Art And Spirit

1.  Why is color so intimately tied to “spirituality”, for Kandinsky?  What does Kandinsky say about that himself in the book, on the spiritual in art? Feel free to quote from the book. (see attachment)

2.  How does color in Kandinsky interact with form to foster special kinds of non-representational effects that allow us to see the universe entirely differently? You may be inspired by watching this video of Kandinsky’s major art works (with no commentary) and musical background.  See if you can see by meditatively gazing at his paintings how his theory of “the spiritual in art” is manifested in them? (used the video)

ON THE SPIRITUAL IN ART

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BY WASSILY KANDINSKY

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Digitized by tine Internet Arciiive

in 2011 witii funding from

Solomon R. Guggenheim Museum Library and Archives

http://www.archive.org/details/onspiritualinartOOkand

 

 

 

KANDINSKY

DAS GEISTIGE IN DER KUNST

X

DRITTB AUFLAQE

COVER REPRODUCTION OF ORIGINAL EDITION

 

 

WASSILY KANDINSKY 1866- 1944

 

 

WASSILY KANDINSKY ON THE SPIRITUAL IN ART FIRST COMPLETE ENGLISH TRANSLATION

WITH FOUR FULL COLOUR PAGE REPRO- DUCTIONS, WOODCUTS AND HALF TONES

PUBLISHED BY THE SOLOMON R. GUGGENHEIM FOUNDATION. FOR THE MUSEUM OF NON-OBJECTIVE PAINTING. NEW YORK CITY. 1946. HILLA REBAY. EDITOR

 

 

DEDICATED TO THE MEMORY OF ELIZABETH TICHEJEFF

COPYRIGHTED BY THE SOLOMON R. GUGGENHEIM FOUNDATION. 1946

SECOND PRINTING

 

 

CONTENTS Page

Foreword to First Original Edition 6

Foreword to Second Original Edition 7

Foreword to the 1946 New York Edition of Wassily Kandinslcy’s “On

the Spiritual in Art” 8

A—GENERAL

I Introduction 9

II The Movement 15

III The Spiritual Turning-point 21

IV The Pyramid 34

B—PAINTING

V The Effect of Colour 39

VI The Language of Form and Colour 44

VII Theory 79

VIII Art and Artists 91

CONCLUSION 94

Survey of Forty Years of Kandinslcy’s Artistic Evolution 1 05

Public Comments 127

List of Full Page Illustrations 153

 

 

FOREWORD TO THE FIRST ORIGINAL EDITION

By Piper and Company Munich, 1911

The thoughts, which I am developing here are the result of observations

and spiritual experiences, which have been assembled gradually during

the last five, six years. My intention was, to write extensively on this sub-

ject, for which many experiments, in the realm of feeling, would have

been necessary. For the time being, due to other important work, I have

had to abandon my initial plan. Perhaps I shall never be able to realize

it, for someone else will do it better and more exhaustively, which is neces-

sary, while I am forced to content myself with a mere outline. My only

purpose is to draw attention to this great problem, and I shall consider

myself fortunate if this appeal should not be lost in the void.

 

 

FOREWORD TO THE SECOND ORIGINAL EDITION

This little book was written in the year 1910. Previous to the publication

of its first edition (January 1912), I added those further experiences

which had come my way in the meantime. Six months have passed since

then and my vision has grown ever freer, my horizons have widened. Yet

after serious thought, I have refrained from further enlargement on what

I had previously written because by doing so, only an incomplete growth

of certain parts would have been achieved. I have decided, instead, to

collect the new material, compiling sharp observations and experiences

so, that these component parts would form basic elements, as a kind of

“counterpoint of painting,” which may some day, form the natural com-

plement to this book. Thus, the second edition, which had to follow

“Quickly after the first, has remained almost completely untouched.

My article “On the Question of Form,” first published in the “Blaue

Relter” (Blue Rider), is one part of the further development.

Munich, April 1912. Kandinsky

 

 

FOREWORD TO THE 1946 NEW YORK EDITION

The Solomon R. Guggenheim Foundation is publishing the first complete

English edition of “On the Spiritual in Art” by Kandinslcy. It was trans-

lated and checked by American, English, Russian and German scholars,

who have collaborated to achieve the best possible way of doing justice

to the original, and of preserving and conveying, in the most reverent

manner, the ideas and style of Kandinslcy.* A French edition is also

being published in Paris, indicating the growing interest and demand

for Kandinslcy’s art and his epochal advent. To enrich this book further,

it was decided to enclose a short survey of Kandinsky’s artistic work

since 1904 to 1944, when he died in France, to give an idea of his

evolution. There is also included a survey of comments made by the

public in the Museum of Non-objective Painting in 1945, which prove#

that the vision of Kandinsky has come true and that his art has found

many enthusiastic followers and co-workers.

 
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