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Russian-born Wassily Kandinsky pioneered abstract art in the late 19th and early 20th centuries. His unique perspective on the form and function of art emphasized the synthesis of the visual and
the auditory. He heard sounds as color, and this unusual perception was a guiding force in the development of his artistic style. He believed the purpose of art to be the conveyance of the
artist's unique inner vision, which required transcendence of the objective world.
In 1922, Kandinsky began teaching at the Bauhaus school of applied art and architecture in Weimar, Germany. Bauhaus focused on the unification of the arts for practical applications. When the school moved to
Dessau in 1925, Kandinsky followed. He published his second treatise on art theory the following year, entitled "Point to Line to Art."

In the early 1930s, Germany was completely under control by the Nazi Party, and Hitler was able to gather as much as 16,000 avant-garde artworks that were originally in display in the national museums of Germany.
He also ordered to ship about 650 artworks to Munich in preparation for his art exhibition called the Degenerate Art. Works of many contemporary artists such as Wassily Kandinsky,
Marc Chagall , Paul Klee, and Piet Mondrian are included in the exhibition. Soon Nazi regime closed down the Bauhaus school, and
Kandinsky moved to Paris. Among his paintings of this period was "Development in Brown," a somber collage of rectangles and circles surrounding a colorful banner of triangles. Historians draw a connection between
the painting and the brown-uniformed Nazi soldiers who had been appearing throughout Germany in growing numbers.

In Paris, the artist incorporated the sense of order that pervaded the Bauhaus into his work with geometric figures and more noticeable compositional balance. His painting
Striped from 1934 is a combination of squares and spheres with dissecting lines. Horizontalee from 1939 is a black and color
checkerboard with distinct geometric or free-form symbols in each square.

Two of his final masterworks, Composition IX from 1936 and Composition X from 1939, bring together the various elements of
Kandinsky's vision and style in entirely fresh ways. "Composition IX" features a background of brightly colored diagonal swaths with several animated symbols floating through the scene.
"Composition X" features brightly hued shapes on a dark background. The exceptional vibrancy of the various symbols communicates a joie de vivre absent from his early works such as
Composition VI and Yellow-Red-Blue
Just like Shakespeare on literature, and Sigmund Freud on psychology, Wassily Kandinsky's impact on abstract art is tremendous.
Kandinsky's artistic output in terms of volume and consistent quality is phenomenal by any standards and matched by very few artists in any generation. Althought like many artists his paintings
show an apparent dissimilarity between the early and mature works. Kandinsky showed one consistent theme throughout the 'inner necessity' to paint. As his fellow artist
Diego Rivera has suggested:

Kandinsky's art is not a reflection of life, it is life itself ”
The influence of Wassily Kandinsky art theory and Wassily Kankinsky paintings during the artist's lifetime was considerable, both by virtue of his collaboration with his colleagues in the various
groups he founded and by the treatises he published. His writings laid the groundwork for 20th-century movements like Abstract Expressionism. Later artists such as
Jackson Pollock would inform their own unique vision with the tincture of Kandinsky's theories. Mark Rothko
and his contemporaries in the Color Field school reprised Kandinsky's emphasis on the emotional power of color, and members of the Neo-Expressionist movement in the 1980s were subject to
Kandinsky's influence as well. Perhaps more than any other master of his era, Wassily Kandinsky forever changed the way both artists and the world at large would approach - and appreciate -
visual art.

Kandinsky & Piet Mondrian | Kandinsky & Jackson Pollock | Kandinsky & Paul Klee | Kandinsky & Van Gogh
Please note that Wassily-Kandinsky.org is a private website, unaffiliated with Wassily Kandinsky or his representatives.

Born: December 4, 1866 - Moscow, Russia
Died: December 13, 1944 - Neuilly-sur-Seine, France
1870 1880 1890 1900 1910 1920 1930 1940 Click on the dots to reveal major artworks Born Died Worked Der Blaue Reiter (The Blue Rider) Der Blaue Berg (The Blue Mountain) Composition IV Composition VII Moscow I (Red Square) Composition VIII Several Circles Composition X
Der Blaue Reiter (The Blue Rider) (1903)
Der Blaue Berg (The Blue Mountain) (1908-09)
"Of all the arts, abstract painting is the most difficult. It demands that you know how to draw well, that you have a heightened sensitivity for composition and for colors, and that you be a true poet. This last is essential."
"Color is a means of exerting direct influence on the soul."
"The artist must train not only his eye but also his soul."
"Color is the key. The eye is the hammer. The soul is the piano with its many chords. The artist is the hand that, by touching this or that key, sets the soul vibrating automatically."
"There is no must in art because art is free."
"The true work of art is born from the 'artist': a mysterious, enigmatic, and mystical creation. It detaches itself from him, it acquires an autonomous life, becomes a personality, an independent subject, animated with a spiritual breath, the living subject of a real existence of being."
Kandinsky in 6 Minutes: A Brief Look at His Life & How Impressionism & the Bauhaus Art Movement Influenced His Art Our Pick
Also, see how his works became more abstract during his lifetime
The Blue Rider Group in 5 Minutes: How Wassily Kandinsky and Franz Marc Paved the Way for Modern Art Our Pick
Kandinsky and the Russian House Our Pick
Documentary on Kandinsky and the Russian avant-garde. Part II of this video is also available on YouTube
The books and articles below constitute a bibliography of the sources used in the writing of this page. These also suggest some accessible resources for further research, especially ones that can be found and purchased via the internet.
By Vivian Endicott Barnett, Christian Derouet, Tracey Bashkoff
Wassily Kandinsky: 1866-1944 a Revolution in Painting
Kandinskyin Munich, 1896-1914 (1982)
Kandinsky: Russian and Bauhaus Years, 1915-1933 (1983)
Kandinsky in Paris, 1934-1944 (1985)
Kandinsky: Complete Writings on Art Our Pick
Edited By Kenneth C. Lindsay, Peter Vergo
By Klaus Lankheit, Wassily Kandinsky, Franz Marc
Kandinsky at the Solomon R. Guggenheim Museum Our Pick
Website for the 2009 Kandinsky retrospective, with in-depth information on the artist, his work, and his career
Kandinsky at the Museum of Modern Art
Features images of the museum's extensive holdings of Kandinsky's paintings and prints
By Karen Wilkin /
The Wall Street Journal /
September 21, 2009
The Angel in the Architecture Our Pick
By Roberta Smith /
The New York Times /
September 17, 2009
By Gerard McBurney /
The Guardian /
June 23, 2006
By Adrian Searle /
The Guardian /
June 20, 2006
The Man Who Heard His Paintbox Hiss
By Ossian Ward /
The Telegraph /
June 10, 2006
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One of the pioneers of abstract modern art, Wassily Kandinsky exploited the evocative interrelation between color and form to create an aesthetic experience that engaged the sight, sound, and emotions of the public. He believed that total abstraction offered the possibility for profound, transcendental expression and that copying from nature only interfered with this process. Highly inspired to create art that communicated a universal sense of spirituality, he innovated a pictorial language that only loosely related to the outside world, but expressed volumes about the artist's inner experience. His visual vocabulary developed through three phases, shifting from his early, representational canvases and their divine symbolism to his rapturous and operatic compositions, to his late, geometric and biomorphic flat planes of color. Kandinsky's art and ideas inspired many generations of artists, from his students at the Bauhaus to the Abstract Expressionists after World War II.
Modernist abstraction could not have asked for a more charismatic and visionary theorist than Kandinsky - the highest ideals he pursued through his many travels and friendships.
This breakthrough work is a deceptively simple image - a lone rider racing across a landscape - yet it represented a decisive moment in Kandinsky's developing style. In this painting, he demonstrated a clear stylistic link to the work of the Impressionists, like Claude Monet, particularly evident in the contrasts of light and dark on the sun-dappled hillside. The ambiguity of the form of the figure on horseback rendered in a variety of colors that almost blend together foreshadow his interest in abstraction. The theme of the horse and rider reappeared in many of his later works. For Kandinsky this motif signified his resistance against conventional aesthetic values as well as the possibilities for a purer, more spiritual life through art.
In this work, the influence of the Fauves on Kandinsky's color palette is apparent as he distorted colors and moved away from the natural world. He presented a bright blue mountain, framed by a red and yellow tree on either side. In the foreground, riders on horseback charge through the scene. At this stage in Kandinsky's career, Saint John's Book of Revelation became a major literary source for his art, and the riders signify the four horsemen of the apocalypse. The horsemen, although an indicator of the mass destruction of the apocalypse, also represent the potential for redemption afterward. Kandinsky's vibrant palette and expressive brushwork provide the viewer with a sense of hope rather than despair. Further, the brilliant colors and dark outlines recall his love of the Russian folk art. These influences would remain part of Kandinsky's style throughout the rest of his career, with bright colors dominating his representational and non-objective canvases. From this figurative and highly symbolic work, Kandinsky progressed further towards pure abstraction. The forms are already schematized from their observable appearance in the surrounding world in this canvas, and his abstraction only progressed as Kandinsky refined his theories about art.
Oil on canvas - The Solomon R. Guggenheim Museum, New York
Hidden within the bright swaths of color and the clear black lines of Composition IV , Kandinsky portrayed several Cossacks with lances, as well as boats, reclining figures, and a castle on a hilltop. As with many paintings from this period, he represented the apocalyptic battle that would lead to eternal peace. The notion of battle is conveyed by the Cossacks, while the calm of the flowing forms and reclining figures on the right alludes to the peace and redemption to follow. In order to facilitate his development of a non-objective style of painting, as described in his text Concerning the Spiritual in Art (1912), Kandinsky reduced objects to pictographic symbols. Through his elimination of most references to the outside world, Kandinsky expressed his vision in a more universal manner, distilling the spiritual essence of the subject through these forms into a visual vocabulary. Many of these symbolic figures were repeated and refined in later works, becoming further and further abstracted as Kandinsky developed his mature, purely abstract style.
Oil on canvas - Kunstsammlung Nordrhein-Westfallen, Düsseldorf
Commonly cited as the pinnacle of Kandinsky's pre-World War I achievement, Composition VII shows the artist's rejection of pictorial representation through a swirling hurricane of colors and shapes. The operatic and tumultuous roiling of forms around the canvas exemplifies Kandinsky's belief that painting could evoke sounds the way music called to mind certain colors and forms. Even the title, Composition VII , aligned with his interest in the intertwining of the musical with the visual and emphasized Kandinsky's non-representational focus in this work. As the different colors and symbols spiral around each other, Kandinsky eliminated traditional references to depth and laid bare the different abstracted glyphs in order to communicate deeper themes and emotions common to all cultures and viewers. Preoccupied by the theme of apocalypse and redemption throughout the 1910s, Kandinsky formally tied the whirling composition of the painting to the theme of the cyclical processes of destruction and salvation. Despite the seemingly non-objective nature of the work, Kandinsky maintained several symbolic references in this painting. Among the various forms that built Kandinsky's visual vocabulary, he painted glyphs of boats with oars, mountains, and figures. However, he did not intend for viewers to read these symbols literally and instead imbued his paintings with multiple references to the Last Judgment, the Deluge, and the Garden of Eden, seemingly all at once.
Oil on canvas - Tretyakov Gallery, Moscow
At first the move to Moscow in 1914 initiated a period of depression and Kandinsky hardly even painted at all his first year back. When he picked up his paintbrush again in 1916, he expressed his desire to paint a portrait of Moscow in a letter to his former companion, Munter. Although he continued to refine his abstraction, he represented the city's monuments in this painting and captured the spirit of the city. Kandinsky painted the landmarks in a circular fashion as if he had stood in the center of Red Square, turned in a circle, and caught them all swirling about him. Although he refers to the outside world in this painting, he maintained his commitment to the synesthesia of color, sound, and spiritual expression in art. Kandinsky wrote that he particularly loved sunset in Moscow because it was "the final chord of a symphony which develop[ed] in every tone a high life that force[d] all of Moscow to resound like the fortissimo of a huge orchestra."
Oil on canvas - The State Tretyakov Gallery, Moscow
The rational, geometric order of Composition VIII is a polar opposite of the operatic composition of Composition VII (1913). Painted while he taught at the Bauhaus, this work illustrates how Kandinsky synthesized elements from Suprematism, Constructivism, and the school's own ethos. By combining aspects of all three movements, he arrived at the flat planes of color and the clear, linear quality seen in this work. Form, as opposed to color, structured the painting in a dynamic balance that pulses throughout the canvas. This work is an expression of Kandinsky's clarified ideas about modern, non-objective art, particularly the significance of shapes like triangles, circles, and the checkerboard. Kandinsky relied upon a hard-edged style to communicate the deeper content of his work for the rest of his career.
Oil on canvas - The Solomon R. Guggenheim Museum, New York
Kandinsky painted this work in his sixtieth year and it demonstrates his lifelong search for the ideal form of spiritual expression in art. Created as part of his experimentation with a linear style of painting, this work shows his interest in the form of the circle. "The circle," claimed Kandinsky, "is the synthesis of the greatest oppositions. It combines the concentric and the eccentric in a single form and in equilibrium. Of the three primary forms, it points most clearly to the fourth dimension." He relied upon the varied possibilities of interpretation for the circle to create a sense of spiritual and emotional harmony in this work. The diverse dimensions and bright hues of each circle bubble up through the canvas and are balanced through Kandinsky's careful juxtapositions of proportion and color. The dynamic movement of the round forms evokes their universality - from the stars in the cosmos to drops of dew; the circle a shape integral to life.
Oil on canvas - The Solomon R. Guggenheim Museum, New York
Influenced by the flowing biomorphic forms of Surrealism, Kandinsky later incorporated organic shapes back into his pictorial vocabulary. Executed in France, this monumental painting relies upon a black background to heighten the visual impact of the brightly colored undulating forms in the foreground. The presence of the black expanse is significant, as Kandinsky only used the color sparingly; it is evocative of the cosmos as well as the darkness at the end of life. The undulating planes of color call to mind microscopic organisms, but also express the inner emotional and spiritual feelings Kandinsky experienced near the end of his life. The uplifting organization of forms in contrast with the harsh edges and black background illustrates the harmony and tension present throughout the universe, as well as the rise and fall of the cycle of life. Last in his lifelong series of Compositions , this work is the culmination of Kandinsky's investigation into the purity of form and expression through nonrepresentational painting.
Oil on canvas - Kunstsammlung Nordrhein-Westfalen, Düsseldorf
Wassily (Vasily) Wassilyevich Kandinsky was born in 1866 in Moscow to well educated, upper-class parents of mixed ethnic origins. His father was born close to Mongolia, while his mother was a Muscovite, and his grandmother was from the German-speaking Baltic. The bulk of Kandinsky's childhood was spent in Odessa, a thriving, cosmopolitan city populated by Western Europeans, Mediterraneans, and a variety of other ethnic groups. At an early age, Kandinsky exhibited an extraordinary sensitivity toward the stimuli of sounds, words, and colors. His father encouraged his unique and precocious gift for the arts and enrolled him in private drawing classes, as well as piano and cello lessons. Despite early exposure to the arts, Kandinsky did not turn to painting until he reached the age of 30. Instead, he entered the University of Moscow in 1886 to study law, ethnography, and economics. In spite of the legal focus of his academic pursuits, Kandinsky's interest in color symbolism and its effect on the human psyche grew throughout his time in Moscow. In particular, an ethnographic research trip in 1889 to the region of Vologda, in northwest Russia, sparked an interest in folk art that Kandinsky carried with him throughout his career. After completing his degree in 1892, he started his career in law education by lecturing at the university.
Despite his success as an educator, Kandinsky abandoned his career teaching law to attend art school in Munich in 1896. For his first two years in Munich he studied at the art school of Anton Azbe, and in 1900 he studied under Franz von Stuck at the Academy of Fine Arts. At Azbe's school he met co-conspirators such as Alexei Jawlensky, who introduced Kandinsky to the artistic avant-garde in Munich. In 1901, along with three other young artists, Kandinsky co-founded "Phalanx" - an artist's association opposed to the conservative views of the traditional art institutions. Phalanx expanded to include an art school, in which Kandinsky taught, and an exhibitions group. In one of his classes at the Phalanx School, he met and began a relationship with his student, Gabriele Munter, who became his companion for the next 15 years. As he traveled throughout Europe and northern Af
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