I had never heard of Russian artist, Wassily Kandinsky before and I can not remember if I had seen his works of art. I did not read his treatise included in this book, "Concerning the Spiritual in Art" but would like to revisit here when ready to do so. I thought I was not really a fan of Impressionistic Art but I found that it varies with the artist and his works so I can no longer make that blanket statement, and as I go forward to different artistic work, I will comment.
My favorite so far ar I had never heard of Russian artist, Wassily Kandinsky before and I can not remember if I had seen his works of art. My favorite so far are Turner and Monet, I suppose because their works stay closer to reality of what they are painting. I did find many works that I loved of Kandinsky but far too many had me confounded, though many are colorful which is enjoyable, yet I could not relate.
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So looking at these works which seemed farther from art in my mind, I was amazed at his earlier works and how it showed his talent, like "Odessa Port". I tell you my opinions but who am I but one who judges with a truly novice eye and can not see what others see. I added a fair amount of quotes which I thought interesting about his life.
During his school years he was interested in many subjects, including law and economics. In later years, the artist recalled his early fascination and stimulated interest in colour, which later developed through concepts of colour symbolism and psychology.
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He enrolled at the University of Moscow, studying law and economics. Though successful in this profession, to the extent that he was offered a professorship chair of Roman Law at the University of Dorpat, Kandinsky was much more interested in painting studies, including life-drawing, sketching and anatomy.
At first he was not granted official admission and had to begin learning art on his own. That same year, before leaving Moscow, he saw an exhibit of paintings by Claude Monet. She came from an upper middle-class background and her parents supported her wish to become an artist. In the summer of , Kandinsky invited her to join him at his summer painting classes just south of Munich in the Alps.
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She accepted and their relationship became intimate. Within the group, artistic approaches and aims varied amongst artists, though they shared the common desire to express spiritual truths through art. They championed modern art, the connection between visual art and music, the spiritual and symbolic associations of colour and a spontaneous, intuitive approach to painting in its move towards abstraction.
In they exhibited in the first German Herbstsalon. The group was disrupted by the outbreak of the First World War in Franz Marc and August Macke were killed in combat. Wassily Kandinsky, Marianne von Werefkin and Alexej von Jawlensky were forced to move back to Russia because of their Russian citizenship.
There were also differences in opinion within the group. As a result, Der Blaue Reiter was short-lived, lasting for only three years from to 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 into a painting.
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How am I now suddenly supposed to feel myself a foreigner? The year was a time of depression and self-doubt, during which he did not paint a single picture. As the son of a tea merchant, he had been independently wealthy, but after the Russian Revolution, during which a Communist system replaced the Tsarist rule, Kandinsky lost his property during a land redistribution. Consequently, his plans to build a large studio took second place to financial concerns such as selling work and finding employment.
World War I and then the Bolshevik Revolution in slowed his artistic production, partly due to a lack of funds, but also due to his work organising art institutions for the newly formed government. The Bauhaus was an art school that combined crafts and the fine arts, which in time became famous for its approach to design that it publicised and instructed.
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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. Kandinsky was to teach at the Bauhaus school of art and architecture from until the Nazis closed it in Aurora Leos rated it it was amazing Jun 21, James rated it really liked it Jan 26, Jenni Monaghan rated it really liked it Nov 07, Frank rated it it was amazing Jan 31, Richard Crowder rated it really liked it Oct 14, Andrei M rated it it was ok Oct 14, Michelle Perez rated it it was amazing Jul 02, Joanne Wardrop rated it it was amazing Apr 30, Allie Dufree rated it really liked it Feb 06, Jiunjiun Ma rated it it was amazing Mar 05, Paul rated it liked it Sep 17, Andrea Warren rated it really liked it May 19, Gabrieli Rasche rated it liked it Jul 24, Apr 27, Josiana rated it really liked it Shelves: nook-shelf.
Ceysu Ece Aydin rated it it was amazing Jul 04, Louis F. Tyler Jr is currently reading it May 08, Askia Mohammed marked it as to-read Aug 10, Aloha added it Sep 06, Anne Peterson is currently reading it Feb 04, Susan Huhn-Bowles is currently reading it Apr 11, Michael R. Nagel M. Rodela Islam marked it as to-read Apr 04, NELS marked it as to-read May 13, David L marked it as to-read Jul 13, Abilene Harper added it Dec 25, As far as Henry IV is concerned, there is surely no reason to think Hogarth was less aware of the brutality of this scene than we are.
At the same time Paulson does justice to the fact that this is not merely a satirical image.
David V. Such views seem to me to ignore the nature of our perpetual consciousness of the fictitious nature of pictorial space, which precisely because it involves a two-dimensional field in which three-dimensional events are represented cannot be arbitrarily warped back into two-dimensionality. This composition is later followed, each in his own way, by Fuseli, Barry, Gillray, and Blake, each bringing out some aspect of the Oedipal conflict in the Miltonic situation.
Paulson sees Blake as an artist in the multi-leveled mode of Michelangelo, building a subversive structure of images in the leaves of his illuminated books. Paulson is also interested in the landscape tradition Turner inherited from Wilson, Gainsborough and Loutherbourg.
follow site With the death of Dr. In trying to establish such connections, Paulson is always attentive to the status of the work of art as such. His exposition escapes the occupational hazard of much Freudian criticism, reductionism, just as his prose is free of the obscurantist jargon that disfigures so much contemporary literary theory. The phenomenon cited at the beginning of this review—the incursion of literary scholars into the history of art—continues to produce results of importance to both disciplines.
Knoxville, Tenn. Ronald Paulson. Literary Landscape: Turner and Constable.
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