Concerning the Spiritual in Art by Wassily Kandinsky

Concerning the Spiritual in Art

A pioneering work in the movement to free art from its traditional bonds to material reality, this book is one of the most important documents in the history of modern art. Written by the famous nonobjective painter Wassily Kandinsky (1866–1944), it explains Kandinsky's own theory of painting and crystallizes the ideas that were influencing many other modern artists of the...

Title:Concerning the Spiritual in Art
Author:
Rating:
Edition Language:English

Concerning the Spiritual in Art Reviews

  • Ridgely

    What saves this book is superlative phrase-turning and humor, intended or otherwise. If you've ever been tempted to bronze your subjective aesthetic and mount it in the museum between philosophy and science, this will be there to remind you how nearly impossible it is to pull off. Kandinsky couldn't do it and neither can you. I mean he sets forth to launch a theory of color analogized to harmonics, but what really comes through is an abiding disdain for yellow, coupled with a love letter to blue

    What saves this book is superlative phrase-turning and humor, intended or otherwise. If you've ever been tempted to bronze your subjective aesthetic and mount it in the museum between philosophy and science, this will be there to remind you how nearly impossible it is to pull off. Kandinsky couldn't do it and neither can you. I mean he sets forth to launch a theory of color analogized to harmonics, but what really comes through is an abiding disdain for yellow, coupled with a love letter to blue. His statement of artistic intent- you gotta pat him on the back for that idealistic "whoosh"- appears equally specious. It's not that he's lying. It's just that his sleight of hand skills are pretty amateur so the part where he goes "oh so my plan includes this, this, and that, from this day forward" comes across pretty nakedly as a review of past and current work. It reminds me of having to write artist statements. These are a bitch, which is my thoroughly unscientific perspective. They are a bitch because they are more often than not worded as a request for a statement of artistic intent. Last I checked, "I'm going to pick up this brush and paint until I get lost, and paint some more until I come out the other side. Motherfucker." rarely cuts it. Because that doesn't really translate into anything but maximum snark - it's sort of like getting spattered with paint for asking "what are you doing?" The thing is, that statement is absolutely honest, it just doesn't make sense in any language outside the living craft of painting, and so to write a statement, I have to open the door to that compact structure of dream logic, walk outside, and look in the window and describe what I see. This, however, is not the same thing as writing a grocery list, even if it's written on paper covered with vegetables, as a bullet-list. All I can do is write what I see. I can't predict where process will take me, the most I can do is make preparatory drawings as points of departure. Maybe Kandinsky was a precog. His enthusiasm for the path away from representation, for the synthesis of the arts, for advances of the spirit through science likely conflated observable trends in his existing body of work with future intent. And it's not just a little heart-breaking (but funny, always funny) to encounter his One True Quest towards pure expression conveyed upon such muddy waters.

  • Ellis

    Picked this short treatise up used for cheap. Kandinsky has a lot of very interesting ideas about the relation of art and music and poetry, with some discussion of social status/interpersonal relationships (just a dash). He is a modernist through and through. The introduction is enough to get you excited to read it and I just love his description about what art is and ought to be. Dense and could be a better translation, I think. Takes some concentration to understand it all and follow the metap

    Picked this short treatise up used for cheap. Kandinsky has a lot of very interesting ideas about the relation of art and music and poetry, with some discussion of social status/interpersonal relationships (just a dash). He is a modernist through and through. The introduction is enough to get you excited to read it and I just love his description about what art is and ought to be. Dense and could be a better translation, I think. Takes some concentration to understand it all and follow the metaphors he carries through several chapters, but I really did enjoy it.

  • Ahmad Sharabiani

    Über das Geistige in der Kunst = Concerning the spiritual in art, Wassily Kandinsky

    تاریخ نخستین خوانش: بیست و دوم ماه دسامبر سال 1997 میلادی

    عنوان: معنویت در هنر؛ نویسنده: واسیلی کاندینسکی؛ مترجم: اعظم نورالله خانی؛ تهران، رها، سنگ، 1375؛ در 155 ص؛ چاپ دیگر: تهران، اسرار دانش، 1379، شابک: ایکس - 964671952؛ چاپ چهارم 1387؛ شابک: 9789646719521؛ چاپ ششم 1392؛ موضوع: زیبایی شناسی - نقاشی - قرن 20 م

    ا. شربیانی

  • Matt

    I hit my artistic peak with my rendering of my uncle’s Conan the Barbarian upper arm tattoo (complete with blood splatter) when I was eight. Truly appreciating art always seemed like the province of finer souls. A secret protected on par with gypsy divination and Shamrock shakes. I guess I always thought art was beyond words. Kandinsky, in his brief book, proves otherwise. Incredibly lucid and articulate, Kandinsky leads the reader to move past an intellectual appreciation of art:

    I hit my artistic peak with my rendering of my uncle’s Conan the Barbarian upper arm tattoo (complete with blood splatter) when I was eight. Truly appreciating art always seemed like the province of finer souls. A secret protected on par with gypsy divination and Shamrock shakes. I guess I always thought art was beyond words. Kandinsky, in his brief book, proves otherwise. Incredibly lucid and articulate, Kandinsky leads the reader to move past an intellectual appreciation of art:

    With academic discipline, he explains the effects of color and form on the very non-academic soul. He effectively evokes the spiritual response to color through metaphor. It would be easy for Kandinsky to hide behind vague explanations to increase the sense of profundity in abstract art. But he doesn’t. He maps out the themes of abstraction concisely. All in an effort to go beyond meaning and aesthetic. His goal is to attune the soul to the effect of color. It’s all quite sincere and inspiring.

  • Luís C.

    A wonderful essay both plain and in his writing of a philosophical and very strong reflexive reach. What are works of art, if not a genuine internal cry artists? In that sense they also speak to the audience, in many ways; color or form in painting, for example. It is interesting to compare these about Kandinsky in his works; personally I found that it brought to light a significant his paintings. Here he tries to restore its credentials to painting and the arts in general, reminding that they m

    A wonderful essay both plain and in his writing of a philosophical and very strong reflexive reach. What are works of art, if not a genuine internal cry artists? In that sense they also speak to the audience, in many ways; color or form in painting, for example. It is interesting to compare these about Kandinsky in his works; personally I found that it brought to light a significant his paintings. Here he tries to restore its credentials to painting and the arts in general, reminding that they must feed the mind of the viewer, and so in that sense they are absolutely not in vain and useless. Magnificent test for an equally beautiful thought.

  • Roy Lotz

    The first time I saw a painting by Kandinsky was in the Guggenheim Museum. Back then, I really didn’t have much appreciation for visual art, least of all abstract paintings. Nevertheless, I remember being intrigued, and finally fascinated by his work. The way he was able to select forms reminiscent of, but not dependent on, real-life objects delighted my eye. Later, I saw a special exhibition

    The first time I saw a painting by Kandinsky was in the Guggenheim Museum. Back then, I really didn’t have much appreciation for visual art, least of all abstract paintings. Nevertheless, I remember being intrigued, and finally fascinated by his work. The way he was able to select forms reminiscent of, but not dependent on, real-life objects delighted my eye. Later, I saw a special exhibition of Kandinsky’s work in Madrid. It was divided by place and time, taking me through his Russian, German, and Parisian period, during which he moved from representative art to complete abstraction. I came away from that exhibit with my interest in Kandinsky re-confirmed, and now I can say that he is one of my favorite 20th century artists.

    is a short book (more like an extended essay) by Kandinsky, detailing his personal philosophy of art. For Kandinsky, the artist is like a prophet, able to see farther, think more deeply, and feel more keenly than ordinary people. The great artist’s function is to satisfy the cravings of the spirit. In music this is done through rhythm and melody; in painting through color and form. The spiritual function of art has been hampered by what Kandinsky calls materialism—representative art. The accurate reproduction of an object’s appearance is pointless in itself; what matters is its truth to the inner, not the outer, reality. Then follows a long chapter on Kandinsky’s theory of colors—which colors evoke which emotions, and their relationship to one another.

    As a work of theory, Kandinsky’s book is somewhat disappointing. It is more of a manifesto than a treatise—a simple declaration of Kandinsky’s opinions. As such, it is more interesting as a look into the mind of a great artist than as a piece of art theory. Kandinsky’s discussion of colors and shapes, for example, is silly as analysis, but fascinating as a peek into Kandinsky’s brain. Triangles, circles, squares; reds, yellows, blues—all these were like characters for Kandinsky, with their own personalities and temperaments. It was a pleasure to get to know him better.

  • Mel

    This was worth reading. Some of the language was a little flowery so I will probably read it again at some point. It makes some interesting points. I wish the art was in color and not black and white since he talks so much about the significance of color especially red. It was a fast read and interesting so it was worth my time to read this one.

  • Reza Gharibi

    کاندینسکی یک نقاش و نظریهپرداز هنری روس بود. از آنجا که او نخستین نقاشیهای مدرن اِنتزاعی را خلق کردهاست، یکی از معروفترین و اثرگذارترین هنرمندان سده بیستم بهشمار میآید. (ويكيپديا)

    كتاب دو بخشه، بخش اول راجع به خود هنر و هنرمند ها صحبت ميكنه، بخش دوم يكم تخصصي وارد هنر نقاشي ميشه.

    بخش اول جذابيتش برام بيشتر بود

    مخصوصا سر فصل "جنش سه ضلعي" رو خيلي دوس داشتم.

    كسايي كه به نقاشي علاقه مندن بخونن كتاب خوبيه

    کاندینسکی یک نقاش و نظریه‌پرداز هنری روس بود. از آن‌جا که او نخستین نقاشی‌های مدرن اِنتزاعی را خلق کرده‌است، یکی از معروفترین و اثرگذارترین هنرمندان سده بیستم به‌شمار می‌آید. (ويكيپديا)

    كتاب دو بخشه، بخش اول راجع به خود هنر و هنرمند ها صحبت ميكنه، بخش دوم يكم تخصصي وارد هنر نقاشي ميشه.

    بخش اول جذابيتش برام بيشتر بود

    مخصوصا سر فصل "جنش سه ضلعي" رو خيلي دوس داشتم.

    كسايي كه به نقاشي علاقه مندن بخونن كتاب خوبيه

  • Hesam

    به طور خلاصه، تاثیر نیاز درونی و توسعه هنر، جلوه بیانی همواره در حال پیشرفت جاودانگی و ذهنیت بر حسب دوره های زمانی و عینیت است

    چون ذهنیت همواره در حال تبادل بیان عینی امروز با بیان عینی آینده است، هرگونه گسترش بیشتر آزادی در استفاده از فرم بیرونی همانند فضیلی بزرگ مورد استقبال قرار می گیرد. در حال حاضر می توانیم بگوییم هنرمند تنها مادامی که در تماس با طبیعت باقی بماند می تواند از هر فرمی که بخواهد استفاده کند. ولی این محدودیت، مانند همه پیشینیانش، کاملا موقتی است. از نقطه نظر نیاز درونی نباید هیچ

    به طور خلاصه، تاثیر نیاز درونی و توسعه هنر، جلوه بیانی همواره در حال پیشرفت جاودانگی و ذهنیت بر حسب دوره های زمانی و عینیت است

    چون ذهنیت همواره در حال تبادل بیان عینی امروز با بیان عینی آینده است، هرگونه گسترش بیشتر آزادی در استفاده از فرم بیرونی همانند فضیلی بزرگ مورد استقبال قرار می گیرد. در حال حاضر می توانیم بگوییم هنرمند تنها مادامی که در تماس با طبیعت باقی بماند می تواند از هر فرمی که بخواهد استفاده کند. ولی این محدودیت، مانند همه پیشینیانش، کاملا موقتی است. از نقطه نظر نیاز درونی نباید هیچ محدودیتی وجود داشته باشد. هنرمند از هر فرمی که بیان اقتضا کند، می تواند بهره گیرد، زیرا محرک درونی وی باید بیان ظاهری مناسب را بیابد

    بنابراین می بینیم که جستجوی آگاهانه، به دنبال شخصیت و "سبک" نه تنها غیرممکن بلکه نسبتا بی اهمیت نیز می باشد. رابطه نزدیک هنر در سراسر دوران ها نه رابطه ای در فرم ظاهری بلکه در معنای درونی است. و بنابراین صحبت از مکاتب، سیر "پیشرفت"، "اصول هنر" و غیره مبتنی بر درکی غلط است و تنها به اغتشاش منجر می گردد

    یکی از قسمت های "خیلی خوب" از متن کتاب

    و در ضمن راهکارها و پیشنهاد های جالبی برای هنرمند مطرح میکنه، که در مقابل تئوری های آکادمیک قرار میگیره

  • Maria

    возможно, тут стоит сказать book, it's not you, it's me - я очень отвыкла от таких текстов за годы и годы бизнес-литературы и поп-фикшена. наверное. в последний раз я сталкивалась с такой манерой изложения в литературоведении (а значит, в универе). видно, что текст несовременный, и дело даже не в отсылках к скрябину или дебюсси как авангардистам, а еще и, например, в том, что

    принимается за особую духовность - явно из-за того, что не было тогда возможности обратиться к нейрофизиологии

    возможно, тут стоит сказать book, it's not you, it's me - я очень отвыкла от таких текстов за годы и годы бизнес-литературы и поп-фикшена. наверное. в последний раз я сталкивалась с такой манерой изложения в литературоведении (а значит, в универе). видно, что текст несовременный, и дело даже не в отсылках к скрябину или дебюсси как авангардистам, а еще и, например, в том, что

    принимается за особую духовность - явно из-за того, что не было тогда возможности обратиться к нейрофизиологии. в общем, очень всё невыразимо, густо напичкано метафорами и с частым употреблением слова "душа"

    не скажу, что было совсем бесполезно - все-таки добавился, наверное, еще один угол, под которым можно смотреть на абстрактную живопись


Books Finder is in no way intended to support illegal activity. We uses Search API to find the overview of books over the internet, but we don't host any files. All document files are the property of their respective owners, please respect the publisher and the author for their copyrighted creations. If you find documents that should not be here please report them. Read our DMCA Policies and Disclaimer for more details.