query: where did wassily kandinsky work?

title: Wassily Kandinsky

text: Guggenheim, "Visionaries: Creating a Modern Guggenheim". Note: Several sections of this article have been translated from its French version: "Theoretical writings on art", "The Bauhaus" and "The great synthesis" artistic periods. For complete detailed references in French, see the original version at Wassily Kandinsky Wassily Wassilyevich Kandinsky () ( – 13 December 1944) was a Russian painter and art theorist. He is credited with painting one of the first recognized purely abstract works. Born in Moscow, Kandinsky spent his childhood in Odessa, where he graduated at Grekov Odessa Art school. He enrolled at the University of Moscow, studying law and

title: Wassily Kandinsky

text: and their harmony. Kandinsky was one of Die Blaue Vier (Blue Four), formed in 1923 with Paul Klee, Lyonel Feininger and Alexej von Jawlensky, which lectured and exhibited in the United States in 1924. Due to right-wing hostility, the Bauhaus left Weimar and settled in Dessau in 1925. Following a Nazi smear campaign the Bauhaus left Dessau in 1932 for Berlin, until its dissolution in July 1933. Kandinsky then left Germany, settling in Paris. Living in an apartment in Paris, Kandinsky created his work in a living-room studio. Biomorphic forms with supple, non-geometric outlines appear in his paintings—forms which suggest

title: Wassily Chair

text: Wassily Chair The Wassily Chair, also known as the Model B3 chair, was designed by Marcel Breuer in 1925-1926 while he was the head of the cabinet-making workshop at the Bauhaus, in Dessau, Germany. Despite popular belief, the chair was not designed for the non-objective painter Wassily Kandinsky, who was on the Bauhaus faculty at the same time. Kandinsky had admired the completed design, and Breuer fabricated a duplicate for Kandinsky's personal quarters. The chair became known as "Wassily" decades later, when it was re-released by Italian manufacturer Gavina, who had learned of the anecdotal Kandinsky connection in the course

title: Wassily Chair

text: other manufacturers, who market the product under different names. Wassily Chair The Wassily Chair, also known as the Model B3 chair, was designed by Marcel Breuer in 1925-1926 while he was the head of the cabinet-making workshop at the Bauhaus, in Dessau, Germany. Despite popular belief, the chair was not designed for the non-objective painter Wassily Kandinsky, who was on the Bauhaus faculty at the same time. Kandinsky had admired the completed design, and Breuer fabricated a duplicate for Kandinsky's personal quarters. The chair became known as "Wassily" decades later, when it was re-released by Italian manufacturer Gavina, who had

title: Wassily Kandinsky

text: 1926. His examinations of the effects of forces on straight lines, leading to the contrasting tones of curved and angled lines, coincided with the research of Gestalt psychologists, whose work was also discussed at the Bauhaus. Geometrical elements took on increasing importance in both his teaching and painting—particularly the circle, half-circle, the angle, straight lines and curves. This period was intensely productive. This freedom is characterised in his works by the treatment of planes rich in colours and gradations—as in "Yellow – red – blue" (1925), where Kandinsky illustrates his distance from the constructivism and suprematism movements influential at the

title: Wassily Kandinsky

text: school and then at the Academy of Fine Arts. He returned to Moscow in 1914, after the outbreak of World War I. Following the Russian Revolution, Kandinsky "became an insider in the cultural administration of Anatoly Lunacharsky" and helped establish the Museum of the Culture of Painting. However, by then "his spiritual outlook... was foreign to the argumentative materialism of Soviet society", and opportunities beckoned in Germany, to which he returned in 1920. There, he taught at the Bauhaus school of art and architecture from 1922 until the Nazis closed it in 1933. He then moved to France, where he

title: Wassily Kandinsky

text: the Bauhaus of Weimar by its founder, architect Walter Gropius. In May 1922 he attended the International Congress of Progressive Artists and signed the "Founding Proclamation of the Union of Progressive International Artists". Kandinsky taught the basic design class for beginners and the course on advanced theory at the Bauhaus; he also conducted painting classes and a workshop in which he augmented his colour theory with new elements of form psychology. The development of his works on forms study, particularly on points and line forms, led to the publication of his second theoretical book ("Point and Line to Plane") in

title: Wassily Chair

text: (1907-1984), a student at the Bauhaus weaving workshop, experimented and improved the quality of the thread and developed cloth and strapping material for use on Breuer's tubular-steel chairs. The Thonet produced version of the chair is most rare, and went out of production during World War II. Most of Breuer's early designs were produced under license by the Berlin-based manufacturer, Standard-Möbel, Lengyel & Company. The Wassily chair was the only significant early Breuer design not offered by Standard-Möbel, Lengyel & Co. After the War years, Gavina picked up the license for the Wassily, along with the Breuer designs previously sold

title: Gertrud Grunow

text: between form and colour, as did her Bauhaus colleagues Itten, Wassily Kandinsky and Paul Klee. As part of her work Grunow prepared evaluations of the students that recommended which of the Bauhaus workshops they should be assigned to following the preliminary course, thus exerting a powerful influence over their future artistic direction. Grunow, along with Itten, Lothar Schreyer and others, was regarded as one of the Bauhaus 'esoterics', as opposed to the more technically-minded school director Walter Gropius. Once Itten had left in 1923, she lost her influence and she left the school the following year. She remained in contact

title: Wassily Kandinsky

text: three survive only in black-and-white photographs taken by fellow artist and friend Gabriele Münter. While studies, sketches, and improvisations exist (particularly of "Composition II"), a Nazi raid on the Bauhaus in the 1930s resulted in the confiscation of Kandinsky's first three "Compositions." They were displayed in the State-sponsored exhibit "Degenerate Art", and then destroyed (along with works by Paul Klee, Franz Marc and other modern artists). Fascinated by Christian eschatology and the perception of a coming New Age, a common theme among Kandinsky's first seven "Compositions" is the apocalypse (the end of the world as we know it). Writing of

title: Wassily Kandinsky

text: Wassily Kandinsky Wassily Wassilyevich Kandinsky () ( – 13 December 1944) was a Russian painter and art theorist. He is credited with painting one of the first recognized purely abstract works. Born in Moscow, Kandinsky spent his childhood in Odessa, where he graduated at Grekov Odessa Art school. He enrolled at the University of Moscow, studying law and economics. Successful in his profession—he was offered a professorship (chair of Roman Law) at the University of Dorpat—Kandinsky began painting studies (life-drawing, sketching and anatomy) at the age of 30. In 1896, Kandinsky settled in Munich, studying first at Anton Ažbe's private

title: Wassily Kandinsky

text: example, that the circle is the most peaceful shape and represents the human soul. These theories are explained in "Point and Line to Plane" (see below). Kandinsky's legendary stage design for a performance of Mussorgsky's "Pictures at an Exhibition" illustrates his synaesthetic concept of a universal correspondence of forms, colors and musical sounds. In 1928 in the theater of Dessau, Wassily Kandinsky realized the stage production of "Pictures at an Exhibition". In 2015 the original designs of the stage elements were animated with modern video technology and synchronized with the music according to the preparatory notes of Kandinsky and the

title: Wassily Kandinsky

text: in the film. In 2014, Google commemorated Kandinsky's 148th birthday by featuring a Google Doodle based on his abstract paintings. A picture-book biography entitled "The Noisy Paint Box: The Colors and Sounds of Kandinsky's Abstract Art" was published in 2014. Its illustrations by Mary GrandPre earned it a 2015 Caldecott Honor. His grandson was musicology professor and writer Aleksey Ivanovich Kandinsky (1918–2000), whose career was both focused on and centred in Russia. The Solomon R. Guggenheim Museum held a major retrospective of Kandinsky's work from 2009-2010, called "Kandinsky". In 2017, a selection of Kandinsky's work was on view at the

title: Wassily Kandinsky

text: Münter during the Bavarian abstract expressionist years, Kandinsky was working on his "Composition VI". From nearly six months of study and preparation, he had intended the work to evoke a flood, baptism, destruction, and rebirth simultaneously. After outlining the work on a mural-sized wood panel, he became blocked and could not go on. Münter told him that he was trapped in his intellect and not reaching the true subject of the picture. She suggested he simply repeat the word "uberflut" ("deluge" or "flood") and focus on its sound rather than its meaning. Repeating this word like a mantra, Kandinsky painted

title: Wassily Kandinsky

text: to a "double-sided Kandinsky" painting. No such painting is known to exist; in the 1993 film version of the play, the double-sided painting is portrayed as having Kandinsky's 1913 painting "Black Lines" on one side and his 1926 painting "Several Circles" on the other side. The 1999 film "Double Jeopardy" makes numerous references to Kandinsky, and a piece of his, "Sketch", figures prominently in the plot-line. The protagonist, Elizabeth Parsons (Ashley Judd), utilises the registry entry for the work to track down her husband under his new alias. Two variations of the almanac cover of "Blue Rider" are also featured

title: Wassily Kandinsky

text: resulted in his work being singled out for praise in a review of that show by the artist Spencer Frederick Gore in "The Art News". Sadleir's interest in Kandinsky also led to Kandinsky's first works entering a British art collection; Sadleir's father, Michael Sadler, acquired several wood-prints and the abstract painting "Fragment for Composition VII" in 1913 following a visit by father and son to meet Kandinsky in Munich that year. These works were displayed in Leeds, either in the University or the premises of the Leeds Arts Club, between 1913 and 1923. In 1916 he met Nina Andreevskaya (1899-1980),

title: Wassily Kandinsky

text: lived for the rest of his life, becoming a French citizen in 1939 and producing some of his most prominent art. He died in Neuilly-sur-Seine in 1944. Kandinsky's creation of abstract work followed a long period of development and maturation of intense thought based on his artistic experiences. He called this devotion to inner beauty, fervor of spirit, and spiritual desire "inner necessity"; it was a central aspect of his art. Kandinsky was born in Moscow, the son of Lidia Ticheeva and Vasily Silvestrovich Kandinsky, a tea merchant. One of his great grandmothers was a Princess Gantimurova, probably explaining the

title: Victor Kandinsky

text: Victor Kandinsky Victor Khrisanfovich Kandinsky () (April 6, 1849, Byankino, Nerchinsky District, Siberia – July 3, 1889, Saint Petersburg) was a Russian psychiatrist, and was 2nd cousin to famed artist Wassily Kandinsky. He was born in Siberia into a large family of extremely wealthy businessmen. Victor Kandinsky was one of the famous figures in Russian psychiatry and most notable for his contributions to the understanding of hallucinations. He graduated from Moscow Imperial University Medical School in 1872 and started to work as a general practitioner in one of the hospitals in Moscow. In 1877 as a military physician in the

title: Wassily Kandinsky

text: at the age of 30, Kandinsky gave up a promising career teaching law and economics to enroll in the Munich Academy where his teachers would eventually include Franz von Stuck. He was not immediately granted admission, and began learning art on his own. That same year, before leaving Moscow, he saw an exhibit of paintings by Monet. He was particularly taken with the impressionistic style of "Haystacks"; this, to him, had a powerful sense of colour almost independent of the objects themselves. Later, he would write about this experience: Kandinsky was similarly influenced during this period by Richard Wagner's "Lohengrin"

title: Wassily Kandinsky

text: and theorising with composer Arnold Schoenberg indicate, Kandinsky also expressed the communion between artist and viewer as being available to both the senses and the mind (synesthesia). Hearing tones and chords as he painted, Kandinsky theorised that (for example), yellow is the colour of middle C on a brassy trumpet; black is the colour of closure, and the end of things; and that combinations of colours produce vibrational frequencies, akin to chords played on a piano. In 1871 the young Kandinsky learned to play the piano and cello. Kandinsky also developed a theory of geometric figures and their relationships—claiming, for

title: Aleksey Ivanovich Kandinsky

text: Aleksey Ivanovich Kandinsky Born in Moscow, Kandinsky was the grandson of artist Wassily Kandinsky. From 1935 to 1939 he studied at the Ippolitov-Ivanov College of Music in Moscow where he was a pupil of Vasily Nikolayevich Argamakov. After serving in the Russian Army during World War II, he pursued graduate music studies under Yury Keldïsh at the Moscow Conservatory where he earned a master's degree in 1948 and a Doctorate in 1956. His doctoral dissertation was on the operas of Rimsky-Korsakov. After earning his master's degree, Kandinsky became a lecturer at the Moscow Conservatory in 1948. He became a full

title: Wassily Kandinsky

text: gait (which Kandinsky must have known). Some art historians believe that a second figure (perhaps a child) is being held by the rider, although this may be another shadow from the solitary rider. This intentional disjunction, allowing viewers to participate in the creation of the artwork, became an increasingly conscious technique used by Kandinsky in subsequent years; it culminated in the abstract works of the 1911–1914 period. In "The Blue Rider", Kandinsky shows the rider more as a series of colours than in specific detail. This painting is not exceptional in that regard when compared with contemporary painters, but it

title: Aleksey Ivanovich Kandinsky

text: professor there in 1958 and served as the head of the music history department at the Moscow Conservatory from 1959 until 1992. Aleksey Ivanovich Kandinsky Born in Moscow, Kandinsky was the grandson of artist Wassily Kandinsky. From 1935 to 1939 he studied at the Ippolitov-Ivanov College of Music in Moscow where he was a pupil of Vasily Nikolayevich Argamakov. After serving in the Russian Army during World War II, he pursued graduate music studies under Yury Keldïsh at the Moscow Conservatory where he earned a master's degree in 1948 and a Doctorate in 1956. His doctoral dissertation was on the

title: Wassily Kandinsky

text: stand out against the black background of "Composition X" as star fragments (or filaments), while enigmatic hieroglyphs with pastel tones cover a large maroon mass which seems to float in the upper-left corner of the canvas. In Kandinsky’s work some characteristics are obvious, while certain touches are more discreet and veiled; they reveal themselves only progressively to those who deepen their connection with his work. He intended his forms (which he subtly harmonised and placed) to resonate with the observer's soul. Writing that "music is the ultimate teacher," Kandinsky embarked upon the first seven of his ten "Compositions". The first

title: Bibliothèque Kandinsky

text: Bibliothèque Kandinsky The Kandinsky Library (or Bibliothèque Kandinsky in French) is a library of 20th and 21st century visual arts located at the Pompidou Centre in Paris, France. It also serves as the Documentation and Research Centre of the French National Museum of Modern Art ("Musée national d'art moderne / Centre de création industrielle," or MNAM / CCI). It is named after the Russian painter and art theorist Wassily Kandinsky, a pioneer in abstract art and a leading figure in early 20th century visual arts. Created in 2002, the Kandinsky Library includes over 200,000 works (art books, art journals, photographs,

title: Wassily Kandinsky

text: at his summer painting classes just south of Munich in the Alps. She accepted, and their relationship became more personal than professional. Art school, usually considered difficult, was easy for Kandinsky. It was during this time that he began to emerge as an art theorist as well as a painter. The number of his existing paintings increased in the beginning of the 20th century; much remains of the landscapes and towns he painted, using broad swaths of colour and recognisable forms. For the most part, however, Kandinsky's paintings did not feature any human figures; an exception is "Sunday, Old Russia"

title: Wassily Kandinsky

text: director's script of Felix Klee. During the studies Kandinsky made in preparation for "Composition IV," he became exhausted while working on a painting and went for a walk. While he was out, Gabriele Münter tidied his studio and inadvertently turned his canvas on its side. Upon returning and seeing the canvas (but not yet recognizing it) Kandinsky fell to his knees and wept, saying it was the most beautiful painting he had ever seen. He had been liberated from attachment to an object. As when he first viewed Monet's "Haystacks", the experience would change his life. In another episode with

title: Wassily Kandinsky

text: the "artist as prophet" in his book, "Concerning the Spiritual In Art", Kandinsky created paintings in the years immediately preceding World War I showing a coming cataclysm which would alter individual and social reality. Having a fervent belief in Orthodox Christianity, Kandinsky drew upon the biblical stories of Noah's Ark, Jonah and the whale, Christ's resurrection, the four horsemen of the Apocalypse in the book of Revelation, Russian folktales and the common mythological experiences of death and rebirth. Never attempting to picture any one of these stories as a narrative, he used their veiled imagery as symbols of the archetypes

title: Wassily Kandinsky

text: whom he married on February 11, 1917. From 1918 to 1921, Kandinsky was involved in the cultural politics of Russia and collaborated in art education and museum reform. He painted little during this period, but devoted his time to artistic teaching, with a program based on form and colour analysis; he also helped organize the Institute of Artistic Culture in Moscow of which he was the first director. His spiritual, expressionistic view of art was ultimately rejected by the radical members of the Institute as too individualistic and bourgeois. In 1921, Kandinsky was invited to go to Germany to attend

title: Wassily Kandinsky

text: ideas had an almost-immediate international impact, particularly in the English-speaking world. As early as 1912, "On the Spiritual In Art" was reviewed by Michael Sadleir in the London-based "Art News." Interest in Kandinsky grew apace when Sadleir published an English translation of "On the Spiritual In Art" in 1914. Extracts from the book were published that year in Percy Wyndham Lewis's periodical "Blast," and Alfred Orage's weekly cultural newspaper "The New Age". Kandinsky had received some notice earlier in Britain, however; in 1910, he participated in the Allied Artists' Exhibition (organised by Frank Rutter) at London's Royal Albert Hall. This

title: Wassily Kandinsky

text: was an art theorist; his influence on the history of Western art stems perhaps more from his theoretical works than from his paintings. He helped found the Neue Künstlervereinigung München (Munich New Artists' Association), becoming its president in 1909. However, the group could not integrate the radical approach of Kandinsky (and others) with conventional artistic concepts and the group dissolved in late 1911. Kandinsky then formed a new group, the Blue Rider (Der Blaue Reiter) with like-minded artists such as August Macke, Franz Marc, Albert Bloch, and Gabriele Münter. The group released an almanac ("The Blue Rider Almanac") and held

title: Wassily Kandinsky

text: mountain with the three riders. Kandinsky's paintings from this period are large, expressive coloured masses evaluated independently from forms and lines; these serve no longer to delimit them, but overlap freely to form paintings of extraordinary force. Music was important to the birth of abstract art, since music is abstract by nature—it does not try to represent the exterior world, but expresses in an immediate way the inner feelings of the soul. Kandinsky sometimes used musical terms to identify his works; he called his most spontaneous paintings "improvisations" and described more elaborate works as "compositions." In addition to painting, Kandinsky

title: Wassily Kandinsky

text: shows the direction Kandinsky would take only a few years later. From 1906 to 1908 Kandinsky spent a great deal of time travelling across Europe (he was an associate of the Blue Rose symbolist group of Moscow), until he settled in the small Bavarian town of Murnau. In 1908 he bought a copy of "Thought-Forms" by Annie Besant and Charles Webster Leadbeater. In 1909 he joined the Theosophical Society. "The Blue Mountain" (1908–1909) was painted at this time, demonstrating his trend toward abstraction. A mountain of blue is flanked by two broad trees, one yellow and one red. A procession,

title: Wassily Kandinsky

text: of death–rebirth and destruction–creation he felt were imminent in the pre-World War I world. As he stated in "Concerning the Spiritual In Art" (see below), Kandinsky felt that an authentic artist creating art from "an internal necessity" inhabits the tip of an upward-moving pyramid. This progressing pyramid is penetrating and proceeding into the future. What was odd or inconceivable yesterday is commonplace today; what is "avant garde" today (and understood only by the few) is common knowledge tomorrow. The modern artist–prophet stands alone at the apex of the pyramid, making new discoveries and ushering in tomorrow's reality. Kandinsky was aware

title: Wassily Kandinsky

text: entity which supports the painting, communicating its affective tonality. This tonality is determined by the relative importance of horizontal and vertical lines: the horizontals giving a calm, cold tonality to the basic plane while the verticals impart a calm, warm tonality. The artist intuits the inner effect of the canvas format and dimensions, which he chooses according to the tonality he wants to give to his work. Kandinsky considered the basic plane a living being, which the artist "fertilises" and feels "breathing". Each part of the basic plane possesses an affective colouration; this influences the tonality of the pictorial elements

title: Wassily Kandinsky

text: types of painting; "impressions", "improvisations" and "compositions". While impressions are based on an external reality that serves as a starting point, improvisations and compositions depict images emergent from the unconscious, though "composition" is developed from a more formal point of view. Kandinsky compares the spiritual life of humanity to a pyramid—the artist has a mission to lead others to the pinnacle with his work. The point of the pyramid is those few, great artists. It is a spiritual pyramid, advancing and ascending slowly even if it sometimes appears immobile. During decadent periods, the soul sinks to the bottom of the

title: Wassily Kandinsky

text: microscopic organisms but express the artist's inner life. Kandinsky used original colour compositions, evoking Slavic popular art. He also occasionally mixed sand with paint to give a granular, rustic texture to his paintings. This period corresponds to a synthesis of Kandinsky's previous work in which he used all elements, enriching them. In 1936 and 1939 he painted his two last major compositions, the type of elaborate canvases he had not produced for many years. "Composition IX" has highly contrasted, powerful diagonals whose central form gives the impression of an embryo in the womb. Small squares of colours and coloured bands

title: Wassily Kandinsky

text: (1904), in which Kandinsky recreates a highly colourful (and fanciful) view of peasants and nobles in front of the walls of a town. "Riding Couple" (1907) depicts a man on horseback, holding a woman with tenderness and care as they ride past a Russian town with luminous walls across a river. The horse is muted while the leaves in the trees, the town, and the reflections in the river glisten with spots of colour and brightness. This work demonstrates the influence of pointillism in the way the depth of field is collapsed into a flat, luminescent surface. Fauvism is also

title: Wassily Kandinsky

text: into a painting. This experience, and his study of the region's folk art (particularly the use of bright colours on a dark background), was reflected in much of his early work. A few years later he first likened painting to composing music in the manner for which he would become noted, writing, "Colour is the keyboard, the eyes are the hammers, the soul is the piano with many strings. The artist is the hand which plays, touching one key or another, to cause vibrations in the soul". Kandinsky was also the uncle of Russian-French philosopher Alexandre Kojève (1902-1968). In 1896,

title: Kandinsky Prize

text: Arkady Nasonov, Pavel Pepperstein, Nikolay Polissky, Roman Sakin, Semen Fajbisovich, Natalia Khlebtsevich, Anastasia Horoshilova, Dmitry Tsvetkov, Cyril Chelushkin, Dmitry Shorin, Sergei Shutov. Eugene Antufiev, Lyoha Garikovich, Ivan Lungin, Stepan Subbotin, Dmitry Teselkin, Alexander Frolov, ART 3, Makeev, Milk & Vodka, Recycle. Thanatos Banionis, Julia and Alexander Devlyashova Toschevikova, Alexandra Dementieva, Vadim Zakharov, Marina Zvyagintsev, Elena Kovylina Alexander Lavrov, Alexei Politov and Marina Belova PROVMYZA Olga Tobreluts and Dmitry Sokolenko, Aristarch Chernyshev and Alexei Shulgin. Kandinsky Prize The Kandinsky Prize, named after Russian painter Wassily Kandinsky is an award sponsored by the Deutsche Bank AG and the Art Chronika Culture Foundation.

title: Kandinsky Prize

text: Kandinsky Prize The Kandinsky Prize, named after Russian painter Wassily Kandinsky is an award sponsored by the Deutsche Bank AG and the Art Chronika Culture Foundation. It was organized in hopes of developing Russian contemporary art, and to reinforce the status of Russian art within the world. In total, 55,000 euros are awarded to the artists. It was first given out on December 4, 2007, hosted at the Winzavod Contemporary Art Center in Moscow. Four awards were given. The Young Artist Category is awarded to an artist under 30 and they receive a three months stay in Villa Romana. New

title: Wassily Kandinsky

text: of the Swiss commodities trading firm Volkart Brothers. Before this sale, the artist's last record was set in 1990 when Sotheby's sold his "Fugue" (1914) for $20.9 million. On November 16, 2016 Christie's auctioned Kandinsky's "Rigide et courbé (rigid and bent)", a large 1935 abstract painting, for $23.3 million, a new record for Kandinsky. Solomon R. Guggenheim originally purchased the painting directly from the artist in 1936, but it was not exhibited after 1949, and was then sold at auction to a private collector in 1964 by the Solomon R. Guggenheim Museum. The 1990 play "Six Degrees of Separation" refers

title: Wassily Kandinsky

text: hope; it tends to despair when it becomes dark, regaining little hope when it lightens. Red is a warm colour, lively and agitated; it is forceful, a movement in itself. Mixed with black it becomes brown, a hard colour. Mixed with yellow, it gains in warmth and becomes orange, which imparts an irradiating movement on its surroundings. When red is mixed with blue it moves away from man to become purple, which is a cool red. Red and green form the third great contrast, and orange and purple the fourth. In his writings, Kandinsky analyzed the geometrical elements which make

title: Wassily Kandinsky

text: pyramid; humanity searches only for external success, ignoring spiritual forces. Colours on the painter's palette evoke a double effect: a purely physical effect on the eye which is charmed by the beauty of colours, similar to the joyful impression when we eat a delicacy. This effect can be much deeper, however, causing a vibration of the soul or an "inner resonance"—a spiritual effect in which the colour touches the soul itself. "Inner necessity" is, for Kandinsky, the principle of art and the foundation of forms and the harmony of colours. He defines it as the principle of efficient contact of

title: Wassily Kandinsky

text: of recent scientific developments and the advances of modern artists who had contributed to radically new ways of seeing and experiencing the world. "Composition IV" and later paintings are primarily concerned with evoking a spiritual resonance in viewer and artist. As in his painting of the apocalypse by water ("Composition VI"), Kandinsky puts the viewer in the situation of experiencing these epic myths by translating them into contemporary terms (with a sense of desperation, flurry, urgency, and confusion). This spiritual communion of viewer-painting-artist/prophet may be described within the limits of words and images. As the "Der Blaue Reiter Almanac" essays

title: Wassily Kandinsky

text: two exhibits. More of each were planned, but the outbreak of World War I in 1914 ended these plans and sent Kandinsky back to Russia via Switzerland and Sweden. His writing in "The Blue Rider Almanac" and the treatise "On the Spiritual In Art" (which was released in 1910) were both a defence and promotion of abstract art and an affirmation that all forms of art were equally capable of reaching a level of spirituality. He believed that colour could be used in a painting as something autonomous, apart from the visual description of an object or other form. These

title: Wassily Kandinsky

text: which, he felt, pushed the limits of music and melody beyond standard lyricism. He was also spiritually influenced by Madame Blavatsky (1831–1891), the best-known exponent of theosophy. Theosophical theory postulates that creation is a geometrical progression, beginning with a single point. The creative aspect of the form is expressed by a descending series of circles, triangles and squares. Kandinsky's book "Concerning the Spiritual In Art" (1910) and "Point and Line to Plane" (1926) echoed this theosophical tenet. Illustrations by John Varley in "Thought Forms" (1901) influenced him visually. In the summer of 1902, Kandinsky invited Gabriele Münter to join him

title: Wassily Kandinsky

text: "slight Mongolian trait in his features". Kandinsky learned from a variety of sources while in Moscow. He studied many fields while in school, including law and economics. Later in life, he would recall being fascinated and stimulated by colour as a child. His fascination with colour symbolism and psychology continued as he grew. In 1889, he was part of an ethnographic research group which travelled to the Vologda region north of Moscow. In "Looks on the Past", he relates that the houses and churches were decorated with such shimmering colours that upon entering them, he felt that he was moving

title: Marcel Breuer

text: was designed for Wassily Kandinsky, it was not; Kandinsky admired Breuer's finished chair design, and only then did Breuer make an additional copy for Kandinsky's use in his home. When the chair was re-released in the 1960s, it was designated "Wassily" by its Italian manufacturer, who had learned that Kandinsky had been the recipient of one of the earliest post-prototype units. It was Gropius who assigned Breuer interiors at the 1927 Weissenhofsiedlung and led him to his first house assignment for the Harnischmachers in Wiesbaden in 1932. Sigfried Giedion extended their furniture collaboration at the Wohnbedarf in Zurich to include

title: Wassily Leontief

text: To that end, Wassily Leontief did much to make quantitative data more accessible, and more indispensable, to the study of economics. The Global Development and Environment Institute at Tufts University awards the Leontief Prize in Economics each year in his honor. Leontief is listed in the Russian-American Chamber of Fame of Congress of Russian Americans, which is dedicated to Russian immigrants who made outstanding contributions to American science or culture. Wassily Leontief Wassily Wassilyevich Leontief (; August 5, 1905 – February 5, 1999), was a Russian-American economist known for his research on input-output analysis and how changes in one economic

title: Victor Kandinsky

text: journal papers in different languages (Russian, German, French) on various psychiatric, medical and even philosophical subjects. In the monograph "On Pseudohallucinations" () published posthumously in 1890, Kandinsky described a condition which involved being alienated from one's personal mental processes, combined with delusions of being physically and mentally influenced by external forces. The syndrome he described is now known as Kandinsky–Clérambault syndrome, named along with French psychiatrist Gaëtan Gatian de Clérambault. The syndrome also known as "syndrome of psychic automatism". Kandinsky suffered from many types of pseudohallucinations – visual, tactile, auditory, in all senses except taste. Kandinsky's first work on pseudohallucinations

title: Charles Johann Palmié

text: became best known through Wassily Kandinsky's and Gabriele Münter's stay in the summer of 1903. Falling under the influence of Claude Monet in 1891 Palmie spent the summer of 1906 painting in Giverny France where he heightened his ability to capture shimmering light and atmosphere, taking a further step toward abstraction in art. In 1909 Palmié, together with Wassily Kandinsky, Alexei Jawlensky, Gabriele Münter and others, becomes one of the founding members of the Neue Künstlervereinigung München, (Wassily Kandinsky was the Chairman which later became Der Blaue Reiter). Palmie resigns before the first NKVM exhibition in the winter of 1909

title: Wassily Kandinsky

text: up every painting—the "point" and the "line." He called the physical support and the material surface on which the artist draws or paints the "basic plane", or BP. He did not analyze them objectively, but from the point of view of their inner effect on the observer. A point is a small bit of colour put by the artist on the canvas. It is neither a geometric point nor a mathematical abstraction; it is extension, form and colour. This form can be a square, a triangle, a circle, a star or something more complex. The point is the most concise

title: Wassily Kandinsky

text: which will be drawn on it, and contributes to the richness of the composition resulting from their juxtaposition on the canvas. The "above" of the basic plane corresponds with looseness and to lightness, while the "below" evokes condensation and heaviness. The painter's job is to listen and know these effects to produce paintings which are not just the effect of a random process, but the fruit of authentic work and the result of an effort towards inner beauty. This book contains many photographic examples and drawing from Kandinsky’s works which offer the demonstration of its theoretical observations, and which allow

title: Wassily Kandinsky

text: and completed the monumental work in a three-day span. Kandinsky's analyses on forms and colours result not from simple, arbitrary idea-associations but from the painter's inner experience. He spent years creating abstract, sensorially rich paintings, working with form and colour, tirelessly observing his own paintings and those of other artists, noting their effects on his sense of colour. This subjective experience is something that anyone can do—not scientific, objective observations but inner, subjective ones, what French philosopher Michel Henry calls "absolute subjectivity" or the "absolute phenomenological life". Published in 1911, Kandinsky's text, "Über das Geistige in der Kunst", defines three

title: Wassily Kandinsky

text: time. The two-metre-wide "Yellow – red – blue" (1925) of several main forms: a vertical yellow rectangle, an inclined red cross and a large dark blue circle; a multitude of straight (or sinuous) black lines, circular arcs, monochromatic circles and scattered, coloured checker-boards contribute to its delicate complexity. This simple visual identification of forms and the main coloured masses present on the canvas is only a first approach to the inner reality of the work, whose appreciation necessitates deeper observation—not only of forms and colours involved in the painting but their relationship, their absolute and relative positions on the canvas

title: Wassily Leontief

text: Wassily Leontief Wassily Wassilyevich Leontief (; August 5, 1905 – February 5, 1999), was a Russian-American economist known for his research on input-output analysis and how changes in one economic sector may affect other sectors. Leontief won the Nobel Committee's Nobel Memorial Prize in Economic Sciences in 1973, and four of his doctoral students have also been awarded the prize (Paul Samuelson 1970, Robert Solow 1987, Vernon L. Smith 2002, Thomas Schelling 2005). Wassily Leontief was born on August 5, 1906, in Munich, Germany, the son of Wassily W. Leontief (professor of Economics) and Zlata (German spelling Slata; later Evgenia)

title: Wassily Sapellnikoff

text: independence and swiftness of action". Between 1897 and 1899 he was a professor at the Moscow Conservatory, where his students included Nikolai Medtner. In spring 1910 Sapellnikoff recorded 12 pieces for the reproducing piano Welte-Mignon, six from his own works. He also made various gramophone records for the Vocalion label, and recorded the 2nd Piano Concerto of Rachmaninoff for Decca Records in 1929 under Basil Cameron, though this recording was never issued and is thought now to be lost. He died in San Remo, Italy. Wassily Sapellnikoff Wassily Sapellnikoff (; tr. "Vasily Lvovich Sapelnikov") (17 March 1941), was a Russian

title: Wassily von Kwetzinsky

text: Wassily von Kwetzinsky Wassily von Kwetzinsky-Stetzenkow (born 26 August or 7 September 1898 in Nikolsk-Ussuriysky in Russia, died 17 November 1970 in Oslo, Norway) (; Vasily Mikhailovich Kvetsinsky) was a Russian-born Norwegian music critic and writer. He came to Norway in 1920 as a refugee from the Russian Revolution together with his father, General Mikhail Kvetsinsky. He served in the Russian Army where he became a captain in the Leib Guard Chasseur Regiment on 25 September 1917. In July 1919 he joined the White Army at Arkhangelsk during the North Russia Intervention, where he served with his father, who was

title: Bibliothèque Kandinsky

text: audio recordings, videos, artists' archives, etc.) from about 5,000 artists, designers, and architects. A large fraction of these collections come from the former "Centre national d'art contemporain (CNAC)". Since the acquisition of the Paul Destribats collection in 2006, the Kandinsky Library is one of the larger visual art collections in the world for the first half of the 20th century. Bibliothèque Kandinsky The Kandinsky Library (or Bibliothèque Kandinsky in French) is a library of 20th and 21st century visual arts located at the Pompidou Centre in Paris, France. It also serves as the Documentation and Research Centre of the French

title: Hilda Carline

text: she enrolled in the school that Percyval Tudor-Hart had established in Hampstead. Prior to that, Tudor-Hart had a school in Paris where her brothers Sydney and Richard had studied. Now, Sydney, Richard and Hilda lived and studied together, sharing their opinions about art. Hilda focused on making watercolour paintings and sketching. Tudor-Hart, a Post-Impressionist who was an early proponent of colour theories of Wassily Kandinsky, introduced them to avant-garde continental art that was "expressive, bold, abstract and 'primitive.'" From 1916 to 1918 Hilda did farm work for the Women's Land Army near Wangford, Suffolk. She made "Return from the Farm,"

title: Kandinsky–Clérambault syndrome

text: Kandinsky–Clérambault syndrome The Kandinsky–Clérambault syndrome or syndrome of the psychic automatism is a psychopathological syndrome, considered to be a typical feature of paranoid schizophrenia and is characterized by pseudohallucinations, delusions of control, telepathy, thought broadcasting and thought insertion by an external force. The syndrome also characterized by delusion of being controlled by a source outside himself. The syndrome of Kandinsky–Clérambault is named after Victor Kandinsky and Gaëtan Gatian de Clérambault. Victor Kandinsky (1849–1889), a Russian psychiatrist, was the first to describe the syndrome of psychic automatism by his own subjective personal experiences during his psychotic episode. The syndrome of psychic

title: Where Did They Go (album)

text: in 1971. The single did not make the charts. Lee performed songs from this album, including "Where Did They Go" and "My Sweet Lord," during her June 1971 engagement at The Frontier Hotel in Las Vegas, Nevada. After completing work on "Where Did They Go", Peggy Lee did not return to the recording studio again until nearly a year later, when she began recording "Norma Deloris Egstrom from Jamestown, North Dakota" in April 1972. This album was released on 8-track, along with LP. Where Did They Go (album) Where Did They Go is a 1971 album by Peggy Lee. It

title: Wassily von Kwetzinsky

text: set in Russia. He became a Norwegian citizen under the legal name Wassily von Kwetzinsky-Stetzenkow, and was usually known as Wassily von Kwetzinsky, often in an abbreviated form, e.g. W. v. Kwetzinsky. He was the grandfather of the pianist Joachim Kwetzinsky. Wassily von Kwetzinsky Wassily von Kwetzinsky-Stetzenkow (born 26 August or 7 September 1898 in Nikolsk-Ussuriysky in Russia, died 17 November 1970 in Oslo, Norway) (; Vasily Mikhailovich Kvetsinsky) was a Russian-born Norwegian music critic and writer. He came to Norway in 1920 as a refugee from the Russian Revolution together with his father, General Mikhail Kvetsinsky. He served in

title: Wassily Hoeffding

text: 1948, he introduced the concept of U-statistics. See the collected works of Wassily Hoeffding. Wassily Hoeffding Wassily Hoeffding (June 12, 1914 – February 28, 1991) was a Finnish statistician and probabilist. Hoeffding was one of the founders of nonparametric statistics, in which Hoeffding contributed the idea and basic results on U-statistics. In probability theory, Hoeffding's inequality provides an upper bound on the probability for the sum of random variables to deviate from its expected value. Hoeffding was born in Mustamäki, Finland, (Gorkovskoye, Russia since 1940), although his place of birth is registered as St. Petersburg on his birth certificate. His

title: Wassily Gerassimez

text: Wassily likes to explore different sounds and techniques on the cello as he often uses it as a jazz guitar or percussion instrument in his own works. Wassily Gerassimez Wassily Gerassimez (born 21 June 1991 in Essen) is a German cellist and composer. His parents were born in Germany and worked, just like his brothers Nicolai and Alexej, as professional musicians. Gerassimez began studying cello with Gotthard Popp at the age of eleven. Later he continued his studies with Michael Sanderling in Frankfurt and Peter Bruns in Leipzig. After earning his bachelor's degree in at the University of Music and

title: Victor Kandinsky

text: was based upon detailed description of his own subjective personal experiences during his psychotic episodes. Kandinsky's main contributions to psychiatry were in such areas as psychiatric classification, psychopathology and forensic psychiatry. In 1882, he created a system with 16 diagnostic categories of mental disorders. The diagnostic system was used on a daily basis by the Psychiatric Hospital of St. Nicholas the Wonderworker for years. Victor Kandinsky also coined the term in 1890, and was intended to describe the disorder of perception and thinking. Ideophrenia was replaced by "schizophrenia", which remains in current diagnostic use. Victor Kandinsky Victor Khrisanfovich Kandinsky ()

title: Victor Kandinsky

text: schizophrenia. In October 1878, Victor again entered a psychiatric hospital. So they sent him to A. Y. Frey Private Psychiatric Hospital in Saint Petersburg. In 1879 he went back to Moscow. In 1881, he moved to Saint Petersburg. Kandinsky was a mental health worker employed by the since August 1881. Kandinsky joined the St. Petersburg Psychiatric Association on 23 January 1882. In 1885 Kandinsky published a book written in German on pseudohallucinations "Kritische und klinische Betrachtungen im Gebiete der Sinnestäuschungen" in which he describes and details hallucinations largely based on his personal experiences. In July 1889, feeling that his psychotic

title: Kandinsky's first abstract watercolor

text: Kandinsky's first abstract watercolor Wassily Kandinsky's first abstract watercolor, Untitled (Study for Composition VII, Première abstraction), painted in 1913 is one of the first artworks to emerge from the representational tradition of Western European painting entirely, shedding references to well known forms, conventions of material representation and all narrative allusions. The watercolor is the first extant entry in Wassily Kandinsky's parallel series of abstract "Compositions" and "Improvisations" that began to emerge during his Blue Rider Period. Though the work is dated 1910, art historians believe the date is apocryphal, and that Kandinsky dated the work in 1913. Kandinsky's work from

title: Where Did the Night Fall

text: the original photo shoot with Warren Du Preez and Nick Thornton Jones. Adapted from AllMusic. Where Did the Night Fall Where Did the Night Fall is the fourth regular studio album from British electronic music act Unkle, released on . As a documentation of the work on the album, on 13 April 2009, James Lavelle, Unkle's mastermind, started an official "UNKLE Blog". According to the first post, Lavelle started to work in studio in January 2009 with Pablo Clements, James Griffith, Joel Cadbury, Gavin Clark, Matt Pierce and Mike Lowry. On a single, "Heavy Drug (Surrender Sounds Mix)", was made

title: Where Did the Night Fall

text: Where Did the Night Fall Where Did the Night Fall is the fourth regular studio album from British electronic music act Unkle, released on . As a documentation of the work on the album, on 13 April 2009, James Lavelle, Unkle's mastermind, started an official "UNKLE Blog". According to the first post, Lavelle started to work in studio in January 2009 with Pablo Clements, James Griffith, Joel Cadbury, Gavin Clark, Matt Pierce and Mike Lowry. On a single, "Heavy Drug (Surrender Sounds Mix)", was made available digitally via Beatport and iTunes. On the download was followed by a remix EP

title: Jack Smith (artist)

text: Wassily Kandinsky and Piet Mondrian incorporating Constructivism and Biomorphism with elements of hieroglyphic and musical notation. Smith continued to develop and work in this style and did not return to realism. Jack Smith (artist) Jack Smith (18 June 1928 – 11 June 2011) was a British realist and, later, abstract artist. Jack Smith was born in 1928 in Sheffield, Yorkshire. Smith studied at Sheffield College of Art (1944–1946), Saint Martin's School of Art (1948–1950) and the Royal College of Art (1950–1953). At the RCA, Smith studied under John Minton, Ruskin Spear and Carel Weight. During the 1950s, Smith's early work

title: Phalanx (art group)

text: Paul Signac, Félix Vallotton and Henri de Toulouse-Lautrec. Phalanx was where Kandinsky met Gabriele Münter, an art student at the school. She was to become his pupil, intimate companion, and critic until they separated in 1914. Phalanx (art group) Phalanx was an association of artists formed in Munich in 1901. The Phalanx group were opposed to old fashioned and conservative viewpoints in art. Founding members were Wassily Kandinsky, Rolf Niczky, Waldemar Hecker, and Wilhelm Hüsgen. Kandinsky was elected president of the association and also became the director of the Phalanx School of Painting. The group lasted two years closing in

title: Werner Drewes

text: time were László Moholy-Nagy (metal work), Wassily Kandinsky, and (painting), and Lyonel Feininger (prints). At this time he also worked and exhibited in Frankfurt. With the rise of Nazism abstract artists found it increasingly difficult to sell their work and, in 1930, Drewes, finding the political pressure unbearable, emigrated to the United States. There, despite the world economic crisis, Drewes was able to earn a living as a professional artist. After Drewes moved to New York, Kandinsky, who was both friend and mentor, continued to exert a strong influence over his style. Later in life he said he had a

title: Nasreen Mohamedi

text: formal order from nature. The lyricism of Mohamedi’s work, the counterpoint to its precision and meticulousness, seems to have been influenced by the poetic and spiritual aspects of Paul Klee and Wassily Kandinsky; in 1970, at what Kapur names as a critical point in her career, Mohamedi wrote in her diary, "Again I am reassured by Kandinsky – the need to take from an outer environment and bring it an inner necessity." Comparisons to Mohamedi's contemporaries are also frequent among reviews of her work; she is often associated with the American minimalism of the 1960s and 1970s and likened to

title: The Yellow Sound

text: work had a strong influence on German theater innovator Lothar Schreyer, who "built a whole theory of performance on the expressive process first suggested in "The Yellow Sound"." The Yellow Sound The Yellow Sound (in German, "Der Gelbe Klang") is an experimental theater piece originated by the Russian artist Wassily Kandinsky. Created in 1909, the work was first published in "The Blue Rider Almanac" in 1912. "The Yellow Sound" was the "earliest and most influential" of four "color-tone dramas" that Kandinsky conceived for the theater between 1909 and 1914; the others were titled "The Green Sound", "Black and White", and

title: Kandinsky–Clérambault syndrome

text: automatism is described in a Kandinsky's monograph in Russian "On Pseudohallucinations" () published posthumously in 1890 by his wife Elizaveta Freimut. The syndrome is also identified by Gaëtan Gatian de Clérambault (1872–1934), a French psychiatrist who credited with introducing the term "psychic automatism". The Kandinsky-Clérambault syndrome is not well known and it is used mainly by Russian, French and German psychiatrists. Kandinsky–Clérambault syndrome The Kandinsky–Clérambault syndrome or syndrome of the psychic automatism is a psychopathological syndrome, considered to be a typical feature of paranoid schizophrenia and is characterized by pseudohallucinations, delusions of control, telepathy, thought broadcasting and thought insertion by

title: Neue Künstlervereinigung München

text: Neue Künstlervereinigung München The Neue Künstlervereinigung München e.V (NKVM), ("Munich New Artist's Association", if literally translated from German) formed in 1909 in Munich around Wassily Kandinsky, and prefigured Der Blaue Reiter, the first modernist secession which is regarded as a forerunner and pathfinder for Modern art in 20th-century Germany. The founding members were Wassily Kandinsky (who initially proposed the group), Alexej von Jawlensky, Marianne von Werefkin, Gabriele Münter, Adolf Erbslöh, Charles Johann Palmié and Alexander Kanoldt. The principal figures came together to study in Munich in 1909. In 1909, 1910 and 1911, the NKVM organised three cycling exhibitions. The first

title: Abstract expressionism

text: be called expressionist, and which Rothko denied were abstract). Yet all four artists are classified as abstract expressionists. Abstract expressionism has many stylistic similarities to the Russian artists of the early 20th century such as Wassily Kandinsky. Although it is true that spontaneity or the impression of spontaneity characterized many of the abstract expressionists' works, most of these paintings involved careful planning, especially since their large size demanded it. With artists such as Paul Klee, Wassily Kandinsky, Emma Kunz, and later on Rothko, Barnett Newman, and Agnes Martin, abstract art clearly implied expression of ideas concerning the spiritual, the unconscious,

title: Max Ackermann

text: Ackermann to rhythmic blind paintings". Throughout the 1920s he worked as an artist in Stuttgart, where his first one-man show was held in 1924, featuring figurative and abstract paintings, pastels and drawings at the "Württembergische" art association. In 1926 he spent time in Paris, where he became friends with Piet Mondrian and Adolf Loos. Around this time, Wassily Kandinsky "confirmed and encouraged him in his quest for the absolute painting". In 1928 he shared a collective show at Stuttgart's Schaller Gallery with Kandinsky and George Grosz. He set up a "Lehrwerkstätte für Neue Kunst" ('Training workshop for New Art') in

title: Wassily Sapellnikoff

text: Wassily Sapellnikoff Wassily Sapellnikoff (; tr. "Vasily Lvovich Sapelnikov") (17 March 1941), was a Russian pianist. Sapellnikoff was born in Odessa. He studied at the Odessa Conservatory under Louis Brassin and Sophie Menter, and became professor of piano at Moscow Conservatory in 1897. He eventually moved to Leipzig and finally settled in Munich. He toured with Pyotr Ilyich Tchaikovsky in Germany, France and England. At his debut in Hamburg in 1888, he played Tchaikovsky's Piano Concerto No. 1 in B-flat minor with the composer conducting. This concert was a great success and a catalyst for his budding career as a

title: Wassily Hoeffding

text: Wassily Hoeffding Wassily Hoeffding (June 12, 1914 – February 28, 1991) was a Finnish statistician and probabilist. Hoeffding was one of the founders of nonparametric statistics, in which Hoeffding contributed the idea and basic results on U-statistics. In probability theory, Hoeffding's inequality provides an upper bound on the probability for the sum of random variables to deviate from its expected value. Hoeffding was born in Mustamäki, Finland, (Gorkovskoye, Russia since 1940), although his place of birth is registered as St. Petersburg on his birth certificate. His father was an economist and a disciple of Peter Struve, the Russian social scientist

title: Wassily Gerassimez

text: around 1840. The instrument is a loan by the Deutsche Stiftung Musikleben. Wassily had performed as a soloist with the State Philharmonic Rheinland-Pfalz, the Philharmonic Munich and the Concert Orchestra Berlin. He was also a guest at the Schleswig-Holstein Musik Festival, the Festspiele Mecklenburg-Vorpommern, Münchner Symphoniker, Kozerthausorchester Berlin, Heidelberger Frühling, Gezeitenkonzerte in Ostfriesland, Bergische Symphoniker, Neubrandenburger Philharmonie and Musicfestival The Next Generation III. Regularly, he gives concerts with his brothers Nicolai (piano) and Alexej (percussion). Wassily began composing his original works since his childhood. Piano being the biggest inspiration, his compositions' style vary from Bebop, over Blues and Program music.

title: Wassily Gerassimez

text: Wassily Gerassimez Wassily Gerassimez (born 21 June 1991 in Essen) is a German cellist and composer. His parents were born in Germany and worked, just like his brothers Nicolai and Alexej, as professional musicians. Gerassimez began studying cello with Gotthard Popp at the age of eleven. Later he continued his studies with Michael Sanderling in Frankfurt and Peter Bruns in Leipzig. After earning his bachelor's degree in at the University of Music and Theatre Leipzig, he began studying jazz-cello at the Hochschule für Musik, Theater und Medien Hannover with . He plays a violoncello by Georges Chanot, made in Paris

title: Gurre-Lieder

text: premiere, Schoenberg did not even face the members of the audience, many of whom were fierce critics of his who were newly won over by the work; instead, he bowed to the musicians, but kept his back turned to the cheering crowd. Violinist Francis Aranyi called it "the strangest thing that a man in front of that kind of a hysterical, worshipping mob has ever done." It would be wrong to assume that Schoenberg considered "Gurre-Lieder" a composition of no merit, however. A few months after the premiere he wrote to Wassily Kandinsky, "I certainly do not look down on

title: Vorticism

text: was contemporary with and comparable to abstraction by European artists such as Wassily Kandinsky, František Kupka and the Russian Rayist Group. The Vorticists held only one exhibition, in 1915, at the Doré Gallery in London. The main section of the exhibition included work by Jessica Dismorr, Frederick Etchells, Lewis, Gaudier-Brzeska, William Roberts, Helen Saunders and Edward Wadsworth. There was a smaller section area titled "Those Invited To Show" that included several other artists. Jacob Epstein was notably not represented, although did have his drawings reproduced in "BLAST". After this, the movement broke up, largely due to the onset of World

title: 20th-century Western painting

text: work of the Fauves, Die Brücke (a group led by German painter Ernst Kirchner), and the Expressionism of Edvard Munch, Egon Schiele, Marc Chagall, Amedeo Modigliani, Chaim Soutine and others. Wassily Kandinsky, a Russian painter, printmaker and art theorist, is generally considered the first important painter of modern abstract art. As an early modernist, in search of new modes of visual expression, and spiritual expression, he theorized—as did contemporary occultists and theosophists—that pure visual abstraction had corollary vibrations with sound and music. They posited that pure abstraction could express pure spirituality. His earliest abstractions were generally titled (as the example

title: Wassily Chair

text: Wassily, remain among the most identifiable icons of the modern furniture movement. The chair later known as the "Wassily" was first manufactured in the late 1920s by Thonet, the German-Austrian furniture manufacturer most known for its bent-wood chair designs, under the name Model B3. It was first available in both a folding and a non-folding version. In this early iteration, the straps were made of fabric, pulled taut on the reverse side with the use of springs. The fabric used was made from Eisengarn, a strong, shiny, waxed-cotton thread. It had been invented in the 19th century, but Margaretha Reichardt

title: Victor Kandinsky

text: symptoms were returning, he took his own life by taking an overdose of opium. After he overdosed his last written words were: "1) I had about "n" grams of opium… 2) I'm reading "The Cossacks" by Tolstoy… 3) It becomes difficult for me to read… ("the handwriting appears different")" (). He died as a patient in the institution he had formerly run as the medical superintendent, the St. Nicholas Asylum in Saint Petersburg. His wife "Elizaveta Freimut-Kandinsky" arranges the publications of his scientific papers and books ("On Pseudohallucinations" and "On Irresponsibility") then she committed suicide as well. Kandinsky published many

title: Victor Kandinsky

text: Balkans during the Russo-Turkish War, he began experiencing mood swings and hallucinations. He was medically discharged on 13 May 1877 and admitted to a naval hospital for treatment. After all, Kandinsky was awarded the light bronze medal in 1878, for participating the Russo-Turkish War. In 1878 he married his medical nurse "Elizaveta Karlovna Freimut" (). Kandinsky's personal physician diagnosed him as having melancholia, but Kandinsky performed self-diagnosis, and he referred to his medical condition as "Primäre Verrücktheit" (German for "primary paranoid psychosis") which has been anachronistically translated into modern terms as a "schizophrenic-like state". Modern psychiatrists diagnosed him with paranoid

title: Leeds Arts Club

text: of Herbert Read (1893–1968), who turned 20 in December 1913. Using his personal links with Wassily Kandinsky in Munich, Sadler built up a remarkable collection of expressionist and abstract expressionist art at a time when such art was either unknown or dismissed in London, even by well-known promoters of modernism such as Roger Fry. Most notable in his collection was Kandinsky's abstract painting "Fragment for Composition VII", of 1912, which was in Leeds and on display at the Leeds Arts Club in 1913. He also owned Paul Gauguin's celebrated work "The Vision After the Sermon". According to Patrick Heron, Kandinsky

title: Michel Henry

text: the great classical painting which preceded the scientistic figuration of the 18th and 19th Centuries, and also of abstract creations such as those of the painter Wassily Kandinsky. Henry dedicated a book entitled "Voir l’invisible (Seeing the Invisible)" to Kandinsky, in which he describes his work in laudatory terms. He analyses Kandinsky's theoretical writings on art and painting in their spiritual and cultural dimensions as a means of self-growth and refinement of one's sensibility. He explores painting's means of form and colour, and studies their effects on the inner life of one who looks at them filled with wonder, following

title: Otto Nebel

text: Gleizes confirmed their artistic affinity: "Nous sommes sur les memes voies, occupies des memes recherches." In the heyday of Der Sturm, Wassily Kandinsky was seen as someone who revitalized art and was a guiding star for many artists. A large segment of Nebel's work found its way into the Guggenheim Collection in New York through Kandinsky's and Hilla Rebay's support. Kandinsky and Nebel exchanged a wealth of letters and thereby left ample proof of their friendship. The artist liked to experiment especially with the linocut, a great favorite among the German Expressionists and a medium that they imbued with new

title: Otto Nebel

text: which often had titles taken from music terminology: "Animato", "Dopio movimento", "'ondo con brio gai" or "Con Tenerezza". They were produced during the 1930s, some during his sojourns in Italy. Nebel compared his endeavors with those of an orchestra conductor who "rehearses" a score with an orchestra. These works herald his non-objective work. This is very much what Wassily Kandinsky had in mind in his trailblazing book "Concerning the Spiritual in Art": "Musical sound acts directly on the soul and finds an echo there because, though to varying extents, music is innate in man." With increasing tendencies to abstraction, Kandinsky

title: Klänge

text: Klänge Klänge (German; "Sounds") is a book by the Russian expressionist artist Wassily Kandinsky. Published in an edition of 345 in Munich in late 1912, the work is a famous early example of an artist's book, containing both poems and woodcuts by the artist, forming two parallel strands, each involving a loose progression. One of three seminal books that Kandinsky published between 1911 and 1912 - the other two being "Concerning the Spiritual in Art" and "Der Blaue Reiter Almanac" that he edited with Franz Marc - "Klänge" was to have a direct and lasting influence on Expressionism, Dada and

title: The Yellow Sound

text: The Yellow Sound The Yellow Sound (in German, "Der Gelbe Klang") is an experimental theater piece originated by the Russian artist Wassily Kandinsky. Created in 1909, the work was first published in "The Blue Rider Almanac" in 1912. "The Yellow Sound" was the "earliest and most influential" of four "color-tone dramas" that Kandinsky conceived for the theater between 1909 and 1914; the others were titled "The Green Sound", "Black and White", and "Violet". Kandinsky's pieces were part of a larger trend of their era that addressed color theory and synesthesia in works that blended multiple art forms and media. Such

title: Wassily Kandinsky

text: at an isolated colour and let it act alone, on one side is the warmth or coldness of the colour tone, and on the other side is the clarity or obscurity of that tone. Warmth is a tendency towards yellow, and coldness a tendency towards blue; yellow and blue form the first great, dynamic contrast. Yellow has an "eccentric" movement and blue a "concentric" movement; a yellow surface seems to move closer to us, while a blue surface seems to move away. Yellow is a typically terrestrial colour, whose violence can be painful and aggressive. Blue is a celestial colour,

title: Wassily Kandinsky

text: the form with the human soul. Every form is the delimitation of a surface by another one; it possesses an inner content, the effect it produces on one who looks at it attentively. This inner necessity is the right of the artist to unlimited freedom, but this freedom becomes licence if it is not founded on such a necessity. Art is born from the inner necessity of the artist in an enigmatic, mystical way through which it acquires an autonomous life; it becomes an independent subject, animated by a spiritual breath. The obvious properties we can see when we look

title: Wassily Kandinsky

text: with three riders and several others, crosses at the bottom. The faces, clothing, and saddles of the riders are each a single color, and neither they nor the walking figures display any real detail. The flat planes and the contours also are indicative of Fauvist influence. The broad use of color in "The Blue Mountain" illustrates Kandinsky's inclination toward an art in which color is presented independently of form, and which each color is given equal attention. The composition is more planar; the painting is divided into four sections: the sky, the red tree, the yellow tree and the blue

title: Wassily Kandinsky

text: apparent in these early works. Colours are used to express Kandinsky's experience of subject matter, not to describe objective nature. Perhaps the most important of his paintings from the first decade of the 1900s was "The Blue Rider" (1903), which shows a small cloaked figure on a speeding horse rushing through a rocky meadow. The rider's cloak is medium blue, which casts a darker-blue shadow. In the foreground are more amorphous blue shadows, the counterparts of the fall trees in the background. The blue rider in the painting is prominent (but not clearly defined), and the horse has an unnatural