Memo-2508

Type:

Bach Painting

Title:

Fuga

Description:

Szacunek Paula Klee dla matematycznego piękna polifonii zostaje w znacznym kontraście do Kandinskiego wczesnego entuzjazmu dla anarchicznej wolności muzyki atonalnej. Podczas, gdy Kandinsky uważał atonalność za analogiczną do abstrakcji w sztukach wizualnych, P.Klee przekształcał polifonię w abstrakcyjną obrazowa formę. Warto zaznaczyć, że zarówno polifonia, jak i atonalność w ścisły sposób powiązane były z „Wielkim Tematem”, do którego odnosili się zarówno wyżej wymienieni malarze, jak i mistrz polifonii J.J.Bach, Johannes Kepler i twórca atonalności Arnold Schonberg (o czym piszę w dalszej części mojej analizy).

Measures:

Kandinsky, in Fugue (Fuga) (1914), takes a different approach, perhaps reflecting his admiration for Arnold Schoenberg, while Klee preferred Bach and Mozart. Kandinsky emphasized swirling, dynamic, "dissonant" colors, lines, and textures in his search for an inner voice, and what he called "the spiritual in art." Here his more symphonic goal can be opposed to Klee's chamber-music-like painting. Kandinsky's earlier, non-objective paintings interestingly "emancipate the dissonance" in parallel to Schoenberg (with whom he corresponded for many years), as his later works use more geometry, consistent with the Austrian composer's development of the 12-tone system.

Creator:

Painter: Wassily Kandinsky
Year: 1914

Comments:

About the artist:
Born in Moscow in 1866, Kandinsky spent his early childhood in Odessa. His parents played the piano and the zither and Kandinsky himself learned the piano and cello at an early age. The influence of music in his paintings cannot be overstated, down to the names of his paintings Improvisations, Impressions, and Compositions. In 1886, he enrolled at the University of Moscow, chose to study law and economics, and after passing his examinations, lectured at the Moscow Faculty of Law. He enjoyed success not only as a teacher but also wrote extensively on spirituality, a subject that remained of great interest and ultimately exerted substantial influence in his work. In 1895 Kandinsky attended a French Impressionist exhibition where he saw Monet's Haystacks at Giverny. He stated, "It was from the catalog I learned this was a haystack. I was upset I had not recognized it. I also thought the painter had no right to paint in such an imprecise fashion. Dimly I was aware too that the object did not appear in the picture..." Soon thereafter, at the age of thirty, Kandinsky left Moscow and went to Munich to study life-drawing, sketching and anatomy, regarded then as basic for an artistic education.
Ironically, Kandinsky's work moved in a direction that was of much greater abstraction than that which was pioneered by the Impressionists. It was not long before his talent surpassed the constraints of art school and he began exploring his own ideas of painting - "I applied streaks and blobs of colors onto the canvas with a palette knife and I made them sing with all the intensity I could..." Now considered to be the founder of abstract art, his work was exhibited throughout Europe from 1903 onwards, and often caused controversy among the public, the art critics, and his contemporaries. An active participant in several of the most influential and controversial art movements of the 20th century, among them the Blue Rider which he founded along with Franz Marc and the Bauhaus which also attracted Klee, Lyonel Feininger (1871-1956), and Schonberg, Kandinsky continued to further express and define his form of art, both on canvas and in his theoretical writings. His reputation became firmly established in the United State s through numerous exhbitions and his work was introduced to Solomon Guggenheim, who became one of his most enthusiastic supporters.
In 1933, Kandinsky left Germany and settled near Paris, in Neuilly. The paintings from these later years were again the subject of controversy. Though out of favor with many of the patriarchs of Paris's artistic community, younger artists admired Kandinsky. His studio was visited regularly by Miro, Arp, Magnelli and Sophie Tauber.
Kandinsky continued painting almost until his death in June, 1944. his unrelenting quest for new forms which carried him to the very extremes of geometric abstraction have provided us with an unparalleled collection of abstract art.

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Source/Links: Ukryta Melodia. W poszukiwaniu dźwięku ćwiczenia z perspektywy | Juilliard - The Juilliard Journal Online | WebMuseum
Contributor: Teddy Kaufman (January 2008)