Punto Linea Superficie Kandinsky Pdf
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'I had the impression that here painting itself comes to the foreground; I wondered if it would not be possible to go further in this direction.' Thus did the young Russian painter Wassily Kandinsky (1866–1944) react to his first viewing of Monet's Haystack, included in an 1895 Moscow exhibit of French Impressionists. It was his first perception of the dematerialization of 'I had the impression that here painting itself comes to the foreground; I wondered if it would not be possible to go further in this direction.' Thus did the young Russian painter Wassily Kandinsky (1866–1944) react to his first viewing of Monet's Haystack, included in an 1895 Moscow exhibit of French Impressionists. It was his first perception of the dematerialization of an object and presaged the later development of his influential theories of non-objective art.
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During study and travel in Europe, the young artist breathed the heady atmosphere of artistic experimentation. Fauvism, Cubism, Symbolism, and other movements played an important role in the development of his own revolutionary approach to painting. Decrying literal representation, Kandinsky emphasized instead the importance of form, color, rhythm, and the artist's inner need in expressing reality. In Point and Line to Plane, one of the most influential books in 20th-century art, Kandinsky presents a detailed exposition of the inner dynamics of non-objective painting. Relying on his own unique terminology, he develops the idea of point as the 'proto-element' of painting, the role of point in nature, music, and other art, and the combination of point and line that results in a unique visual language. He then turns to an absorbing discussion of line — the influence of force on line, lyric and dramatic qualities, and the translation of various phenomena into forms of linear expression. With profound artistic insight, Kandinsky points out the organic relationship of the elements of painting, touching on the role of texture, the element of time, and the relationship of all these elements to the basic material plane called upon to receive the content of a work of art.
Originally published in 1926, this essay represents the mature flowering of ideas first expressed in Kandinsky's earlier seminal book, Concerning the Spiritual in Art. As an influential member of the Bauhaus school and a leading theoretician of abstract expressionism, Kandinsky helped formulate the modern artistic temperament.
This book amply demonstrates the importance of his contribution and its profound effect on 20th-century art. This review has been hidden because it contains spoilers. To view it, Absolutely awful.
One of the worst books I've ever read. Kandinsky's writing is extremely weak, with numerous undefined terms (especially 'tension', 'sound' and 'temperature' as they relate to graphic objects), and an abundance of unsupported claims. For example, The most objective of the three typical angles is the right angle, which also is the coldest. It divides the square plane into exactly 4 parts. The acute angle is the tensest as well as the warmest.
It cuts the plane into exactly eight p Absolutely awful. One of the worst books I've ever read. Kandinsky's writing is extremely weak, with numerous undefined terms (especially 'tension', 'sound' and 'temperature' as they relate to graphic objects), and an abundance of unsupported claims. For example, The most objective of the three typical angles is the right angle, which also is the coldest.
It divides the square plane into exactly 4 parts. The acute angle is the tensest as well as the warmest. It cuts the plane into exactly eight parts. And At the moment the point is moved from the center of the basic plane - eccentric structure - the double sound becomes audible: 1. Absolute sound of the point, 2.
Sound of the given location in the basic plane. This second sound, which in the case of the centric structure was almost silenced, again becomes distinct and transforms the sound of the point from the absolute to the relative. I'm a mathematician and an art creator, so perhaps this kind of pseudo-mathematical writing disturbs me more than it would others. It's a great disappointment, since I revere much of Kandinsky's art. I really struggled to grind through this. Kandinsky is one of my favorite artists, and I'm fascinated by his pivitol role in the transition he made from representational to abstract art.
That said, the book is a real slog through an early attempt to create a language and system for creating abstract art. At least to me it was mostly impenetrable. There are some good parts - when he compares abstract art to music.
Lots of music is abstract. No one says, 'I just don't get it,' when they hear a wor I really struggled to grind through this.
Punto Linea Superficie Kandinsky Pdf
Kandinsky is one of my favorite artists, and I'm fascinated by his pivitol role in the transition he made from representational to abstract art. That said, the book is a real slog through an early attempt to create a language and system for creating abstract art. At least to me it was mostly impenetrable. There are some good parts - when he compares abstract art to music. Lots of music is abstract. No one says, 'I just don't get it,' when they hear a work of music without words or specific meaning. They just enjoy it, or don't.
Why not the same for art? I highlighted three things in the book that were meaningful to me. If these get you going, you might want to read it.
A lot of the book addresses the idea about tension between elements as being a key factor in an artwork. Tension is a term my mentor/teacher uses and which I have struggled to understand. Here are Kandinsky's quotes: ONE 'In fact no materializing of external forms expresses the content of a work of painting, but rather the forces = tensions which are alive within it. If by some magic command these tensions were to disappear or to expire, the work, which is alive at that very instant, would die.
On the other hand, every accidental grouping of several forms could be called a work of art. The content of a work of art finds its expression in the composition: that is, in the sum of the tensions inwardly organized for the work.' TWO: 'This is the straight line whose tension represents the most concise form of the potentiality for endless movement. For the concept 'Movement' which is used almost everywhere, I have substituted the term 'Tension.' The customary term is inexact and thereby leads us down the wrong roads and is the cause of further terminological misconceptions. 'Tension' is the force living within the element and represents only one part of the creative 'movement.' The second part is the 'direction.'
Which is also determined by the 'movement.' The elements of painting are material results of movement in the form 1.
Of the tension, and 2. Of the direction.'
THREE: in the chapter on Plane,: 'It must only be mentioned here that abstract art must reckon with a more precise form that representative art, and that the pure question of form is in the first case essential and in the second, very often immaterial.' Beyond those three quotes, I have to say the book was too dense for me. It is interesting to contemplate how WK thought he was at the very dawn of a new age of art (he was) and that the future would hold much more investigation of the elements he laid out. (either it didn't or I don't know about it). I'm sure someone somewhere has followed in his footsteps, but that direction never became the mainstream of abstract art. Read alongside.
These two books take diametrically opposite, and supplementary approaches. Point and Line to Plane is primarily a priori and Abstraction in Art and Nature a posteriori. They benefit from being read together. Unlike Abstraction in Art and Nature, this derives formal relationship through a quasi-axiomatic method, using the most elementary visual primitives. Kandinsky attempts to derive and relate intuitive and emotional responses to these forms.
He gen Read alongside. These two books take diametrically opposite, and supplementary approaches. Point and Line to Plane is primarily a priori and Abstraction in Art and Nature a posteriori. They benefit from being read together. Unlike Abstraction in Art and Nature, this derives formal relationship through a quasi-axiomatic method, using the most elementary visual primitives. Kandinsky attempts to derive and relate intuitive and emotional responses to these forms. He generally does not use examples from the 'material realm'.
This may be off putting to artists who never work with, say, triangles or straight lines, or those whose approach is entirely intuitive. I think its strength lies in the way it looks at correspondences and analogies between colors, diagonals, clusters of points and so on. For example, yellow is a 'hotter' and 'sharper' color than blue, and a triangle is a 'sharper' and 'hotter' shape than a circle.
So in a composition, a triangular shape can be augmented by coloring it yellow, and given a softened, and mixed character by coloring it blue. So you can use awareness of these kinds of correspondences to vary the emotional and compositional characteristics of a visual work. This book reads like Kandinsky is on drugs. Don't get me wrong, I love his writings on religion, painting, and interdisciplinary arts. But in this particular book he waxes on about dots and lines.
Despite his stretching the concepts of dots and lines, there is a certain amount of truth in it. If you'd to hear an eccentric Russian talk about dots and lines, this is the book for you. Here's a taste with just one paragraph (of hundreds) with Kandinsky talking about dots. 'The point's external conce This book reads like Kandinsky is on drugs. Don't get me wrong, I love his writings on religion, painting, and interdisciplinary arts. But in this particular book he waxes on about dots and lines. Despite his stretching the concepts of dots and lines, there is a certain amount of truth in it.
If you'd to hear an eccentric Russian talk about dots and lines, this is the book for you. Here's a taste with just one paragraph (of hundreds) with Kandinsky talking about dots. 'The point's external concept in painting is not precise. The invisible geometric point must assume a proportion when materialized, so as to occupy a certain area of the plane. In addition, it must have certain boundaries or outlines to separate it from its surroundings.'
And Kandinsky's first paragraph about many on the line: '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 into the dynamic occurs.' I would have liked to hear Kandinsky talk.
I'm thankful that I was able to get this book at the Oak Park book fair. Wassily Wassilyevich Kandinsky was a Russian painter, and Art theorist.
He is credited with painting the first modern abstract works. Born in Moscow, Kandinsky spent his childhood in Odessa. He enrolled at the University of Moscow and chose to study law and economics.
Quite successful in his profession—he was offered a professorship (chair of Roman Law) at the University of Dorpat—he started painti Wassily Wassilyevich Kandinsky was a Russian painter, and Art theorist. He is credited with painting the first modern abstract works. Born in Moscow, Kandinsky spent his childhood in Odessa. He enrolled at the University of Moscow and chose to study law and economics. Quite successful in his profession—he was offered a professorship (chair of Roman Law) at the University of Dorpat—he started painting studies (life-drawing, sketching and anatomy) at the age of 30. In 1896 he settled in Munich and studied first in the private school of Anton Ažbe and then at the Academy of Fine Arts, Munich. He went back to Moscow in 1914 after World War I started.
He was unsympathetic to the official theories on art in Moscow and returned to Germany in 1921. There he taught at the Bauhaus school of art and architecture from 1922 until the Nazis closed it in 1933. He then moved to France where he lived the rest of his life, and became a French citizen in 1939.
He died at Neuilly-sur-Seine in 1944.