ANALYSIS KANDINSKY
Dilettante
http://www.ibiblio.org/wm/paint/auth/kandinsky/kandinsky.comp-10.jpg
Kandinsky's bio suggests he was not at all lazy and was quite willing
to study hard at the subjects he tackled.
"Biography
Born in Moscow in 1866, Kandinsky spent his early childhood in Odessa.
His parents played the piano and the zither and Kandinsky himself
learned the piano and cello at an early age. The influence of music in
his paintings cannot be overstated, down to the names of his paintings
Improvisations, Impressions, and Compositions. In 1886, he enrolled at
the University of Moscow, chose to study law and economics, and after
passing his examinations, lectured at the Moscow Faculty of Law. He
enjoyed success not only as a teacher but also wrote extensively on
spirituality, a subject that remained of great interest and ultimately
exerted substantial influence in his work. In 1895 Kandinsky attended
a French Impressionist exhibition where he saw Monet's Haystacks at
Giverny. He stated, "It was from the catalog I learned this was a
haystack. I was upset I had not recognized it. I also thought the
painter had no right to paint in such an imprecise fashion. Dimly I
was aware too that the object did not appear in the picture..." Soon
thereafter, at the age of thirty, Kandinsky left Moscow and went to
Munich to study life-drawing, sketching and anatomy, regarded then as
basic for an artistic education."
...
excerpted from http://www.ibiblio.org/wm/paint/auth/kandinsky/
------
ANALYSIS, Composition X, 1939, oil on canvas.
The viewer should think of Kandinsky's abstract pieces as machines.
The various parts are the forms and lines he has put down, but the
movement of the parts is provided by the viewer's eye, as it follows
the different pieces around.
For example--in the piece illustrated in the first URL,
(http://www.ibiblio.org/wm/paint/auth/kandinsky/kandinsky.comp-10.jpg),
the two similar-shaped forms in the bottom left corner have a
relationship with each other. There is a movement between them,
playing or waving, possibly back and forth, as the eye muses on their
function.
Then the two long, multicoloured strips going through them lead the
eye up to the brown circle. From here the eye will go to the smaller
green circle. And from there it jumps to the yellow and beige form
resembling an open book. This leads the eye to the large, oblong
green, red and grey form on the right.
At the same time, however, the many ribbon-like forms float, hover,
and undulate because of the juxtaposition, similarity, or other
factors.
In the end, the entire composition becomes a dance for the eye. All
the forms are moving back and forth or gesturing directionally or to
one another. The tone is active and joyful.
Dilettante
Mani Deli
>ANALYSIS, Composition X, 1939, oil on canvas.
>
>The viewer should think of Kandinsky's abstract pieces as machines.
Why?
>The various parts are the forms and lines he has put down, but the
>movement of the parts is provided by the viewer's eye, as it follows
>the different pieces around.
Art school BS.
>
>For example--in the piece illustrated in the first URL,
>(http://www.ibiblio.org/wm/paint/auth/kandinsky/kandinsky.comp-10.jpg),
Ordinary poorly done hack art deco.
>the two similar-shaped forms in the bottom left corner
Gee how exciting!
>have a
>relationship with each other. There is a movement between them,
>playing or waving, possibly back and forth, as the eye muses on their
>function.
This is the sort of crap on reads in the NY Times art reviews only
better.
>
>Then the two long, multicoloured strips going through them lead the
>eye up to the brown circle. From here the eye will go to the smaller
>green circle. And from there it jumps to the yellow and beige form
>resembling an open book. This leads the eye to the large, oblong
>green, red and grey form on the right.
>
>At the same time, however, the many ribbon-like forms float, hover,
>and undulate because of the juxtaposition, similarity, or other
>factors.
>
>In the end, the entire composition becomes a dance for the eye. All
>the forms are moving back and forth or gesturing directionally or to
>one another. The tone is active and joyful.
>
>Dilettante
It usually takes at least four years of college art courses in order
to spout this sort of drivel
Tired of Modern Art? check
http://www3.sympatico.ca/manideli/
DNALJM
>>relationship with each other. There is a movement between them,
>>playing or waving, possibly back and forth, as the eye muses
So does my labia. "As the eye muses" gawd, who writes this tripe?? It
sounds like someone trying to sell a "playful, crafty" bed spread.
Jane
Mike Stengl
> >>the two similar-shaped forms. . .have a
> >>relationship with each other. There is a movement between them,
> >>playing or waving, possibly back and forth, as the eye muses
>
>
> So does my labia.
you are revealing personal details now jane (i like it). as a
connoisseur of women's labia i happen to know that some do not have
the potential for "waving" while others certainly seem to have a life
of their own...
J. Man
Are you aware that Kandinsky made the claim that he "could HEAR color
and SEE sound?"
This would suggest that you are forming an instinctive knowledge of
his work, but rather than being a "dance for the eye," it seems he
might have called his abstract work a dance for the ears, or more
appropriately, a symphony for the eyes.
Interesting post - thank you!