Vassily Kandinsky citations

Vassily Kandinsky , né à Moscou le 22 novembre 1866 et mort à Neuilly-sur-Seine, le 13 décembre 1944, est un peintre, graveur, théoricien de l’art, poète et dramaturge russe, naturalisé allemand puis français.

Considéré comme l’un des artistes les plus importants du XXe siècle aux côtés, notamment, de Picasso et de Matisse, il est l'un des fondateurs de l'art abstrait : il est généralement considéré comme étant l’auteur de la première œuvre non figurative de l’histoire de l’art moderne, une aquarelle de 1910 qui sera dite « abstrait, ». Certains historiens ou critiques d'art ont soupçonné Kandinsky d'avoir antidaté cette aquarelle pour s'assurer la paternité de l'abstraction, au motif qu'elle ressemble à une esquisse de sa Composition VII, de 1913.

Cette aquarelle, qui serait le premier tableau abstrait au monde, a soulevé controverses et discussions, et suscité bien des thèses contradictoires. Deux tendances s'opposent : celle qui la date réellement de 1910, et qui l'inclut dans une série d'études pour Composition VII, celle qui rejette cette datation et la rapproche des œuvres et du style de 1913. Plaident pour cette dernière thèse le format inhabituel et trop grand pour l'époque, et surtout une inscription tardive de cette œuvre dans le registre manuscrit que tient régulièrement Kandinsky à partir de 1919. Wikipedia  

✵ 4. décembre 1866 – 13. décembre 1944   •   Autres noms Василий Кандинский
Vassily Kandinsky photo
Vassily Kandinsky: 80   citations 0   J'aime

Vassily Kandinsky citations célèbres

Citations de l'âme de Vassily Kandinsky

Vassily Kandinsky: Citations en anglais

“Generally speaking, colour is a power which directly influences the soul. Colour is the keyboard, the eyes are the hammer, the soul is the strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul.”

V. The psychological working of Colour: Quoted in: Hajo Düchting (2000) Wassily Kandinsky, 1866-1944: A Revolution in Painting. p. 17
Alternative translation:
Colour is a means of exerting direct influence on the soul. Colour is the keyboard, the eyes are the hammers, the soul is the piano with many strings. The artist is the hands which plays touching one key or another purposively to cause vibrations in the Soul; in: Anna Moszynska, Abstract Art, Thames and Hudson, 1990
Source: 1910 - 1915, Concerning the Spiritual in Art, 1911

“The disharmoniousness (one might say, the negative rhythm) of the individual forms was that which primarily drew me, attracted me, during the period to which this watercolor belongs. The so-called rhythmic always comes on its own because in general the person himself is rhythmically built. Thus at least on the surface, the rhythmic is innate in people. Children, 'primitive' peoples, and laymen draw rhythmically..
In that period my soul was especially enchanted by the not-fitting-together of drawn and painterly form. Line serves the plane in that the former bounds the latter. And it makes my heart race in those cases when the independent plane springs over the confining line: line and plane are not in tune! It was this that produced a strong inner emotion in me, the inner 'ah!”

2 quotes from Kandinsky's letter to Hans Arp, November 1912; in Friedel, Wassily Kandinsky, p. 489; as cited in Negative Rhythm: Intersections Between Arp, Kandinsky, Münter, and Taeuber, Bibiana K. Obler (including transl. - Yale University Press, 2014
Kandinsky was trying to explain to Arp his state of mind when he made his sketch for 'Improvisation with Horses' https://upload.wikimedia.org/wikipedia/commons/c/ce/Wassily_Kandinsky_Cossacks_or_Cosaques_1910%E2%80%931.jpg, 1911, a watercolor belonging to Arp. Kandinsky had told Arp that he could have one of his pictures included in the 'Moderne Bund' (second) exhibition in Zurich, 1912, and this was the one Arp selected
1910 - 1915

“Paris [1933 - 1944] with its wonderful (intense soft) light had relaxed my palette — there were other colors, other entirely new forms, and some that I had used years earlier. Naturally I did all this unconsciously.”

Quote from his letter to Alfred Barr, Jr., 16 July, 1944; as cited in Vivian Endicott Barnett, et al., 'Kandinsky', exh. cat. [New York: Solomon R. Guggenheim Museum, 2009], p. 70
1930 - 1944

“Alors sempre avanti! (Ever Forward / Always Ahead)”

Quote from his letter from Paris to Paul Klee in Switzerland, 12 December 1939; 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

“First I will make different color tests: I will study the dark – deep blue, deep violet, deep dirty green, etc. Often I see the colors before my eyes. Sometimes I imitate with my lips the deep sounds of the trumpet – then I see various deep mixtures which the word is uncapable od conceiving and which the palette can only feebly reproduce.”

Quote in Kandinsky's letter to Gabriele Münter, 1915; 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. 16 note 54
1910 - 1915

“I have just finished one painting and am already at work on the preliminary drawings for the next one. I must do something in order to get rid of such habits or I won't manage to find time for any vacation. I have had this new painting in my mind since January, and must get it down on canvas.”

Quote from his letter to Freundlich, 15 July 15, 1938; as cited in Kandinsky in Paris: 1934-1944 - exhibition catalog, published by The Solomon K. Guggenheim Foundation, New York, 1985, p. 27
1930 - 1944

“The more freely abstract the form becomes, the purer, and also the more primitive it sounds. Therefore, in a composition in which corporeal elements are more or less superfluous, they can be more or less omitted and replaced by purely abstract forms, or by corporeal forms that have been completely abstracted... Here we are confronted by the question: Must we not then renounce the object altogether, throw it to the winds and instead lay bare the purely abstract? This is a question that naturally arises, the answer to which is at once indicated by an analysis of the concordance of the two elements of form (the objective and the abstract). Just as every word spoken (tree, sky, man) awakens an inner vibration, so too does every pictorially represented object. To deprive oneself of the possibility of this calling up vibrations would be to narrow one's arsenal of expressive means. At least, that is how it is today. But apart from today's answer, the above question receives the eternal answer to every question in art that begins with 'must.”

There is no 'must' in art, which is forever free.
Quote from: Kandinsky: Complete Writings on Art, eds. Kenneth C. Lindsay and Peter Vergo, 2 Vols. (transl. Peter Vergo); Boston: G.K. Hall & Co., (1982), p. 195; as cited in: Samet, Jennifer Sachs. Painterly Representation in New York, 1945-1975. Dissertation, The City University of New York, 2010. p. 25
1910 - 1915

“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.”

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

“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 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

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