First Full Account Of A Remarkable Literary Collaboration To me, Kandinsky is the Kandinsky from the Bauhaus period, when his paintings were dominated by abstract compositions comprising lines, circles, triangles, and bold colours Though Concerning the Spiritual in Art was written some ten years prior, the book may as well be about the explorations in artworks such as these Part I of the book has one memorable idea Kandinsky depicts the life of the spirit as a triangle, forever moving gently upwards, or rather, forever moved upwards by artists the misunderstood souls who forge the way for the rest of us.The life of the spirit may be fairly represented in diagram as a large acute angled triangle divided horizontally into unequal parts with the narrowest segment uppermost The lower the segment the great it is in breath, depth, and area.The whole triangle is moving slowly, almost invisibly forwards and upwards Where the apex was today the second segment is tomorrow what today can be understood only by the apex and to the rest of the triangle is an incomprehensible gibberish, forms tomorrow the true thought and feeling of the second segment In every segment of the triangle are artists Each one of them who can see beyond the limits of his segment is a prophet to those about him, and helps the advance of the obstinate whole But those who are blind, or those who retard the movement of the triangle for baser reasons, are fully understood by their fellows and acclaimed for their genius Every segment hungers consciously or, muchoften, unconsciously for their corresponding spiritual food.Part II of the book takes up the principles of painting specifically, the psychic effect of forms and colours The former can stand on their own, but the latter are meaningless without boundaries and contrasting shades To Kandinsky two main division of colour are immediate into yellow pulsating, expanding and blue cool, withdrawing and into white peace pregnant with possibility and black profound, deathly pause Other colours are considered too, and described with pithy statements.Just as orange is red brought nearer to humanity by yellow, so violet is red withdrawn from humanity by blue.Much of the book is spent on drawing parallels between music and colour form Kandinsky wishes to compose on a painting.Shades of colour, like those of sound, are of a much finger texture and awake in the soul emotions too fine to be expressed in words.The parallels were thought provoking I could not askof book on colour theory for we can only forge a path ahead by illuminating the past, learning from it, then building upon it.Theory is the lamp which sheds light on the petrified ideas of yesterday and of thedistant past. I m finally getting around to reading Wassily Kandinsky s Concerning the Spiritual in Art In it, the artist explains his plans for the ascent of spiritually fulfilling and expressive art that surpasses mere replication of natural form This is not to say that Kandinsky is in favor of pure abstraction He faults cubism as too intellectual and spiritually lacking, as opposed to inspired abstractions.I most enjoyed his breakdown of color theory, setting antitheses of white and black obvi , yellow and blue, orange and purple, and green and red There are even diagrams As someone who grew up with the color wheel also diagramed in the book , it was interesting that he deviated from the complementary contrasting colors that are directly across from each other on the wheel, the creating an antithesis of yellow and blue, two primary colors.That s not to say that he doesn t also go into simple composition and form versus complex And of course, there are the comparisons to music that are to be expected of a painter, and probable synesthete, who gave his works titles like Composition and Improvisation and Symphony In any case, he makes a clear, personal case against the popular art pour l art , not because he has an especial dislike of it, but because he imagines a greater,satisfying art to come This book isn t quite as satisfying as one of Kandinsky s paintings, but I did enjoy it. Picked this short treatise up used for cheap Kandinsky has a lot of very interesting ideas about the relation of art and music and poetry, with some discussion of social status interpersonal relationships just a dash He is a modernist through and through The introduction is enough to get you excited to read it and I just love his description about what art is and ought to be Dense and could be a better translation, I think Takes some concentration to understand it all and follow the metaphors he carries through several chapters, but I really did enjoy it. A professional artist teacher friend of mine gave me a copy of Kandinsky s book at a recent workshop she was leading Consider the long period of the 20th Century during which Kandinsky practiced what he preached as a Spiritual Revolution in art Spiritual Revolution was a popular theme throughout the century A Baha i pamphlet with that title was published in the 1970 s Being an activist artist in that revolution now is as important as ever. this is basically we paint in a society , the treatise.he scondescending than I would imagine, his spiritualism isn t, well, material enough, and it all smacks of bourgeois nonsense honestly, even with the interesting discussion of the spiritual value of the different basic colors and how they interact this is probably worth three stars what saves it is just how much this really mattered to him looking at his work you can really tell that he thought everything he wrote down as such, it gives a really good window into the processes that helped birth abstract art and lets you understand the cornerstone for modern art throughout the rest of the century it s also pretty short and funny

Wassily Wassilyevich Kandinsky was a Russian painter, and Art theorist He is credited with painting the first modern abstract works.Born in Moscow, Kandinsky spent his childhood in Odessa He enrolled at the University of Moscow and chose to study law and economics Quite successful in his profession he was offered a professorship chair of Roman Law at the University of Dorpat he started

❰Epub❯ ➚ Über das Geistige in der Kunst Author Wassily Kandinsky – Hookupgoldmilf.info
  • Hardcover
  • 138 pages
  • Über das Geistige in der Kunst
  • Wassily Kandinsky
  • English
  • 06 March 2017
  • 9780878467020

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