Wassily Kandinsky: Trending quotes (page 3)

“Mystery, speaking through mysteries. Insn't that meaning? Isn't that the conscious or unconsciousnes purpose of the compulsive urge to create?”

Wassily Kandinsky

Quote, c. 1910; as cited by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, p. 112
1910 - 1915

“.. emotion that I experienced on first seeing the fresh paint come out of the tube.... the impression of colours strewn over the palette: of colours – alive, waiting, as yet unseen and hidden in their little tubes..”

Wassily Kandinsky

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

Waiting , Painting

“Opposites and contradictions, that is our harmony.”

Wassily Kandinsky

German original: Gegensätze und Widerspruche, dass ist unsere Harmonie.
short quote, 1911; as cited in schönberg and Kandinsky: An Historic Encounter, by Klaus Kropfinger; ed. Konrad Boehmer; published by Routledge (imprint of Taylor & Francis, an informal company), 2003, p. 9, note 1
1910 - 1915

“In your [ composer Schönberg's ] works, you have realized what I, albeit in uncertain form, have so greatly longed for in music. The independent progress through their own destinies, the independent life of the individual voices in your compositions, is exactly what I am trying to find in my painting.”

Wassily Kandinsky

in his 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
Kandinsky visited a concert with music of Schönberg on 11 Jan. 1911 with Franz Marc, Alexej von Jawlensky, Gabriele Münter and others; they played compositions, Schönberg wrote in 1907 and 1909: his second string quartet and the 'Three piano pieces'
1910 - 1915

Life , Music , Painting

“.. the works of Mozart. They create a welcome pause amidst the storms of our inner life, a vision of consolation and hope, but we hear them like sounds of another, vanished and essential unfamiliar age. Clashing discords, loss of equilibrium..”

Wassily Kandinsky

Quote from: On the Spiritual in Art, 1911; as cited in Schönberg and Kandinsky: An Historic Encounter, by Klaus Kropfinger; edited by Konrad Boehmer; published by Routledge (imprint of Taylor & Francis, an informal company), 2003, p. 17
1910 - 1915

Life , Age , Hope , Loss

“The geometric point is an invisible thing. Therefore, it must be defined as an incorporeal thing. Considered in terms of substance, it equals zero… Thus we look upon the geometric point as the ultimate and most singular union of silence and speech. The geometric point has, therefore, been given its material form, in the first instance, in writing. It belongs to language and signifies silence.”

Wassily Kandinsky

1920 - 1930, Point and line to plane, 1926

Silence

“Every phenomenon can be experienced in two ways. These two ways are not arbitrary, but are bound up with the phenomenon – developing out of its nature and characteristics : Externally – or – inwardly.”

Wassily Kandinsky

1920 - 1930, Point and line to plane, 1926

Way , Nature

“Approaching it in one way, I see no essential difference between a line one calls 'abstract' and a 'fish'. But rather an essential likeness. This isolated line and the isolated fish alike are living beings with forces peculiar to them, though latent. They are forces of expression for these beings and of expression on human beings, because each has an impressive 'look' which manifests itself by its expression. But the voice of these latent forces is faint and limited. It is the environment of the line and the fish that brings about a miracle: the latent forces awaken, the expression becomes radiant… The environment is the composition. The composition is the organized sum of the interior functions (expressions) of every part of the work.”

Wassily Kandinsky

Quote of Kandinsky, in Paris, March 1935; as cited in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 451
1930 - 1944

Way , Fish , Parting

“The destruction of the atom [the split of it, in modern physics] seemed to me to be the same as the destruction of the world.... science to me appeared to be dead: its most important basis was only a lunacy, a mistake perpetrated by learned men.... who blindly mistook one object for another.”

Wassily Kandinsky

Source: 1916 -1920, Autobiography', 1918, p. 16

Men , World , Learning , Appearance

“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. Efforts to revive the art-principles of the past will at best produce an art that is still-born. It is impossible for us to live and feel, as did the ancient Greeks. In the same way those who strive to follow the Greek methods in sculpture achieve only a similarity of form, the work remaining soulless for all time. Such imitation is mere aping. Externally the monkey completely resembles a human being; he will sit holding a book in front of his nose, and turn over the pages with a thoughtful aspect, but his actions have for him no real meaning.”

Wassily Kandinsky

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

Books , Age , Art , Way

“[Art is].. the mysterious expression of the mysterious..”

Wassily Kandinsky

Source: 1916 -1920, Autobiography', 1918, p. 17

Art

“[Their] things [works of Die Brücke-artists] must be exhibited. But I think it is incorrect to immortalize them in the document [Almanac] of our modern art (and, this is what our book ought to be) or as a more or less decisive, leading factor. At any rate I am against large reproductions”

Wassily Kandinsky

of Die Brücke paintings in The Blaue Reiter Almanac
Quote from his letter to Franz Marc, 2 Febr. 1912, as cited in 'Lankheit 20'; quoted in Movement, Manifesto, Melee: The Modernist Group, 1910-1914, Milton A. Cohen, Lexington Books, Sep 14, 2004, p. 71
1910 - 1915

Books , Art , Thinking , Decision

“.. I let myself go.. [in Kandinsky's Murnau-period when he was painting in open air; c. 1908 – 1914] I thought little of the houses and trees, but applied colour stripes and spots to the canvas with the knife and made them sing out as strongly as I could. Within me sounded the memory of early evening in Moscow, before my eyes was the strong, colour-saturated scale of the Munich light and atmosphere, which thundered deeply in the shadows.”

Wassily Kandinsky

'..stripes and spots with the knife', as he learned then also Gabriele Münter - they frequently painted together in open air
Source: 1916 -1920, Autobiography', 1918, p. 31

Tree , Light , Strong , Memory

“I would love to paint a large landscape of Moscow — taking elements from everywhere and combining them into a single picture—weak and strong parts, mixing everything together in the same way as the world is mixed of different elements. It must be like an orchestra... Suddenly I felt that my old dream was closer to coming true. You know that I dreamed of painting a big picture expressing joy, the happiness of life and the universe. Suddenly I feel the harmony of colors and forms that come from this world of joy.”

Wassily Kandinsky

Quote from Kandinsky's letter to Gabriele Münter, June 1916; as cited in lrike Becks-Malorny, Wassily Kandinsky, 1866–1944: The Journey to Abstraction [Cologne: Taschen, 1999], pp. 115, 118
Kandinsky left Münter and Murnau in 1914, because the first World War started and Kandinsky had a Russian nationality
1916 -1920

Love , Life , World , Dreams

“The impressions we receive, which often appear merely chaotic, consist of three elements; the impression of the color of the object, its form, and of its combined color and form, i. e., of the object itself. At this point the individuality of the artist comes to the front and disposes, as he wills, these three elements. It is clear, therefore, that the choice of object (i. e., of one of the elements in the harmony of form) must be decided only by a corresponding vibration in the human soul..”

Wassily Kandinsky

Quote of Kandinsky, Munich, 1910; as cited in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 450
1910 - 1915

Color , Soul , Appearance

“We can only assert here, with especial satisfaction, that Gabriele Münters talent, robust, rooted in an inward strength and sensitivity, in fact genuinely German, should in no circumstances be assessed as masculin, or as 'quasi-masculine'. This talent – and we emphasize it, once more, with great satisfaction – can only be described as exclusively and purely feminine… Gabriele Münter doesn't paint feminine subjects, she does not work with feminine materials, and does not permit herself any feminine coquetry. Their are neither raptures, nor agreeable exterior elegance, nor appealing weaknesses to be found here.”

Wassily Kandinsky

Quote of Kandinsky, in the introduction of an exhibition-catalog 'Neue Künstlervereinigung', 1913, Munich; as cited by , in Expressionism; Praeger Publishers, New York, 1973, p. 119-120
1910 - 1915

Painting

“An empty canvas is a living wonder - far lovelier than certain pictures.”

Wassily Kandinsky

Quoted in: Myfanwy Evans Piper (1937) The Painter's Object. p. 53
1930 - 1944

“[looking back] I was unable to invent forms, and the sights of such forms always disgusts me. All the forms I ever used came of their own accord, they presented themselves to me already shaped, all I had to do was coy them, or else they took shape while I worked, often surprising me... I have trained myself not simply to let myself go, but to put reins on the power that works within me, and to guide it.”

Wassily Kandinsky

as quoted by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, p. 109
undated quotes

Training

“At an unknown hour, from a source that is still sealed to us, but inexorable, the Work comes into the world. Cold calculations, splashes leaping up without plan, mathematically accurate construction (laid bare or concealed) silent, screaming drawing, scrupulous finish, colour in fanfares or played pianissimo on the strings, large, serene, cradling, fragmented planes. Isn’t that a Form? Aren't those the means?
Suffering, seeking, tormented souls with a deep fissure, caused by the collision of the spiritual with the material... Shame on him who turns his soul's ear away from the mouth of art. A human being speaks to human beings about the superhuman – the language of art.”

Wassily Kandinsky

Quote of Kandinsky, from the catalog of the second exhibition of the 'Neue Künstlervereinigung', München, August, 1910; as cited by de:Wolf-Dieter Dube, in Expressionism; Praeger Publishers, New York, 1973, p. 95
1910 - 1915

World , Art , Soul , Mathematics

“But let us not speak anymore of books and theories on paper. Now then, did you see my exhibition? As you may remember, 1 gathered in 'Cahiers d'Art' ten very recent paintings, twenty-five gouaches and watercolors, also recent, and twenty-eight drawings that span the period from 1910-1934. In the majority of the compositions on canvas I used a sand technique more or less consistently.... but I usually don't distinguish between traditional oil painting, gouache, tempera and watercolor, and I even simultaneously use the various techniques in the same work. What is essential for me is to be able to clearly convey what I want, to recount my dream. / consider both technique and form to be mere instruments of expression, and my stories, furthermore, are not narrative or historical in character, but purely pictorial.”

Wassily Kandinsky

From an interview, 28 July 1935, in the Italian daily newspaper 'Lavoro fascista'; as quoted in Kandinsky in Paris: 1934-1944 - exhibition catalog, published by The Solomon K. Guggenheim Foundation, New York, 1985, p. 30
1930 - 1944

Books , Dreams , Drawing , Painting