Wassily Kandinsky

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film, which becomes the capstone to a self-referential Tarkovskian oeuvre, Marker combines Tarkovsky's films with footage of the great director on his death bed. The finished product is a sort of Tarkovskian death mask or, as I would prefer to call it, a relic and a vita of Russia's greatest iconophile. As Marker might have put it, the final analysis of Tarkovsky as an artist shows that Rublev was very much present in Tarkovksy, and vice versa.

La educación está atravesando una etapa de reconfiguración de paradigmas de una sociedad que forma parte del último eslabón del mundo industrial y el primero de la sociedad de la información (Mendez, Pimentel 98). La enseñanza de las disciplinas proyectuales no es ajena a este cambio, por lo contrario, representa uno de los desafíos más importantes de la profesión del arquitecto y el diseñador: ayudar a pensar, respetando el mundo de las ideas, entendiendo las posibilidades tecnológicas del soporte como potencialidades y no como clichés. Es necesario establecer un tipo de enseñanza capaz de volcar al grado y al postgrado conceptos actualizables en un sistema abierto y flexible, para no caer en el mundo del "clipart", la repetición de reglas caducas y modelos obsoletos. La integración de la "cultura digital" por medio de las "tecnologías de la información" ha determinado una abrumadora expansión de los "servicios virtuales"-intangibles-en oposición al "mundo objetual"-tangible-(Combes 01). En base a estos conceptos se organizó el PADD "Programa de Actualización en Diseño Digital.

The researcher provides the keys of the work Without Title (1941) by Vasily Kandinsky, belonging to the permanent collection of the Museo Universidad de Navarra (MUN). The lecture takes place beside the work, in the exhibition room.

La investigadora ofrece las claves de la obra Sin título (1941) de Vasily Kandinsky, perteneciente a la colección del Museo Universidad de Navarra. La conferencia tiene lugar en la sala expositiva de la pieza.

İKEA ve Kelebek gibi dekorasyon devleri tarafından farklı renkler, farklı isimlerle tasarlanan ve birer sanat eserine dönüşen sandalyelerin ilham kaynaklarını öğrenmek istemez misiniz? Cevabınız evet ise biz de tek bir cevap ve tek bir isim vereceğiz: Marcel Breuer.

The art and architecture of the Islamic world had a decisive impact on the development of decorative and fine arts from 1880 to 1945. Many leading artists and architects took inspiration from the rich Islamic language of forms and ornamentation. They were fascinated by the mathematical principles and unusual harmonies of colors in Persian miniatures and rugs, stained glass windows or Iznik tiles, and punched metal works and ceramics from the Near East, North Africa and Moorish Spain. While only some of them actually visited the Islamic world and studied its art and architecture in situ, many discovered it through exhibitions and publications. Following on from Paris (1893/1903), Stockholm (1897) and Algiers (1905), Munich set new standards in 1910 with the exhibition “Meisterwerke muhammedanischer Kunst” (“Masterpieces of Muhammadan Art”). Museums, art dealers and private collectors from a number of countries contributed some 3,600 works, including valuable carpets, ceramics, metalwork pieces and Persian miniatures. The exhibition marked a turning point not only for the academic studies of the time, but also in terms of the reception of Islamic arts. In the Western fine and decorative arts of the 19th century, the “Orient” conjured up motivic imagery heavily influenced by the colonialist perspective, whereas the artists of early Modernism investigated Islam’s stylistic devices in depth, transposing them to their own environment through a process of artistic internalization. In combination with their own traditions and their respective times, it was this very internalisation that instilled motivating creative processes, out of which artists developed countless new forms of expression.

The contributions in this volume approach these questions from different perspectives, considering theoretical and practical applications developed by western artists, architects and decorators and how Islamic art was considered as a model for the renewal of European arts at the turn of the twentieth century.

The dominant narratives of modern art history tell of a rift between art and “religion” by which the two became adversaries, even mutually unintelligible to each other. In their recent book, Modern Art and the Life of a Culture: The Religious Impulses of Modernism (IVP Academic, 2016), Jonathan Anderson (an art critic) and William Dyrness (a theologian) offer a rereading of these histories by paying closer attention to the religious contexts and the theological concerns that shaped its development—contexts and concerns that have been largely neglected by both scholars and laypeople alike. This rereading produces revised accounts of several of the most important modernist artists—including Vincent van Gogh, Vasily Kandinsky, Hugo Ball, Kazimir Malevich, John Cage, Andy Warhol, and many others—while also challenging the tendency among Christians to follow the declinist narrative of Hans Rookmaaker’s influential book, Modern Art and the Death of a Culture (1970). In the end, Anderson and Dyrness argue that the history of modern art is much more (theologically) interesting than it has yet been given credit for.

https://www.ivpress.com/modern-art-and-the-life-of-a-culture

This essay traces the theorization of interwar animation through period analogies with painting and dance, paying special attention to the valorization of concepts such as dematerialization and embodiment, which metaphors of visual music and physical kinesthesis were used to promote. Beginning in 1919, and exemplified by her feature-length film Die Abenteuer des Prinzen Achmed (1926), Lotte Reiniger directed numerous silhouette films animated in an ornate style that embraced decorative materiality. This aesthetic set her in uneasy relation to the avant-garde, whose strenuous attempts to distance abstraction from ornament took the form of absolute film, and were screened together at the Absolute film Matinee of 1925. However, their claims for aesthetic integrity were staked on territory these artists largely had in common. By adopting a feminist approach that examines networks of collaboration, publication, and artistic production in Weimar Berlin, this essay reveals Reiniger as an early proponent of haptic cinema in interwar Europe and one of animation's earliest and most perceptive theorists.

Following the principle of contamination of the arts, this text explores the artistic affinity between the work of Mies van der Rohe and that of Kandinskij and Ejzenštejn. The three masters, in their respective fields of expression, have investigated the different conceptions of space, coming to surprisingly similar conclusions. In support of this thesis, a universally recognized masterpiece of the Miesian production is analyzed here: the German Pavilion created for the International Exhibition in Barcelona (1929). The two volumes Punto, linea e superifice and Lezioni di regia, constitute the framework through which the reasoning is here developed.

The controversies and discussions sparked by the Russian Formalists are important to review today because many of the same issues are still current. The most well-known exchange occurred in the early 1920s between Leon Trotsky and Victor Shklovsky, between a high government official of the Soviet regime and a leading member of the Society for the Study of Poetic Language. Was the discussion a harbinger of future Soviet policies? Interestingly, some of the objections voiced by government officials, at the time charged with overseeing cultural policy, are reflected in modern-day conceptions of Russian Formalism. An important question to consider is why a theory in poetics should have stirred the heated debate, about questions of ideology and art, in the first place.

The mark of a major artist is the contribution, legacy and influence of his or her’s oeuvre on a time and place, which lives on after the artist has departed. For the German Expressionists, in particular, the Blaue Reiter group, the major artists were Wassily Kandinsky, Franz Marc, August Macke, Alexej von Jawelsky, Marianne von Werefkin and Gabriele Münter. Credit for the establishment of the group is almost always given to Marc and Kandinsky, since they were the editors of the Blaue Reiter almanac and the name of the group was derived both from a love of horses on Marc’s part, Kandinsky’s affinity for riders and a shared love for the color blue, which represented spirituality. The Blaue Reiter group and the New Artists Society, as they were established, stood in opposition to the conventional nature of the academic art world and decadent society as a whole in Germany in the early 1900s, and sought to bring abstraction and Expressionism to the forefront. The theosophical and symbolist influences drove the artists in this collective to examine divine truths through art, while experimenting with various painting techniques and mediums. Although this group lacked an artistic manifesto, Kandinsky outlined the objectives for artists in this group in his essay, The Struggle for Art, published in 1911.  In it, Kandinsky points to six major characteristics of the duty of an artist:
Man,…consists of two elements: the internal and the external.
The interior element of a man, or the inner person, remains in continuous contact with the internal aspect of the world that surrounds him. This contact is inescapable.
The complete harmony of the work of art is therefore the ultimate balance between the internal and the external, i.e, between content and form.
The connection between the work of art and the artist impresses upon the former a stamp of the artist’s personality, his style.
Thus, in every work of art, two styles are to be found: that of the “individual” and that of the “school.”
Since our inner life (like any visible form of life) is ordered according to plan and purpose, the expression of this life demands a planned and purposeful form.
Thus, even today, the absolute necessity in art of plan and purpose, i.e, of construction—is quite clear. Every contemporary artist must inevitably make his creation meet this requirement.

Despite the fact that Kandinsky identified the artist as a man, I seek to argue that Münter expressed these edicts to the fullest capacity throughout the course of her long career and for that, her rank within this group should be elevated.

Trópos. Rivista di ermeneutica e critica filosofica sottopone a procedura di referaggio anonimo gli articoli che rispondono a Call for papers e i contributi inviati liberamente dagli autori. La valutazione avviene di norma nell'arco di 3-6 mesi, da parte di almeno due referees. L'elenco dei valutatori è pubblicato ogni due anni nel numero di dicembre della rivista.

Une histoire globale des avant-gardes picturales se doit d’expliquer pourquoi celles-ci apparurent en certains endroits et pas en d’autres, comment elles circulaient entre les pays et les capitales, ce qui les portait et si elles rompaient réellement avec leur temps, sachant que la plupart finirent par connaître une véritable canonisation.
Les avant-gardes lièrent leur sort au développement des journaux et des revues, c’est-à-dire à celui des techniques d’impression et de reproduction en série. Elles profitèrent également d’un vaste mouvement de circulation des idées, des hommes et des objets avec le développement des réseaux ferrés et des transports maritimes.
Dans le même temps se forgeaient les identités nationales, férues de tradition et de préservation des cultures. L’approche géopolitique met au jour ce processus par lequel les plasticiens novateurs recoururent à la référence étrangère pour s’opposer aux institutions nationales, travaillèrent à internationaliser leurs réputations pour mieux s’imposer contre le refus de l’innovation porté par le nationalisme, ou, au contraire, se laisser récupérer par des partis nationalistes et révolutionnaires.
Mais à côté des stratégies, réseaux et marchés, place est faite à l’analyse du contexte culturel et moral, économique et politique, matériel et social, affectif et spirituel des artistes des avant-gardes à partir de 1848. Jusqu’à la rupture de 1920, quand ces avant-gardes deviennent politiques, plaçant l’avenir de l’art dans celui de la Révolution.

This essay explores the durational gaze of the spectator and the audience, and the importance of a chronometric rehearsal process in realizing a rarely performed experimental Modernist stage composition. ‘Der Gelbe Klang’ (The Yellow Sound) was Wassily Kandinsky's only published stage composition. Rarely performed but academically scrutinized, the script, such as it is, provides little clue to its performative duration. The Yellow Sound functions as a kinetic painting: layers of moving colours, symbolic figures, shambling yellow giants and bright sounds are mortared together with the extrasensory lacuna of Kandinsky's own synaesthetic perception. In viewing a painting, a spectator has the option to give it a glance or stare at it for hours. In performance, the audience has little temporal control of their visual experience. In the Tate performances this dilemma was approached performatively in process and production. The kinetic painting realized in performance space becomes subservient to the practicalities and logistics of material performance leading to new considerations of time and space which are revealed through rehearsal process and the installation of a performance. This essay explores D'Arcy and Hand's realization of The Yellow Sound from primary design and rehearsal through to the Tate Modern performances.

This work explores the key life events that shaped Vassiliy Kandinsky's complex art vision.  Readers will dive into his mindset, discovering the meaning behind the metaphor of the 'Phoenix' of the abstraction art. Throughout the entire work, this study intertwines the worlds of the historic, artistic, musical and Symbolic in order to give context to the essence of Kandinsky's 'being'.

Государственная академия художественных наук (ГАХН) — уникальная научно-культурная институция, возникшая на стыке Серебряного века и «авангарда», — представляет собой одну из ярких, хотя до сих пор недостаточно изученных страниц истории российской гуманитарной науки ХХ столетия. Академия была основана в 1921 году в Москве как «высшее исследовательское учреждение, имеющее целью всестороннее изучение всех видов искусств и художественной культуры». За неполные десять лет своего существования она сложилась в крупнейший исследовательский центр, программой которого стало новое определение наук об искусстве и синтез эстетической теории с художественным опытом. В создании и развитии Академии принимали участие художники и искусствоведы, литературоведы и философы, деятели музыки и театра. В первом томе настоящего издания представлен систематический анализ основных направлений теории искусства, которую разрабатывали ведущие ученые Философского отделения ГАХН (А.Г. Габричевский, Г.Г. Шпет, С.Л. Франк, А.Ф. Лосев, А.А. Сидоров и многие другие). Особое внимание уделено русско-немецким научным связям, благодаря которым деятельность Академии предстает значительным явлением не только российской, но и европейской гуманитарной науки ХХ века. Второй том содержит архивные материалы. Они демонстрируют весь спектр теоретических дискуссий в ГАХН, посвященных науке об искусстве, и включают в себя тексты докладов, тезисы и протоколы прений; публикуются впервые

In the wake of the First World War, two interdisciplinary art schools with similar values were established in Germany and in the Soviet Union: the Bauhaus (1919–33) in Weimar and Vkhutemas (1920–30) in Moscow. Vkhutemas has often been reductively referred to as the “Soviet Bauhaus,” but it is misleading to suggest that it is derivative, as the seeds of its pedagogical approach were already planted in 1918 with the establishment of its predecessor, the State Free Art Workshops. Though the two schools developed independently, their points of intersections were multiple and their interest in each other’s activities was mutual.

Bu çalışma; Empresyonizm, Kübizm, Sürrealizm ve Ekspresyonizmde resimsel anlamda tarz olarak soyutlama
evresine geçişi konu almıştır. Bu çalışma, nitel araştırma modeli tekniği kullanılarak oluşturulmuştur. Yapılan
çalışma ile bağlantılı kaynaklar taranarak konunun desteklenmesi sağlanmıştır. Böylece araştırmanın yöntemi alan
yazı taraması biçimindedir. Çalışmanın amacı, sanatçılar için en büyük ilham kaynağı olan doğayı sanat eserlerine
direkt olarak aktardıkları dönemden eserlerinde soyutlama yaparak doğayı deforme ve stilize ettikleri dönemin
aşamalarını incelemek olmuştur. Bu geçiş evresi, Orta Çağ’ın sona ermesiyle ve Rönesans döneminin başlangıcıyla
birlikte olmuştur. Ardından Empresyonizm, Kübizm, Sürrealizm ve Ekspresyonizm gibi akımların ortaya çıkması
ile birlikte sanatçının resimsel ifade biçimi daha çok bireyselleşmeye başlayarak özgün bir yorum kazanmıştır.
Bu çalışma ile sanatçıyı, resimsel ifade biçimi olarak soyutlamaya iten gücün, doğanın ötesinde sanatçının düşsel algısı
olduğu düşüncesi ortaya konulmaya çalışılmıştır. Ayrıca bu çalışmada soyutlamanın, doğa ile düş nesnesi arasındaki
farklılıkların görüntüye bürünmüş hali olduğu düşüncesi ve doğanın gerçekliği ile sanatçının içsel gerçekliği arasındaki
çatışmanın ürünü olduğu yargısı öne sürülmektedir. Araştırmalar çerçevesinde ulaşılan sonuç, Empresyonist, Kübist,
Sürrealist ve Ekspresyonist sanatçıların sanat eseri üretirken dış gerçekliği kendi iç gerçekliğine dönüştürdüğüdür.
Buna bağlı olarak sanatçı, zaman içerisinde doğanın kendisine sunduğu alışılmış ve sıradan görüntüden uzaklaşarak
doğadan aldığı ilham ile kendi düş dünyasında kurguladığı görüntüyü sanat eserine yansıtma gayreti gütmektedir.
Böylelikle eserlerine yansıttığı dış dünyaya ait nesne oluşumlarını soyutlama yaparak yeniden anlamlandırmaya çalışır.
Anahtar kelimeler: Soyutlama, Resim Sanatı, Sanatsal Tavır.
Abstract
This work; in pictorialism and style in Impressionism, Cubism, Surrealism and Expressionism, the subject is the
transition to abstraction. This study was developed by using qualitative research model technique. Resources related
to the study were scanned to support the subject. Thus, the method of the research is in the form of field text scanning.
The aim of the study was to examine the stages of the period in which they deformed and stylized nature by
abstraction in their works from the period in which they transferred nature directly to the works of art, which is the
greatest source of inspiration for the artists. This transitional phase coincided with the end of the Middle Ages and the
beginning of the Renaissance. Then, with the emergence of movements such as Impressionism, Cubism, Surrealism
and Expressionism, the artist’s artistic expression became more individualized and gained an original interpretation.
With this study, it is tried to put forward the idea that the power that pushes the artist to abstract as a form of
pictorial expression is the imaginary perception of the artist beyond nature. In this study, it is argued that abstraction
is the product of the conflict between the reality of nature and the artist’s inner reality. The result of the
research is that Impressionist, Cubist, Surrealist and Expressionist artists transform the external reality into their
own inner reality while producing works of art. As a result of this, the artist strives to reflect the image he has
created in his dream world to the work of art by getting away from the ordinary and ordinary image that nature
presents to him in time. In this way, he tries to re-interpret the object formations of the outer world by abstraction.
Key words: Abstraction, Painting Art, Artistic Attitude.

Abstract

Beuys es el heredero directo de toda la tradición del Idealismo y el arte Romántico del Centro y el Norte de Europa. En su educación serán fundamentales las lecturas de Novalis, Holderlin, Schiller, Jean Paul, Tieck, Nietzsche, Hegel, Kierkegaard y más tarde el teósofo y educador Rudolf Steiner, auténtica columna vertebral de sus teorías sociales que ya había influenciado poderosamente a otros artistas de esta tradición romántica como Kandinsky. A lo largo de su itinerario, Joseph Beuys  pretendió acabar con la idea del arte como una práctica aislada para configurar un concepto “ampliado” del arte , abriendo el horizonte de la creatividad más allá del ghetto del arte.

Dr. Adolfo Vásquez Rocca

ÖZ Bu çalışmada, ülkemizde henüz adı pek duyulmamış ancak dünya sanat tarihinde çoktan hak ettiği yeri edinmiş olan İsveçli bir sanatçı tanıtılmaktadır; Hilma Af Klint. Bu sanatçının sanat tarihindeki yeri ve önemi konusuna odaklanılırken, "Soyut sanat nedir? İlk temsilcisi kimdir? Hangi dönemde karşımıza çıkar?" vb. sorular, konunun aydınlanmasına ışık tutar. Otomatizm kavramı araştırılırken yerli bir makalede adı geçen Klint ilgi çekici bulunmuş, araştırılmasının ve paylaşılmasının günümüz sanat dünyası açısından faydalı olacağına inanılarak, çoğunluğu yabancı kaynaklı tez, makale, biyografi kitapları ve bazı sanat galerisi ve internet sitelerinden çeviriler yapılarak, alıntılama yoluyla betimsel bir analiz yöntemi kullanılmıştır. Bu analiz sonucunda, Klint'in ilahi bir güçten mesajlar aldığı ve bunu otomatik yazı ile Sürrealistlerden önce deneyimlediği, 1906'da tinselciliğe dayalı olarak yaptığı devasa boyuttaki eserleriyle Kandinsky, Mondrian ve Malevich'ten çok daha önce soyut resimler yapmış olduğu görülmüştür. Günümüz sanat tarihi açısından bir dönüm noktası olacak olan bu yayın, sadece sanatın hareketli akışkanlığını ortaya koymakla kalmayacak, aynı zamanda yirminci yüzyılda soyut sanatın anlatımına da meydan okuyacak türde bir araştırmadır. Bu çalışmada önce sanat tarihi bakımından soyut sanat kavramı ele alınırken, ardından Hilma af Klint'in kısaca hayatına, sanat eğitimine ve sanatsal üretimlerine değinilerek, sanatçının kendi not defterinden de faydalanılarak yaptığı bazı resimler, içinde yaşadığı dönem açısından bu resimlerin önemi ve farklıları vurgulanmıştır. Bu çalışma ile ilk soyut resim sanatçısı olan Hilma Af Klint'i ülkemize tanıtarak, soyut sanat anlamında önemli bir eksikliğin giderilmesi amaçlanmaktadır.

L'intento di questa raccolta è appunto offrire al lettore una serie di esempi, non troppi ma certamente fra i più rilevanti, di un'affascinante querelle, secolare e sempre nuova come testimonia l'interessante produzione di libri d'artista, una pratica, anche questa molto antica, che si potrebbe far risalire ai codici miniati medioevali e a Gioacchino da Fiore, ricordato nella Commedia dantesca, al quale si vorrebbe far risalire la creazione dei primi libri d'artista.

This essay focuses on the logic of the aesthetic argument used in the eighteenth century as a conceptual tool for formulating the modern concept of “(fine) art(s).” The essay also examines the main developments in the history of the art of modernity which were initiated from the way the “nature” of art was conceived in early modern aesthetics. The author claims that the formulation of the “aesthetic nature” of art led to the process of the gradual disappearance of all of the formal elements that had previously characterized the visual arts; the result was “emptiness” or “nothingness” as art. The author
refers to this process in terms of “vanishing acts” that allow for the formulation of an aesthetics of absence in connection to twentieth-century art (complementing the Ästhetik der Absenz, formulated in German art theory). The author also briefly addresses the consequences that these processes have for
the way contemporary art, and art world operate.

Mel Gooding faz uma análise resumida porém eficaz da arte abstrata. Dou ênfase ao primeiro capítulo de seu livro "Arte Abstrata" (Capítulo: "A Abstração e o Invisível"). Neste irá abordar os principais e primeiros artistas a praticar a pintura abstrata; que se assemelham num pensamento metafísico e espiritual.

Kandinsky and Komissarzhevskaya probably never met. Where they surely met is on the common ground of their conception of the role of the artist. Both saw their work as the product of an inescapable inner necessity and both viewed it as sacred. In the chaotic years of the early 1910s, Komissarzhevskaya, Kandinsky and Elena Guro, painter, poetess and playright, were an important reference for many Russian artists and intellectuals. For them art was a way to study, an instrument that allowed them to explore another dimension of reality, to make the unvisible, visible, to reveal the hidden essence of things. Neither founded a school, nor did they reduce their creations to a system. Yet both of them, in different ways, exerted a profound influence on later generations.
Russian and Soviet actors, theater directors and choreographers were profound influenced by the work and the ideas of these ‘bearers of Light’.

A multifacetada carreira de Wassily Kandinsky (1866-1944) projeta desafios e provocações para o diálogo entre artes e saberes. Entre ensaio, literatura, etnografia, pintura, música e teatro, Kandinsky se move em meio a realizações estéticas e reflexões conceptuais.
Neste livro, tais aspectos multissensoriais de Kandinsky são examinados a partir de estudos preparatórios e documentação de processo criativo para um projeto interartístico específico: orquestrações para o ciclo de pinturas denominado Composições, do pintor russo.
Ao fim, o que se vislumbra é um amplo campo de experimentações que se articula a partir de diversos espaços-tempo de escrita: os traços na tela, as notas na pauta e as palavras na página.

A proposta dessa pesquisa está assentada sobre a idéia de que a atual pluralidade de linguagens artísticas pode ter sido originada na passagem do século XIX para o século XX com a necessidade de uma mudança de rumo no conteúdo do discurso artístico. Nesses termos, a aproximação proporcionada pelo ideal de síntese das artes vislumbrado por Arnold Schoenberg e Wassily Kandinsky é sem dúvida dotada de valor estético e histórico, e por isso capaz de agregar conhecimento.

Wassily Kandinsky’s life-long adherence to Orthodox Christianity was a driving force in his exploration of non-objective painting. Under the influence of the Russian Neo-Christian thinkers who aimed to revitalize Orthodox theology at the turn of the twentieth century, Kandinsky sought to imbue new vigor into art that could be simultaneously modern and Christian. While Kandinsky’s early works with overtly Christian themes of 1908–14 have received ample scholarly attention, this study explores religiosity inherent in Kandinsky’s art and writing produced after the First World War. By juxtaposing Kandinsky’s painting Fröhliche Struktur and the Eastern Orthodox icon The Ladder of Divine Ascent , this paper proposes that the kinship between his images and the Orthodox tradition of icon painting is in spiritual revelations that they are purposed to communicate. To gain a better understanding of Kandinsky’s non-objective oeuvre, it therefore helps to recognize the religious truths that the artist strove to impart in his works.

The essay dealt with the introduction of abstraction in painting, as it is crystallized in the work of the Russian artist Wassily Kandinsky. At a first level, an attempt is made to outline the era of modernity and the effect it exerts on artistic creation in the late 19th and early 20th century. The context of the main artistic currents is given in an attempt to understand and integrate Kandinsky’s work in his time while a parallel outline of his biographical and artistic development follows. Furthermore, the first artistic stimuli that inspire the Russian artist are examined in combination with the creation of the first artistic groups that he leads, as well as the approach of the path that led him to the adoption of abstraction as a basic means of expression. At the same time, the commentary of major paintings of his art is attempted in combination with his theoretical findings for the purpose and nature of the art of painting.
Keywords: Kandinsky, modernity, modernism, painting, expressionism, abstract art.


Aristotle University Thessaloniki - Coursework - Spring semester 2021