Wassily Kandinsky (December 16, 1866 - December 13, 1944)
Born: 16th December, 1866
Died: 13th December, 1944
Nationality: Russian
Profession/Occupation: Artist
Region: Moscow, Russia, Neuilly-sur-Seine, France
Notable works: Der Blaue Reiter, abstract art, Neue Kunstlervereinigung, Abstraction-Creation, Die Blaue Vier

Wassily Kandinsky Facts

Biography

Wassily Kandinsky, Russian in full Vasily Vasilyevich Kandinsky, (born December 4 [December 16, New Style], 1866, Moscow, Russia—died December 13, 1944, Neuilly-sur-Seine, France), Russian-born artist, one of the first creators of pure abstraction in modern painting. After successful avant-garde exhibitions, he founded the influential Munich group Der Blaue Reiter (“The Blue Rider”; 1911–14) and began completely abstract painting. His forms evolved from fluid and organic to geometric and, finally, to pictographic (e.g., Tempered Élan, 1944).

Early years

Kandinsky’s mother was a Muscovite, one of his great-grandmothers a Mongolian princess, and his father a native of Kyakhta, a Siberian town near the Chinese border; the boy thus grew up with a cultural heritage that was partly European and partly Asian. His family was genteel, well-to-do, and fond of travel; while still a child he became familiar with Venice, Rome, Florence, the Caucasus, and the Crimean Peninsula. At Odessa, where his parents settled in 1871, he completed his secondary schooling and became an amateur performer on the piano and the cello. He also became an amateur painter, and he later recalled, as a sort of first impulse toward abstraction, an adolescent conviction that each colour had a mysterious life of its own.

In 1886 he began to study law and economics at the University of Moscow, but he continued to have unusual feelings about colour as he contemplated the city’s vivid architecture and its collections of icons; in the latter, he once said, could be found the roots of his own art. In 1889 the university sent him on an ethnographic mission to the province of Vologda, in the forested north, and he returned with a lasting interest in the often garish, nonrealistic styles of Russian folk painting. During that same year he discovered the Rembrandts in the Hermitage at St. Petersburg, and he furthered his visual education with a trip to Paris. He pursued his academic career and in 1893 was granted the degree equivalent of a doctorate.

By this time, according to his reminiscences, he had lost much of his early enthusiasm for the social sciences. He felt, however, that art was “a luxury forbidden to a Russian.” Eventually, after a period of teaching at the university, he accepted a post as the director of the photographic section of a Moscow printing establishment. In 1896, when he was approaching his 30th birthday, he was forced to choose among his possible futures, for he was offered a professorship in jurisprudence at the University of Dorpat (later called Tartu), in Estonia, which was then undergoing Russification. In what he called a “now or never” mood, he turned down the offer and took the train for Germany with the intention of becoming a painter.

Munich period

He already had the air of authority that would contribute to his success as a teacher in later years. He was tall, large-framed, impeccably dressed, and equipped with pince-nez glasses; he had a habit of holding his head high and seeming to look down at the universe. He resembled, according to acquaintances, a mixture of diplomat, scientist, and Mongol prince. But for the moment he was simply an average art student, and he enrolled as such in a private school at Munich run by Anton Azbé. Two years of study under Azbé were followed by a year of work alone and then by enrollment at the Munich Academy in the class of Franz von Stuck. Kandinsky emerged from the academy with a diploma in 1900 and, during the next few years, achieved moderate success as a competent professional artist in touch with modern trends. Starting from a base in 19th-century realism, he was influenced by Impressionism, by the whiplash lines and decorative effects of Art Nouveau (called Jugendstil in Germany), by the dot technique of Neo-Impressionism (or Pointillism), and by the strong, unrealistic colour of central European Expressionism and French Fauvism. Often he revealed that he had not forgotten the icons of Moscow and the folk art of Vologda; sometimes he indulged in patterns of violent hues that would have delighted his Asian ancestors. He exhibited with the vanguard groups and in the big nonacademic shows that had sprung up all over Europe—with the Munich Phalanx group (of which he became president in 1902), with the Berlin Sezession group, in the Paris Salon d’Automne and Salon des Indépendants, and with the Dresden group that called itself Die Brücke (“The Bridge”). In 1903 in Moscow he had his first one-man show, followed the next year by two others in Poland. Between 1903 and 1908 he traveled extensively, from Holland to as far south as Tunisia and from Paris back to Russia, stopping off for stays of several months each in Kairouan (Tunisia), Rapallo (Italy), Dresden, the Parisian suburb of Sèvres, and Berlin.

In 1909 Kandinsky and the German painter Gabriele Münter, who had been his mistress since 1902, acquired a house in the small town of Murnau, in southern Bavaria. Working part of the time in Murnau and part of the time in Munich, he began the process that led to the emergence of his first strikingly personal style and finally to the historic breakthrough into purely abstract painting. Gradually, the many influences he had undergone coalesced. His impulse to eliminate subject matter altogether was not, it should be noted, due merely or even primarily to strictly aesthetic considerations. No one could have been less of an aesthete, less of an “art for art’s sake” addict, than Kandinsky. In addition, he was not the sort of born painter who could enjoy the physical properties of oil and pigment without caring what they meant. He wanted a kind of painting in which colours, lines, and shapes, freed from the distracting business of depicting recognizable objects, might evolve into a visual “language” capable—as was, for him, the abstract “language” of music—of expressing general ideas and evoking deep emotions.

The project was not, of course, entirely new. Analogies between painting and music had long been common; many thinkers had attempted to codify the supposed expressiveness of colours, lines, and shapes; and more than one fairly ancient sketch might compete for the honour of being called the first abstract picture. Moreover, in these years just before World War I, Kandinsky was by no means alone in his attack on figurative art. By 1909 the Cubists were turning out intellectualized and fragmented visions of reality that baffled the ordinary viewer. Between 1910 and 1914 the list of pioneer abstract artists included many fine painters. A strict examination of works and dates can show, therefore, that Kandinsky does not quite deserve to be called, as he often is, the “founder” of nonfigurative painting; at least he cannot be called the only founder. But, when this historical point is conceded, he remains a pioneer of the first importance.

Kandinsky’s widely accepted claim to historical priority rests mainly on an untitled work dated 1910 and commonly referred to as First Abstract Watercolour. On the basis of research done in the 1950s, however, this work can be dated somewhat later and can be regarded as a study for the 1913 Composition VII; and in any event it must be considered merely an incident—among many for which the evidence has not been preserved—on Kandinsky’s route. In Blue Mountain (1908) the evolution toward nonrepresentation is already clearly under way; the forms are schematic, the colours nonnaturalistic, and the general effect that of a dream landscape. In Landscape with Steeple (1909) similar tendencies are evident, together with the beginning of what might be called an explosion in the composition. By 1910 Improvisation XIV is already, as its somewhat musical title suggests, practically abstract; with the 1911 Encircled, there has definitely developed a kind of painting that, though not just decoration, has no discernible point of departure in the depiction of recognizable objects. After that come such major works as With the Black Arch, Black Lines, and Autumn; in such pictures, done between 1912 and 1914 in a slashing, splashing, dramatic style that anticipates the New York Abstract Expressionism of the 1950s, most art historians see the peak of the artist’s achievement.

Kandinsky was an active animator of the avant-garde movement in Munich, helping to found in 1909 the New Artists’ Association (Neue Künstlervereinigung). Following a disagreement within this group, he and the German painter Franz Marc founded in 1911 an informally organized rival group, which took the name Der Blaue Reiter (“The Blue Rider”), from the title of one of Kandinsky’s 1903 pictures.

Russian interlude

When World War I was declared in 1914, Kandinsky broke off his relationship with Gabriele Münter and returned to Russia by way of Switzerland, Italy, and the Balkans. An early marriage to a cousin had been dissolved in 1910 after a long period of separation, and in 1917 he married a Moscow woman, Nina Andreevskaya, whom he had met the previous year. Although he was past 50 and his bride was many years younger, the marriage turned out to be extremely successful, and he settled down in Moscow with the intention of reintegrating himself into Russian life. His intention was encouraged by the new Soviet government, which at first showed itself eager to win the favour and services of avant-garde artists. In 1918 he became a professor at the Moscow Academy of Fine Arts and a member of the arts section of the People’s Commissariat for Public Instruction. His autobiographical Rückblicke (“Retrospect”) was translated into Russian and published by the Moscow municipal authorities. In 1919 he created the Institute of Artistic Culture, became director of the Moscow Museum for Pictorial Culture, and helped to organize 22 museums across the Soviet Union. In 1920 he was made a professor at the University of Moscow and was honoured with a one-man show organized by the state. In 1921 he founded the Russian Academy of Artistic Sciences. But by then the Soviet government was veering from avant-garde art to Social Realism, and so, at the end of the year, he and his wife left Moscow for Berlin.

In spite of the war, the Russian Revolution, and official duties, he had found time to paint during this Russian interlude and even to begin a quite drastic transformation of his art. Whereas in his Munich work as late as 1914 one can still find occasional allusions to landscape, the canvases and watercolours of his Moscow years show a determination to be completely abstract. They also show a growing tendency to abandon the earlier spontaneous, lyrical, organic style in favour of a more deliberate, rational, and constructional approach. The change is evident in such pictures as White Line and Blue Segment.

Bauhaus period

By this time Kandinsky had an international reputation as a painter. He had always, however, been interested in teaching, first as a lecturer in law and economics just after getting his university degree, then as the master of a painting school he had organized in Munich, and more recently as a professor at the University of Moscow. He seems not to have hesitated, therefore, when early in 1922 he was offered a teaching post at Weimar in the already famous Bauhaus school of architecture and applied art. At first his duties were a little remote from his personal activity, for the Bauhaus was not concerned with the formation of “painters” in the traditional sense of the word. He lectured on the elements of form, gave a course in colour, and directed the mural workshop. Not until 1925, when the school moved from Weimar to Dessau, did he have a class in “free,” nonapplied painting. In spite of the somewhat routine nature of his work, however, he appears to have found life at the Bauhaus rewarding and pleasant. The climate was one of research and craftsmanship combined with a certain amount of aesthetic puritanism; it was classical, to use the term rather loosely, by comparison with the warm romanticism of his pre-1914 days in Munich.

Kandinsky responded to this climate by continuing to evolve in the general direction of geometric abstraction, but with a dynamism and a taste for detail-crowded pictorial space that recall his earlier sweeping-gesture technique. That Kandinsky was keenly interested in theory during these years is evident from his publication in 1926 of his second important treatise, Punkt und Linie zu Fläche (“Point and Line to Plane”). In his first treatise, Concerning the Spiritual in Art, he had emphasized in particular the supposed expressiveness of colours, comparing yellow, for example, to the aggressive, allegedly earthly sound of a trumpet and comparing blue to the allegedly heavenly sound of the pipe organ. Now, in the same spirit, he analyzed the supposed effects of the abstract elements of drawing, interpreting a horizontal line, for example, as cold and a vertical line as hot.

Paris period

Although he had been a German citizen since 1928, he immigrated to Paris when, in 1933, the Nazis forced the Bauhaus to close. The last, and one of the finest, of his German pictures is the sober Development in Brown; its title probably alludes to the Nazi brown-shirted storm troopers, who regarded his abstract art as “degenerate.” He lived for the remaining 11 years of his life in an apartment in the Parisian suburb of Neuilly-sur-Seine, becoming a naturalized French citizen in 1939.

During this final period his painting, which he began to prefer to call “concrete” rather than “abstract,” became to some extent a synthesis of the organic manner of the Munich period and the geometric manner of the Bauhaus period. The visual language that he had been aiming at since at least 1910 turned into collections of signs that look like almost-decipherable messages written in pictographs and hieroglyphs; many of the signs resemble aquatic larvae, and now and then there is a figurative hand or a lunar human face. Typical works are Violet Dominant, Dominant Curve, Fifteen, Moderation, and Tempered Élan. The production of such works was accompanied by the writing of essays in which the artist stressed the alleged failure of modern scientific positivism and the need to perceive what he termed “the symbolic character of physical substances.”

Kandinsky died in 1944. His influence on 20th-century art, often filtered through the work of more accessible painters, was profound.

Top 18 Wassily Kandinsky quotes

Color is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul.
Another
Artist
Cause
Color
Eyes
Hand
Harmonies
Key
Keyboard
Many
Piano
Plays
Soul
Strings
The artist must train not only his eye but also his soul.
Also
Artist
Eye
His
Must
Only
Soul
Train
How can German music not be represented by an article?
Article
German
How
Music
There is no must in art because art is free.
Art
Because
Free
Must
Everything starts from a dot.
Dot
Everything
Starts
An empty canvas is a living wonder... far lovelier than certain pictures.
Canvas
Certain
Empty
Far
Living
Pictures
Than
Wonder
To create a work of art is to create the world.
Art
Create
Work
World
Color is a power which directly influences the soul.
Color
Directly
Influences
Power
Soul
Which
The nightmare of materialism, which has turned the life of the universe into an evil, useless game, is not yet past; it holds the awakening soul still in its grip.
Awakening
Evil
Game
Grip
Holds
Life
Materialism
Nightmare
Past
Soul
Still
Turned
Universe
Useless
The deeper the blue becomes, the more strongly it calls man towards the infinite, awakening in him a desire for the pure and, finally, for the supernatural... The brighter it becomes, the more it loses its sound, until it turns into silent stillness and becomes white.
Awakening
Becomes
Blue
Brighter
Calls
Deeper
Desire
Finally
Him
Infinite
Loses
Man
More
Pure
Each color lives by its mysterious life.
Color
Each
Life
Lives
Mysterious
Our epoch is a time of tragic collision between matter and spirit and of the downfall of the purely material world view.
Between
Collision
Downfall
Epoch
Material
Material world
Matter
Our
Purely
Spirit
Time
Tragic
View
World
Lend your ears to music, open your eyes to painting, and... stop thinking! Just ask yourself whether the work has enabled you to 'walk about' into a hitherto unknown world. If the answer is yes, what more do you want?
About
Answer
Ask
Ears
Eyes
Hitherto
Just
Lend
More
Music
Open
Open your eyes
Painting
Stop
The sound of colors is so definite that it would be hard to find anyone who would express bright yellow with base notes, or dark lake with the treble.
Anyone
Base
Bright
Colors
Dark
Definite
Express
Find
Hard
Lake
Notes
Sound
Who
Would
Every work of art is the child of its age and, in many cases, the mother of our emotions. It follows that each period of culture produces an art of its own which can never be repeated.
Age
Art
Cases
Child
Culture
Each
Emotions
Every
Follows
Many
Mother
Never
Our
Own
With few exceptions, music has been for some centuries the art which has devoted itself not to the reproduction of natural phenomena, but rather to the expression of the artist's soul, in musical sound.
Art
Artist
Been
Centuries
Devoted
Exceptions
Expression
Few
Has-been
Itself
Music
Musical
Natural
Natural phenomena
A painter, who finds no satisfaction in mere representation, however artistic, in his longing to express his inner life, cannot but envy the ease with which music, the most non-material of the arts today, achieves this end. He naturally seeks to apply the methods of music to his own art.
Achieves
Apply
Art
Artistic
Arts
Cannot
Ease
End
Envy
Express
Finds
He
His
However
The spirit, like the body, can be strengthened and developed by frequent exercise. Just as the body, if neglected, grows weaker and finally impotent, so the spirit perishes if untended.
Body
Developed
Exercise
Finally
Frequent
Grows
Just
Like
Neglected
Spirit
Strengthened
Weaker

Wassily Kandinsky books

Concerning the Spiritual in Art

Concerning the Spiritual in Art

Point and Line to Plane (Dover Fine Art, History of Art)

Point and Line to Plane (Dover Fine Art, History of Art)

Vasily Kandinsky

Vasily Kandinsky

Kandinsky: 16 Art Stickers (Dover Art Stickers)

Kandinsky: 16 Art Stickers (Dover Art Stickers)

Art Masterclass with Wassily Kandinsky

Art Masterclass with Wassily Kandinsky

Concerning the Spiritual in Art and Painting in Particular [An Updated Version of the Sadleir Translation]

Concerning the Spiritual in Art and Painting in Particular [An Updated Version of the Sadleir Translation]

Kandinsky (Basic Art Series 2.0)

Kandinsky (Basic Art Series 2.0)

Sounds

Sounds

Kandinsky: Complete Writings On Art

Kandinsky: Complete Writings On Art

Concerning the Spiritual in Art (Dover Fine Art, History of Art) by Wassily Kandinsky (2-Jan-2000) Paperback

Concerning the Spiritual in Art (Dover Fine Art, History of Art) by Wassily Kandinsky (2-Jan-2000) Paperback

Wassily Kandinsky, 1866-1944: A Revolution in Painting

Wassily Kandinsky, 1866-1944: A Revolution in Painting

Romantic landscape, Wassily Kandinsky. Blank journal: 160 blank pages, 6 x 9 inch (15.24 x 22.86 cm) Soft cover

Romantic landscape, Wassily Kandinsky. Blank journal: 160 blank pages, 6 x 9 inch (15.24 x 22.86 cm) Soft cover

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