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Titel: Kandinsky rond 1918 Auteur: H. Janssen ISBN: 9789040092718 Bindwijze: Paperback Aantal Pagina's: 48 Druk: 1 Uitgeverij: W-Books Publicatiedatum: Jan 1998 Breedte: 24 cm Lengte: 31 cm Hoogte: 1 cm Hans Janssen was jarenlang bij het Ministerie van Justitie de landelijk projectleider 'Huiselijk geweld'. Hij publiceerde enkele boeken, waaronder Als praten bij je werk hoort, Kinderen vragen om duidelijkheid en Vergaderen met beleid - het kan beter en leuker. Omstreeks 1914 vond in de moderne kunst een doorbraak plaats. In het werk van Mondriaan is dat bijvoorbeeld goed te zien. Een andere grote vernieuwen in deze periode is Kandinsky. In zijn schilderijen laat hij explosies van kleur ontstaan, waarin landschappen en symbolische voorstellingen geleidelijk aan geheel verdwijnen. Als een spectaculaire aanvulling op Mondriaan en op het werk van Kandinsky uit de eigen collectie heeft het Gemeentemuseum Den Haag met behulp van Russische verzamelingen een bijzondere tentoonstelling samengesteld met schilderijen van Kandinsky uit de periode 1908-1919, waaronder twee beroemde werken uit 1913 van zeer groot formaat: Compositie VI en Compositie VII (195 x 300 cm). In de begeleidende publicatie worden, na een inleidende tekst, alle tentoongestelde werken in kleur afgebeeld en toegelicht. Titel: Kandinsky Auteur: H. Duchting Bindwijze: Hardcover ISBN: 9789461060082 Druk: 1 Aantel paginas: 96 Wassily Wassilyevich was a Russian painter and art theorist. Kandinsky is generally credited as one of the pioneers of abstraction in western art, possibly after Hilma af Klint. Born in Moscow, he spent his childhood in Odessa, where he graduated at Grekov Odessa Art school. He enrolled at the University of Moscow, studying law and economics. Successful in his profession—he was offered a professorship (chair of Roman Law) at the University of Dorpat (today Tartu, Estonia)—Kandinsky began painting studies (life-drawing, sketching and anatomy) at the age of 30. In 1896, Kandinsky settled in Munich, studying first at Anton Ažbe's private school and then at the Academy of Fine Arts. He returned to Moscow in 1914, after the outbreak of World War I. Following the Russian Revolution, Kandinsky "became an insider in the cultural administration of Anatoly Lunacharsky" and helped establish the Museum of the Culture of Painting. However, by then "his spiritual outlook... was foreign to the argumentative materialism of Soviet society", and opportunities beckoned in Germany, to which he returned in 1920. 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 for the rest of his life, becoming a French citizen in 1939 and producing some of his most prominent art. He died in Neuilly-sur-Seine in 1944, three days prior to his 78th birthday. Artistic periods Kandinsky's creation of abstract work followed a long period of development and maturation of intense thought based on his artistic experiences. He called this devotion to inner beauty, fervor of spirit, and spiritual desire inner necessity; it was a central aspect of his art. Some art historians suggest that Kandinsky's passion for Abstract art began when one day, coming back home, he found one of his own paintings hanging upside down in his studio, and he stared at it for a while before realizing it was his own work, suggesting him the potential power of abstraction. In 1896, at the age of 30, Kandinsky gave up a promising career teaching law and economics to enroll in the Munich Academy where his teachers would eventually include Franz von Stuck. He was not immediately granted admission, and began learning art on his own. That same year, before leaving Moscow, he saw an exhibit of paintings by Monet. He was particularly taken with the impressionistic style of Haystacks; this, to him, had a powerful sense of colour almost independent of the objects themselves. Later, he would write about this experience: That it was a haystack the catalogue informed me. I could not recognise it. This non-recognition was painful to me. I considered that the painter had no right to paint indistinctly. I dully felt that the object of the painting was missing. And I noticed with surprise and confusion that the picture not only gripped me, but impressed itself ineradicably on my memory. Painting took on a fairy-tale power and splendour. Kandinsky was similarly influenced during this period by Richard Wagner's Lohengrin which, he felt, pushed the limits of music and melody beyond standard lyricism. He was also spiritually influenced by Madame Blavatsky (1831–1891), the best-known exponent of theosophy. Theosophical theory postulates that creation is a geometrical progression, beginning with a single point. The creative aspect of the form is expressed by a descending series of circles, triangles, and squares. Kandinsky's book Concerning the Spiritual in Art (1910) and Point and Line to Plane (1926) echoed this theosophical tenet. Illustrations by John Varley in Thought-Forms (1901) influenced him visually.
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