Length3h 20m
About this audiobook
Wassily Kandinsky (1866-1944) was a Russian painter credited as being among the first to truly venture into abstract art. He persisted in expressing his internal world of abstraction despite negative criticism from his peers. He veered away from painting that could be viewed as representational in order to express his emotions, leading to his unique use of colour and form. Although his works received heavy censure at the time, in later years they would become greatly influential.
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Length3 hrs 20 mins
Narrated byListen with 1,000+ voices
FormateBook with Audio
Publish dateJul 13, 2015
LanguageEnglish
Table of contents
1Wassily Wassily
2Author: Wassily Kandinsky
3List of Illustrations
4Foreword
5Künstlervereinigung München (Munich New Artist’s Association), Jack of Diamonds and Der
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6in numerous different movements – Impressionism, Art Nouveau, Neo-Impressionism and
7A. About General Aesthetic
8I. Introduction
9of words.
10powerful prophetic strength.
11and upwards.
12II. The Movement of the Triangle
13III. Spiritual Revolution
14banners in religion.
15of some logical method.
16Capital, and still further.
17sense of insecurity.
18same Academies.
19to the past.
20city, subject to these sudden disturbances for which neither architects nor mathematicians
21IV. The Pyramid
22B. About Painting
23V. The Psychological Working of Colour
24spiritual harmony.
25VI. The Language of Form and Colour
26Creep in our ears: soft stillness and the night
27Jessica:
28By the sweet power of music: therefore the poet
29(William Shakespeare, The Merchant of Venice, 5.1.63-97)22
30material object.
31of composition.31
32several appeals).
33dematerialised objects.
342 movement:
35Absolute lack of re- sistance, devoid of possibility (death)
36negation, even of discord, like an endless wall or a bottomless pit.
37FIGURE III
38BLACK II
39rather the very kernel of its existence.
40force any expression attainable by one art alone.
41the combination.
42Legitimate and illegitimate combinations of colours, contrasts of various colours, the over-
43of surfaces, all these open great vistas of artistic possibility.
44and most powerful elements in purely artistic composition.
45VII. Theory
46the two chief elements of painting, form and colour.
47Through these combined elements, with their many qualities and possibilities, the
48Cassierer, publisher, Berlin, 1903).60
49VIII. Art and Artists
50form, but only of the need of the artist for such form.
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