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Wassily Kandinsky: Black Lines ; Artist: Wassily Kandinsky (1866–1944) Alternative names: Василий Васильевич Кандинский, Vasilij ...
The two-metre-wide (6 ft 7 in) Yellow – red – blue (1925) of several main forms: a vertical yellow rectangle, an inclined red cross and a large dark blue circle; a multitude of straight (or sinuous) black lines, circular arcs, monochromatic circles and scattered, coloured checker-boards contribute to its delicate complexity. This simple ...
Gabriele Münter by Kandinsky, 1903. See also her portrait of him, 1906. [1] This is an incomplete list of paintings by the Russian artist Wassily Kandinsky (1866–1944). During his life, Kandinsky was associated with the art movements of Der Blaue Reiter, Expressionism and Abstract painting. Kandinsky is generally credited as the pioneer of ...
Vassily Kandinsky Vassily Kandinsky, Komposition V, 1911. One of the main challenges of creating a reverse glass painting is how layers are applied when painting. [6] An illustration of this type is usually painted on the opposite side of the glass (the one not presented to the audience), following an opposite succession of layers of paint, applying the front most layer first and the ...
Василий Васильевич Кандинский, Vasilij Vasiljevič Kandinskij, Vasilij Vasil'evič Kandinskij, Vassily Kandinsky Description Russian-Soviet painter, university teacher, art theorist, teacher, lawyer and illustrator
In his treatise, Kandinsky stated that Blavatsky began "one of the greatest spiritual movements which unites a great number of people and which also has established a material form of this spiritual phenomenon in the Theosophical Society." [107] He presented a long quotation from Blavatsky's book The Key to Theosophy:
Klänge, Wassily Kandinsky, 1912. Klänge (German; Sounds) is a book by the Russian expressionist artist Wassily Kandinsky.Published in an edition of 345 in Munich in late 1912, [1] [2] the work is a famous early example of an artist's book, containing both poems and woodcuts by the artist, forming two parallel strands, each involving a loose progression. [3]
Unusually for Kandinsky, who attached spiritual importance to color and geometric forms, the predominant color of the painting is black, which for him evoked the closure and end of things. On the black background float various geometric shapes, whose meaning is left to the viewer's appreciation.
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