Wassily Kandinsky: Trending quotes (page 2)

“Well, we will indeed see how things develop and what will become of our art! In any case, artists should remain apolitical and only think of their work and dedicate all their energies to this work.”

Wassily Kandinsky

to Werner Drewes, 10 April 1933; as quoted in 'Klee & Kandinsky', 2015 exhibition text, Lenbachhaus und Kunstbau Munich, 2015-2016 https://www.zpk.org/en/exhibitions/review_0/2015/klee-kandinsky-969.html
both were closely connected with the Bauhaus, closed by the Nazi-regime in 1933
1930 - 1944

Art , Thinking

“The geometric line is an invisible thing. It is the track made by the moving point; that is, its product. It is created by movement – specifically through the destruction of the intense self-contained repose of the point. Here, the leap out of the static to the dynamic occurs. […] The forces coming from without which transform the point into a line, can be very diverse. The variation in lines depends upon the number of these forces and upon their combinations.”

Wassily Kandinsky

1920 - 1930, Point and line to plane, 1926

Dependency

“There is, however, in art another kind of external similarity which is founded on a fundamental truth. When there is a similarity of inner tendency in the whole moral and spiritual atmosphere, a similarity of ideals, at first closely pursued but later lost to sight, a similarity in the inner feeling of any one period to that of another, the logical result will be a revival of the external forms which served to express those inner feelings in an earlier age.”

Wassily Kandinsky

I. Kandinsky's introduction
1910 - 1915, Concerning the Spiritual in Art, 1911

Truth , Age , Art , Feeling

“Nor, on the other hand, are there any masculine charms [in Gabriele Münter's work] either: no 'sinewy brushwork', no heaps of paint, 'hurled on to the canvas'. The pictures are painted throughout with a delicately and correctly sensed measure of external strength, with not a trace of feminine or masculine coquetry in the 'making'. We could almost say that they are painted modestly; i. e. that they were inspired, not by a desire for outward display, but by a purely inward compulsion.”

Wassily Kandinsky

Quote of Kandinsky, 1913; in the introduction of an exhibition-catalog 'Neue Künstlervereinigung', Munich; as cited by , in Expressionism; Praeger Publishers, New York, 1973, p. 120
1910 - 1915

Sense , Painting

“The work of art is born of the artist in a mysterious and secret way. From him it gains life and being. Nor is its existence casual and inconsequent, but it has a definite and purposeful strength, alike in its material and spiritual life.”

Wassily Kandinsky

VIII. Art and Artists
1910 - 1915, Concerning the Spiritual in Art, 1911

Life , Secret , Art , Way

“.. the long Russian word for creation: 'proisvedenie' - so different from its shorter counterparts in English, French and German - expresses for me the whole history and process of creation, lengthy, mysterious, infinitely complex and foreshadowed by divine predestination.”

Wassily Kandinsky

footnote, p. 15
1916 -1920, Autobiography', 1918

History

“At the moment there is a great tendency in painting to discover the 'new' harmony by constructive means whereby the rhythmic is built on an almost geometric form... I am certain that our own modern harmony is not to be found in the 'geometric' way, but rather in the anti-geometric, anti-logical way. And this way is that of 'dissonance in art', in painting, therefore, just as much as in music. And 'today's' dissonance in painting and music is merely the consonance of 'tomorrow.”

Wassily Kandinsky

Quote in Kandinsky's letter to Arnold Schönberg, 18 Jan. 1911; as cited in Schonberg and Kandinsky: An Historic Encounter, by Klaus Kropfinger; edited by Konrad Boehmer; published by Routledge (imprint of Taylor & Francis, an informal company), 2003, p. 9
1910 - 1915

Art , Music , Way , Painting

“All means are sacred when they are dictated by inner necessity. All means are reprehensible when they do not spring from the fountain of inner necessity… The artist must be blind to 'recognized' and 'unrecognized' form, deaf to the teachings and desires of his time. His open eyes must be directed to his inner life and his ears must be constantly attuned to the voice of inner necessity.”

Wassily Kandinsky

Quoted in: Sunil Goonasekera (1991) George Keyt, Interpretations. p. 146
Talking about the means in painting
1910 - 1915, Concerning the Spiritual in Art, 1911

Life , Spring , Time

“The more abstract is form, the more clear and direct is its appeal. In any composition the material side may be more or less omitted in proportion as the forms used are more or less material, and for them substituted pure abstractions, or largely dematerialized objects. The more an artist uses these abstracted forms, the deeper and more confidently will he advance into the kingdom of the abstract. And after him will follow the gazer at his pictures, who also will have gradually acquired a greater familiarity with the language of that kingdom.
Must we then abandon utterly all material objects and paint solely in abstractions? The problem of harmonizing the appeal of the material and the non-material shows us the answer to this question. As every word spoken rouses an inner vibration, so likewise does every object represented. To deprive oneself of this possibility is to limit one's powers of expression. That is at any rate the case at present. But besides this answer to the question, there is another, and one which art can always employ to any question beginning with "must": There is no "must" in art, because art is free.”

Wassily Kandinsky

VI. The language of Form and Colour
1910 - 1915, Concerning the Spiritual in Art, 1911

Art , Confidence , Question , Problem

“We do not want to leave Germany forever. Something I would not be able to manage at all, since my roots sit too deep in German soil.”

Wassily Kandinsky

Wassily Kandinsky to Will Grohmann, 4 Dec. 1933; as quoted in 'Klee & Kandinsky', 2015 exhibition text, Lenbachhaus und Kunstbau Munich, 2015-2016 https://www.zpk.org/en/exhibitions/review_0/2015/klee-kandinsky-969.html
1930 - 1944

“Content is nothing but the sum of organized tensions. From this point of view one can discover the basic identity of the rules of composition in all arts – always accepting that the arts can only represent their object materially by means of organised reactions.... already today one can safely assume that the roots of laws of composition are the same for art as they are for nature.”

Wassily Kandinsky

Quote from: 'Analysis of the Primary Elements of Painting', W. Kandinsky, 1928
1920 - 1930

Law , Art , Nature

“Painting is a thundering conflict of different worlds, which in and out of the battle with one another are intended to create the new world, which is called the world of art. Each work arises technically in a way similar to that in which the cosmos arose – through catastrophes, which from the chaotic roaring of the instruments finally create a symphony, the music of the spheres. The creation of the work is the creation of worlds.”

Wassily Kandinsky

Source: 1916 -1920, Autobiography', 1918, p. 34

World , Art , Music , Way

“I thought that the painter had no right to paint so unclearly....(but) the first faint doubt as to the importance of an 'object' as the necessary element in painting.”

Wassily Kandinsky

Kandinsky is remembering his experience that he saw one of the 'Haystack' paintings of Monet, for the first time in his life, in Moscow (1895)
Source: 1916 -1920, Autobiography', 1918, p. 10

Painting

“[ Schoenberg's ] music leads us into a realm where musical experience is a matter not of the ear but of the soul alone, and at this point the music of the future begins.”

Wassily Kandinsky

Quote of Kandinsky, 1911; in Concerning the Spiritual in Art, transl. Michael T. Sadler (1914); reprint. New York: Dover, 1977), p. 17
1910 - 1915

Music , Soul , Future

“If until now colour and form were used as inner agents, it was mainly done subconsciously. The subordination of composition to geometrical form is no new idea (cf. the art of the Persians). Construction on a purely spiritual basis is a slow business, and at first seemingly blind and unmethodical. The artist must train not only his eye but also his soul, so that it can weigh colours in its own scale and thus become a determinant in artistic creation. If we begin at once to break the bonds that bind us to nature and to devote ourselves purely to combination of pure colour and independent form, we shall produce works that are mere geometric decoration, resembling something like a necktie or a carpet. Beauty of form and colour is no sufficient aim by itself, despite the assertions of pure aesthetes or even of naturalists obsessed with the idea of "beauty". It is because our painting is still at an elementary stage that we are so little able to be moved by wholly autonomous colour and form composition. The nerve vibrations are there (as we feel when confronted by applied art), but they get no farther than the nerves because the corresponding vibrations of the spirit which they call forth are weak. When we remember however, that spiritual experience is quickening, that positive science, the firmest basis of human thought is tottering, that dissolution of matter is imminent, we have reason to hope that the hour of pure composition is not far away. The first stage has arrived.”

Wassily Kandinsky

Quote from Concerning the Spiritual in Art, Wassily Kandinsky, Munich, 1912; as cited in Kandinsky, Frank Whitford, Paul Hamlyn Ltd, London 1967, p. 15
1910 - 1915

Beauty , Hope , Art , Feeling

“In many ways art is similar to religion. Its development consists not in new discoveries which invalidate the old truths (as is obviously the case in science). Its development consists in sudden illuminations, similar to lightning, in explosions, which burst in the sky like fireworks.... this illumination shows with blinding light new perspectives, new truths, which are basically nothing but the organic development, the further organic growth of the earlier wisdom... Was the New Testament possible without the Old? Could our time, that of the threshold of the 'third' revelation, be thinkable without the second?”

Wassily Kandinsky

Source: 1916 -1920, Autobiography', 1918, p. 33

Wisdom , Truth , Religion , Art

“Since the form is only an expression of the content and the content is different with different artists, it is then clear that there can be many different forms at the same time which are equally good. Necessity creates the form. Fish which live at great depths have no eyes. The elephant has a trunk. The chameleon changes its color, and so forth.”

Wassily Kandinsky

1910 - 1915, On the Problem of Form (1912)

Color , Fish , Change , Time

“The first colours which made a strong impression on me were light juice green, white, crimson red, black and yellow ocher. These memories go back to the third year of my life. I saw these colours on various objects [houses and roofs, in Russia] which are not as clear in my mind as the colours themselves.”

Wassily Kandinsky

Source: 1916 -1920, Autobiography', 1918, p. 9

Life , Light , Strong , Memory

“At the Bauhaus, Klee exuded a healthy, generative atmosphere – as a great artist and as a lucid, pure human being.”

Wassily Kandinsky

Quote of Kandinsky, from Bauhaus - Zeitschrift für Gestaltung, no. 3, 1931; as cited in 'Klee & Kandinsky', 2015 exhibition text, Lenbachhaus und Kunstbau Munich, 2015-2016 https://www.zpk.org/en/exhibitions/review_0/2015/klee-kandinsky-969.html
1930 - 1944

“We [ Franz Marc & Kandinsky] thought up the name [ Der Blaue Reiter (Blue Rider)] while sitting at a cafe table... Both of us were fond of blue things, [Franz] Marc of blue horses, and I of blue riders. So the title suggested itself.”

Wassily Kandinsky

as quoted in Wassily Kandinsky: Life and Work, Will Grohmann. H. N. Abrams, 1958 p. 78
1920 - 1930

Horse