Kandinsky by Mikhaïl Guerman
Author:Mikhaïl Guerman [Guerman, Mikhaïl]
Language: eng
Format: epub, pdf
ISBN: 9781783104192
Publisher: Parkstone International
Blue Comb, 1917.
Grey Oval, 1917. Oil on canvas, 104 x 134 cm,
Picture Gallery, Ekaterinburg.
Narrow, you know, grey, light-colored,” says Natasha Rostova of another character in War and Peace. Of Pierre, she comments: “[H]e’s blue, dark blue and red, and he’s quadrangular.”[30] All these things had lived in consciousness, had been fleetingly glimpsed in art, but as something strange, “other,” something still awaiting a genuine artistic discovery.
And in mid-1910 Kandinsky brought a cyclopean and hitherto unseen universe crashing down onto the artistic consciousness of viewers and his own colleagues. Up until this time there had been very little abstract painting. Malevich’s experiments for the most part were interpreted as artistic manifestos rather than the emotional plasma, the visual lava, of modernist culture. It was from the paintings of Vasily Kandinsky that this lava was pouring forth.
His early non-figurative compositions were by no means greeted as a joyous revelation (even the sunny and artless Impressionists were accepted slowly and unwillingly, after a number of scandals). These works were as piquant and unusual (forgive us for the comparison) as the first spices, the first opium, hops and tobacco smoke. They were as the first rhymes, the first organ and the first moving picture. They were what people had lived without for ages; but, once they had experienced these new sensations, they began to wonder how it was that they had lived without them before. Non-figurative paintings provided art with a new environment: now that it was able to demonstrate and to comprehend its naive weaknesses, as well as its eternal prerogatives, figurative art began to exist as an ever-present alternative.
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