Escolar Documentos
Profissional Documentos
Cultura Documentos
KANDINSKY: RUSSIAN
AND BAUHAUS YEARS
1915-1933
The
exhibition
The catalogue
is
is
Endowment
German
Airlines.
Kandinsky Society
Claude Pompidou, President
Thomas M. Messer,
Vice-President
Edouard Balladur
Karl Flinker
Jean-Claude Groshens
Pontus Hulten
Jean
Maheu
Werner Schmalenbach
Armin Zweite
Hans
of
of Art
Published by
The Solomon
R.
Guggenheim Foundation,
New York,
1983
ISBN: 0-89107-044-7
Library of Congress Catalog Card
The Solomon
R.
Number: 83-50760
Guggenheim Foundation,
New
York, 1983
(cat.
no. 146)
K. Roethel
R.
IN
PERPETUITY
president
Peter O.
vice president
trustees
advisory board
Susan Morse
Morton
Hilles,
L.
C. Swid
secretary-treasurer
Theodore G. Dunker
director
The Solomon
R.
Thomas M. Messer
Guggenheim Museum
deputy director
Diane Waldman
administrator
staff
staff
Lawson-Johnston
William M. Jackson
Vivian Endicott Barnett, Curator; Lisa Dennison, Susan B. Hirschfeld, Assistant Curators;
Cherie A. Summers, Registrar; Jane Rubin, Associate Registrar; Guillermo Alonso, Assistant
Stitt, Registrar's Coordinator; Saul Fuerstein, Preparator; William
Registrar; Stephanie
Smith, David
M.
Tony Moore,
Mimi
Poser, Officer for Development and Public Affairs; Carolyn Porcelli, Ann Kraft,
Development Associates; Richard Pierce, Public Affairs Associate; Elizabeth K. Lawson,
Membership Associate; Deborah J. Greenberg, Public Affairs Coordinator; Linda Gering,
Development Assistant; Catherine Kleinschmidt, Public Affairs Assistant; Veronica Herman,
Membership Assistant
Agnes R. Connolly, Auditor; Stefanie Levinson, Sales Manager; Robert Turner, Manager,
Cafe and Catering; Maria Masciotti, Assistant Restaurant Manager; Katherine W. Briggs,
Information; Christopher O'Rourke, Building Superintendent; Robert S. Flotz, Security
Supervisor; Elbio Almiron, Marie Bradley, Assistant Security Supervisors I; John Carroll,
Assistant Security Supervisor
Rebecca H. Wright,
life
members
Jill
II
Eleanor, Countess Castle Stewart, Mr. and Mrs. Werner Dannheisser, William C.
Edwards, Jr., Mr. and Mrs. Andrew P. Fuller, Mr. and Mrs. Peter O. Lawson-Johnston,
Mrs. Samuel I. Rosenman, Mrs. S. H. Scheuer, Mrs. Evelyn Sharp, Mr. and Mrs. Stephen A.
Simon, Sidney Singer, Jr., Mrs. Hilde Thannhauser
institutional patrons
Endowment
State Council
on the Arts
Endowment
Wood
New York
Edward
Albee,
New York
Kunsthaus Zurich
Munich
Herbert Bayer
Kunstmuseum
Kupferstichkabinett,
Basel
Stedelijk
Kunstmuseum
Museum, Amsterdam
Basel
Wechselbank, Munich
Theatermuseum der
Universitat Koln
Kunstmuseum Bern
George Costakis, Athens
Nathan Cummings,
University Art
Kunstsammlung Nordrhein-Westfalen,
New York
New
York
California
Musee
Museum
of Art
d'Art
Musee National
of Art,
New Haven
Centre
et d'Histoire,
Moderne, Geneva
Artcurial, Paris
Museum
of Art,
Rhode
Island School of
Design, Providence
Museum Boymans-van
Leonard Hutton
Galleries,
New York
Beuningen,
New York
Ltd.,
The Museum
New York
d'Initiation a l'Art
Long Beach,
of Art,
Moholy
University of
Diisseldorf
Museum,
California, Berkeley
of
Modern
Art,
London
New York
Graphisches Kabinett Kunsthandel
Altonaer
The Art
Museum, Hamburg
Museum
of Art, Kansas
City, Missouri
Institute of
Chicago
Ohara Museum of
Bauhaus-Archiv, Berlin
Busch-Reisinger
Museum, Harvard
Fort
Nelson-Atkins
Philadelphia
The
Art, Kurashiki,
Museum
of Art
Hilla
San Francisco
Museum
of
Modern
R.
Art
Collection, Venice
Japan
of Art
Guggenheim Museum,
Schlemmer Family Collection,
Staatsgalerie Stuttgart
Modern
Edinburgh
Staatliche
Museen
Preussischer
Art,
TABLE OF CONTENTS
iz
Preface and
Thomas M. Messer
Acknowledgements
Clark V. Poling
13
Kandinsky
in
36
Kandinsky
at the
Bauhaus
in
Weimar, 1922-1925
56
Kandinsky
at the
Bauhaus
in
Dessau and
85
Russia, 1915-1921
Catalogue
348
Chronology
354
Selected Bibliography
357
Index of Artists
358
Photographic Credits
in the
Catalogue
Berlin,
1925-193
The name
sions,
is
of Vasily Kandinsky, as
any other
artist, his
Rebay assembled
as the
lias
Museum
work
More than
that of
and for
this institution,
of Non-Objective Painting
more so because
and
his art
his theories
continue to
Munich, curated
Paris,
now under
Kandinsky
in
three parts of the project call for the participation of different individuals
new
light
upon Kandinsky's
ative achievement.
The
Emory
Museum
University
Kandinsky
art
work
own
oeuvre
As
in
and
has de-
in particular to
The
Kan-
Weimar and
in Russia,
and simultaneously
of Art
who
offer guide-
in relation to that of
other
artists.
first.
We are grateful
in Berlin,
and
to Dr.
we
In doing so,
Hahn and
are
aware that he
generous contributions.
of the Bauhaus-Archiv
sharing important materials with Dr. Poling and for making essential loans
within the
possible. In particular,
levels
Paris,
we would
like to
Boissel.
either
One can hardly exaggerate our gratitude towards all those who acted
their own behalf or for their institutions and have allowed us to
on
and Bauhaus
Years.
The
we would
like to single
Kunstmuseum
Basel; Dr.
Kunstmuseum Bern;
Tavel,
Modern
Art,
New
New
Hans
Max
Bill,
Within the Guggenheim Museum, the same team that coordinated the
first
show and
the pro-
and Susan
all
involvement
sisted
by Shara Wasserman
identify
many
ligence to a
other staff
in its
was
in
as-
credits fail to
their efforts
and
intel-
whose part
summary
production. Such
project,
is
now
life
legendary contemporaries
commemorated with
his
wife Nina, whose tragic death in 1980 took her from our midst.
It
is
his
the
unanimous wish
10
of the
salute
Gudmund
Directors, respectively, of
Baumann and
Dr.
Hans M. Wingler,
this exhibi-
must,
finally,
programming.
staff
tional
On
is
an essential part of
Museum's
NaGermany and
to Lufthansa
toward
museum
felt
gratitude to the
Federal Republic of
is
years from 1921 to 1933 that constitute the key period treated in this
in
German
cities
show
tricentennial
11
much changed
number
is
and
stylistically,
his response to
in a limited
was an
apolitical
artist
actively
These circumstances,
and designers.
toward
art.
his
to
utilitarian design,
was part
style
The change
own
in his
art to a
geometric
of recurring criticism of fine art and calls for social and practical function-
Kandinsky preserved
ality,
to a school of design
importance and
that art
would
like to
suggesting the
tion
initial
its
Hahn and
asserted the
theory as a background to
own work,
in its
intuition,
in his
he
artistic creation,
felt
artists
and
and of the
light
on
institutions of his
art
his receptivity to
elements
The
greatly
among
new framework
in
artists
and designers
at the
ac-
the undertaking.
an
iz
utility of
and teaching
Though he
at large.
in his
designs for the stage and designs for porcelain represent a considerable
range of
artistic
output.
To
this
can be added
his theoretical
work and
the
and within
it
is
a substantial
span of
The sequence
and Composition
8,
Munich
1923
style in
1925
(cat.
shows the
clari-
are
Weimar
period. Yellow-Red-
(cat.
its
richness and
no. 188),
is
more
image, which
ment
is
Brown, 1933
in
the evocative
On
monumen-
no. 314),
(cat.
power of
is
Develop-
shows
the
It elicits
complex
visual
and assertion of
his assurance in
composing
his artistic
ambition
I.
KANDINSKY
IN RUSSIA, 1915-1921
from Munich
letter
to the onset of
Now we
dream.
felt
have
keenly
to his dealer
war and
I've
in late
it!
his
Isn't
imminent departure
it
frightful?
It's
as
as
an enemy
alien:
in this period,
Moun-
tains of corpses, frightful agonies of the ?nost varied kind, inner culture
set
.
myself to the
[sic]
that
have lived
German Kunstleben
[life
in
of art].
Germany
How
have devoted
should
suddenly
1.
Letter or Aug.
For the time being I'm waiting for the mobilization, and then where
2,
' S-
ahteilung), Berlin.
This
letter
2,
war was
declared.
13
Germany with
left
his
mistress Gabriele
Miinter and traveled to Switzerland, where they remained until late No-
vember.
war
the
that a
early in
What happiness there will be when this horrible time is over. What will
come afterwards? A great explosion, I believe, of the purest forces which
will also carry us
flowering of
The
art,
on
And
to brotherhood.
which must
now
remain hidden
in the
dark corners. 2
Soon afterwards,
cial
embrace of avant-garde
the
real possibilities.
and
his art
art
his
in Russia, as
was part of
Kan-
occur
in organizational activi-
Bauhaus period.
offi-
innovations.
style of his
re-
cultural institutions,
show
he
in early 1916.
in
Stockholm
dinsky spent
in
that artistic
ist
in
expression
and
in his art,
Munich
work began
to
was
to be
The
new qualities in his painting are first seen in works from 1919 to 1921, which
show a reduction of expressionist handling of forms and a gradual absorpreflected in his teaching
and writing
garde
art.
artistic
some
at the
Bauhaus from
192.2.
to 1933.
In the first
2.
Kandinsky,
New
York,
14
of oils
may
Munich
years. In an untitled
example
no.
(cat.
1),
On
second watercolor
in a
distribution of forms
(cat.
more
and delicate
lines.
its
is
created
more ambitious
expression
lyrical
felt
Puzzling dichotomies of style are presented in 1916, as seen in the drypoint etchings and watercolors Kandinsky created in Stockholm in the
first
months of the year. This brief period was an interlude in the war years,
when Kandinsky was joined by Gabriele Miinter and each were given exhibitions at Gummesons. Four of the six etchings from this time are abstract.
Etching 1916 No. IV (cat. no. 5), is characteristic in its floating imagery,
small scale and delicacy of line. The other two, however, are representational images recalling the Biedermeier subjects scenes of late nineteenth-
kind of imagery
is
embodied
in the crinolined
who
The
also
in
in the
background.
workintroduces
earlier
no.
/// (cat.
a reference to
war
the otherwise pastoral setting. Biedermeier motifs were also treated in the
eighteen watercolors done in 1915 and 1916 that Kandinsky called bagatelles
or
trifles,
an example of which
is
idyllic
is
Grohmann
Ill
or given a
war and
essay,
and
its
watercolor study
(cat.
no.
3).
work
"On
its
Gummeson Kandinsky
Though,
his faith in a
renewal to come.
as Picnic.
He spoke
He
of a
"new
Gummeson and
spring ....
The time
dated the
of awaken-
3.
Will
Life
p. 164.
4.
"On
("Om
Stockholm, 1916)
in
Konstnaren,"
Kandinsky:
1.,
p.
409
Vergo
or
II).
and
it is
Munich
Trumpeting Angels
ing
the Artist"
as
same month
years,
shares
message. 3
the
Here
8).
(cat.
that survives
(cat.
no. 9),
from
this
which
in
from
early 1916".
sojourn in Stockholm
many
of
its
is
Paint-
stylistic features
Munich
brushwork and loosely defined boundaries of the forms, which give the work a dynamic improvisatory quality.
There is a great range in color: black and white, light gray, brown, pale primary and secondary hues, as well as brighter spectral colors. The space is
years.
free
15
ambiguous: overlapping modulated planes recede toward the center, but the
intense coloration opposes this effect. Furthermore, the loose definition of
shapes and the alternation of bands of light and dark interrelate areas and
The
result
is
a rich
of the composition. Preliminary drawings (cat. nos. 10, 11) that reveal
Kan-
dinsky's pictorial thinking have survived for this canvas, as they do for
some
of the
in earlier
upward thrust and counterbalancing downward movement in the picture. The drawings also show compositional devices he had discussed in analyses written in the later Munich years of some of his own paintings: the
use of two or three "centers" to the left and right of the actual midpoint of
inant
He employed
namic, unstable
effect.
scheme, with
its
on Light Ground
The
mood, appropriate
where
first
it
work. During
"oval" or "border"
attest.
6.
Lindsay/Vergo,
7.
I,
p. 353.
979> P-
2 4i as
"Composition
J,
16
contour creates an
Russian period
The drawings
it
for Painting
effect of pressure
and
in the
painting
its
Kan-
became an important
paintings with titles including the words
his
one of
in
its title.
5.
embodied
is
developed
a pos-
living,
most important
dinsky
to
also
is
spatial planes.
first
in the
of a series of
Two
(cat.
no. 13),
who
title
first
when he
became intrigued by the sound of the voice of this adolescent girl, whom he
would marry the following February. 8 "To the Unknown Voice" is marked by
a density of black lines characteristic of some of the watercolors from early
in the Russian period, as well as a floating quality that was further developed
in subsequent years. Here the sense of floating is created by the tipped axes
and use of pale washes surrounding the image. The second watercolor
is
Simple
that
prefigures
it
fig. I
Vasily Kandinsky
Twilight.
September 1917
(HL213)
Oil on canvas
Collection Russian
Museum, Leningrad
was
watercolor the ovoid and triangular shapes, while not truly geometric, are
nearly
flat
in their presentation.
Munich
years,
pic-
torial "centers."
The year
mained
in the Soviet
all
of
which have
re-
somber background. This feeling is also communicated in the bizarre masklike image hovering in the upper part of the work entitled Twilight (fig. 1). A
somewhat
similar
image appears
in a
Winter Palace
in
24,
1917
(cat.
Petrograd and
Munich
cities
works possess
The
(fig. 2), in
a fuller instance of
black pigment.
in
Munich
portance to him of
cow
(fig. 5).
At an
period, Small
Arch (Ridge)
(fig. 3),
drawn
Pleasures of 1913
is
in these pictures.
this
image
in the
first
it
more
painted in 1913
once again
in
is
Weimar,
The im-
further indicated by
in
Reminiscence of
17
fig.
1924.
Vasily Kandinsky
Small Pleasures.
(HL
The Russian
(fig.
174)
4).
includes the
Oil on canvas
The Solomon
Museum, New York
Collection
R.
Guggenheim
taller,
modern
buildings and
in
1913
in his
Moscow, and
September 19 17
native country
110)
The
Oil on canvas
Museum, Leningrad
was
acteristic of
Kandinsky's work
in
number
of Rus-
liveliness of color
in the
city, of
"Reminiscences."
Vasily Kandinsky
Collection Russian
Red Square
(cat.
Blue Arch
fig- 3
(HL
hill in
in
From
oil
after
October 1917
paintings, as he
was
zational, pedagogical
until the
and
revamping
Enlightenment (Narkompros) established by the new Revolutionary government. Surviving watercolors and drawings from 1918 show some of his on-
going
artistic
in the last
additions in the
18
make
this
bottom of the
the
image
work
(cat.
was executed
in the
oval seem to
float.
This height-
ens the effect of the detachment of the image from the stable rectangular
in
in
II,
when
the border
is
(cat.
nos. 20,
fig-
Vasily Kandinsky
Red Square.
1917
Oil on board
Moscow
zi), this
pictorial moorings.
orientation of
Red Border
(cat.
first
it is
The border
Ground
of early
in the later
work
broader, more fluid and assured, and the forms are clearer and more solidly
The more
title
word shows
some
relative
is
its
as
it
was
in Analytic
A somewhat
earlier
example of
"Plafond."
5, esp.
Lindsay/Vergo,
I,
atic.
in
avoid a central focus and instead to activate diverse quadrants of the picture.
12
diagonals often emerge from or point toward them. In the pictures with
still-
in
a small dis-
shape or the invasion of the corners by forms from the central area
prevent the periphery from becoming a neutral frame. Spatially, the borders
contribute to the floating quality of the compositions. In conjunction with a
19
fig-
Vasily Kandinsky
(HL
1919
220)
Oil on canvas
Moscow
dark background
illusion
Gray, 1919
(cat.
works,
it
solid
One
is
developed
complex composition
re-
hills
carried
over from the Munich period, fanciful elongated forms derived from the
bagatelles,
and turn
in a
complex
R.
cat.,
is,
of the very
thick accumulation of so
many
Guggenheim Museum,
20
New
York.
overall effect
hieroglyphic in the final work. Others, such as the biomorphic forms in the
center of the watercolor, are
1982, p. 36.
13.
The
float
watercolor study
as
it
is
more
oil.
The
forms and bring greater order and visual impact to the painting. With
its
Gray
is
Kandinsky's
last
developed
in his last
Munich
years. 14
In
own
gradual
artistic
In Gray,
which were an
series of pictures,
asser-
the Russian avant-garde. Since the Revolution and the subsequent founding
in organizational
and educational
through 1921 treat both the subjective, expressive function of art and the
objective analysis of formal elements and structure. In his autobiographical
June 1919 in
in
Germany but
new
era
Program for
June 1920, he emphahis
opinions about the limitations of scientific inquiry and purely formal construction in art, as well as his belief in the essentially subconscious nature
members
experimental art
in laboratories.
looks as
canvas.
prac-
One
canvas so that
if it
is
in that
way
form on the
it
it is
im-
from the
16
Thus he countered
This
is
spatial
imagery
in his
own
art,
makes
artistic
composition
an inherently intuitive process. This was his consistent belief from the
Mu-
To view
(cat.
is
The
a tra-
rakteristik,"
Das Kunstblatt,
Lindsay/Vergo,
I,
1919),
pp. 431-433.
16. Interview
peziuma four-sided figure with no two sides parallel. This form was a
Suprematist emblem, used by Kazimir Malevich from 1915 and by his followers.
who
It is
used
it
proposed pub-
members
of this group
21
who employed
In
it
were
the
(fig.
6)
itself,
a rectangle or
this
if
Su-
posing on
it
Kandinsky
appropriated
it
to his
own ambiguous
notably the central red oval and the triangular forms, have a geometric
but
clarity,
many
are freely invented, and some, such as the tipped boat hull
The
central
complex of forms builds out toward the viewer, while around the edge of
the quadrilateral certain elements recede into the green background. Further-
more, varied techniques of paint application are used: the yellow plane and
red oval, for example, are relatively
and
flat
areas are freely brushed or even coarsely stippled. 17 In texture, spatial effect
is
a testament to artistic
freedom
and complexity.
The vocabulary
Red Oval
is
on Big Questions:
for Inkhuk.
no. 44),
On
On
Point;
Program
which
elicted responses
concerning the
(cat.
forms, cited the graphic elements: points and spots, straight and angled
However, Kandinsky
lines,
clearly
and
gram he warned
moment be on
engineer's
Ivan Kliun
Untitled,
art."
Oil on paper
that speaks by
means
gramma
seum
I,
Khudozhestvennoi
1920), Lindsay/
461; and in "The Mu-
p.
p.
47i-
on Big Questions:
Line" ("Malen'kie stateiki o
bol'shim voprosam:
O linii,"
Iskusstvo: Vestnik Otdela IZO NKP,
1919), Lindsay/Vergo, I, pp. 425-426.
On
22
"On
Line,"
of expression.
measurement the
,
[a]
rider.
It
acts
19
as a signal for us to enter the second world, the world of free graphics.
of
"Program
tistic
means
The
Moscow,
limited
tive of
Culture" ("Pro-
Instituta
Kultury,"
Vergo,
in facture in his
stitute of Artistic
first
17.
18
1917
ca.
many
a response to the
Red
Oval and other pictures from the end of his Russian period indicates that
Kandinsky evolved a more complex and ambivalent position. It is clear from
his Inkhuk Program and Questionnaire that he embraced geometric elements
as
art,
role, as
oping
artistic
his devel-
ruler
and
compass
the
as well,
Border
(cat.
was
work
It is
interesting
size, of a work
made soon after the original
The oval, circular, triangular
Museum
(fig. 7),
in Petrograd.
immediately
a virtual replica,
is
and Points
major
it
in the
periphery and the resultant floating quality are stronger, an effect enhanced
The
in
strongly accented corners of Points and the use of the green border
Kandinsky explored
in
two
interesting
works
concerns
no. 36) the corners are diagonally truncated, creating an enframing set
(cat.
As
in the pictures
the central field as a shape in itself here a truncated diamond. (The alternative use of "border" and "oval" in the
indicates the
Spot
II (cat.
grown
of the
titles
no. 37).
so that
and
The white
shape in Red
in this series.)
as a defined
first in
its
shape
is
strengthened by
its
relatively
uniform white
and the varying color and texture of the four corners. Unstably placed
this
white
field
supports a pinwheel-like
set of
itself,
fig-
Vasily Kandinsky
Picture with Points.
(HL
1919
123)
Oil on canvas
Collection Russian
Museum, Leningrad
The
signals a
11
new kind
of imagery in
metaphor and structural principles of landscape are here abandoned. The sense of freedom from gravity is complete.
The forms are either geometric circles and triangles or clearly defined invented ones. Thus this work represents a more complete transition from
Kandinsky's
art.
visual
with nature
still
exists:
Some
it
is
Though landscape
by Kandinsky, they occur in more
(cat.
in a sky-
subsequent pictures
degree of association
allusions reappear in
is
seem
to float
destroyed by suspend-
(cat.
form
in
clarified
in spite of the
and overlapping
associations with
The dominant
triangle
large, irregular
23
quadrilaterals
a series of
forms seem to
float
and
rise,
moving
centrifugally or radiating
from the midpoint of the lower edge. The underlying geometry and planarity
of this picture testify to Kandinsky's absorption of Suprematism, but the
movement reveal
work as an assertion of his own artistic personality. Like Red Spot II, this
monumental composition, well over twice the size of the largest paintings
Kandinsky's synthetic approach to abstract imagery and the variety of compositional solutions manifested in the paintings of his last year in Russia are
not, therefore, evidence of a lack of artistic certainty, but rather, of an active
The
Circles
fig-
etry
Pencil
1921
on paper
Collection
Paris,
(cat.
own art.
Vasily Kandinsky
his
in
an advancing
a free
handling of geom-
its
is
series, a
in the earlier
much more
in
Red Oval
the upper
left,
no. 42)
its title,
The image
(cat.
is,
for the
most
to a cluster of buildings in
lower part of
which are more legible in the preparatory drawMusee National d'Art Moderne (fig. 8), reaffirm the expressive po-
Black Spot
a large scale.
(cat.
The
background,
on
and yellow near the edges, makes the space seem to breathe and allows the
20.
Gallery,
constellation of black lines and spots and the colored shapes and halations
to hover
his article
"On Line"
its
The point
is
ir-
in
of 1919:
able to increase
830.
plane. In
whereby
its
size
is
that of changing
Lindsay/Vergo,
I,
p. 425.
22.
Lindsay/Vergo,
I,
p. 476.
23.
2-4
and the
this
con-
21.
For Kandinsky
its
development meant
a liberation
and
from
diversity, far
strict
geometry
Thus
Created on a large
saw
as his
important position
of 1921. In the face of ideological conflicts about the nature and usefulness
of art, he declared by his
own
pressive ends.
As he said
years.
continuing
new
attitude in his
to ex-
works of these
[after the
Revolution]
I felt
within myself great peace of soul. Instead of the tragic, something peaceful
my work became
in
and more
brighter
Museum
of Art,
The Avant-Garde
Russia, 1910-1930:
exh.
cat.,
in
New Perspectives,
Bowlt, "Chronology" in
Rudenstine, Costakis Collection, pp.
500 ff.
That Kandinsky did not sympathize with the more rebellious activities of the early avant-garde may be
John
I,
p. 347.
They
are
now
part of the
numerous
artistic
his
Munich
developments
earliest essays
appeared
journal in
St.
1902
in
in
is
Bowlt
in
He had
ties to
published
traveled fre-
One
of his
of Art), Diaghilev's
sympa-
indicative of his
whom
the
World
of Art
St.
23
Moscow
Association of Artists
in
Russian contemporaries.
articles
illustrations.
St.
in
On
He
his
keen
in the ex-
among
25
ideas.
in Russia.
"O dukhovnorm
pp. 63-112.
and
John
art
abbreviated version of
v iskusstve" in
himself
in
1920
in the paintings of
it
26.
predominate
5),
E.
deduced from
25. It
(fig.
in
first
as a lecture
Petersburg in December 1911, the same month the book was published
Munich. This Russian version was printed in the transactions of the Conwhich appeared in October 1914. 26 Thus Kandinsky's major theoret-
gress,
2-5
ical
basis in
Munich
was
years
revealed in
Its
its
modern
era.
his
many remarks
own
based on his
on
respondence of the basic colors and forms, a concept that Kandinsky emphasized in his
The
for
Inkhuk and
later at the
fig-
Vasily Kandinsky
function distinguishes
works of art.
With the coming of the Revolution, Kandinsky's
Its
On the
it
from
members
its
forms
He was
arts.
fifty
antici-
strictly didactic
in self-sufficient
and
Bauhaus.
new
activities
than Malevich and twenty to twenty-five years older than the other leading
artists of the period.
Son of
in
Moscow
Kandinsky owned
generally liberal social outlook and, according to his wife Xina, greeted the
Revolution of February 191- and the abdication of the Czar with cautious
optimism. 28 Thereafter,
tural reorganization,
when
lervereinigung
Kandinsky took
He
of course already
Munich,
as a leading
Muncben (New
member
of Phalanx, the
and exhi-
Neue
Kitnst-
Artists' Society of
new
of the Revolution.
The range
of his endeavors
is
of any of his Russian contemporaries. Starting in January 1918, at the invitation of Vladimir Tatlin, he
became
member
XKP
z6
indicative of his
arts,
and indeed
arts.
mu-
at the
in
in his
article
"On
at this time.
IZO in
made
German
contacts with
artists'
groups and Bauhaus director Walter Gropius and the Commission on the
Museums
Organization of the
Russian
museums
in
whose
aegis he
Moscow and
other
cities.
These associations brought him into close contact with many of the
was
the
as
Commission
especially strong.
to establish the
in
Moscow.
One of Kandinsky's most ambitious undertakings
ing,
profound
which opened
as
its
Moscow
head. This
was
a research institute in
in
May
of the avant-garde participated, and here Kandinsky soon encountered opposition to his ideal of a pure abstract art with an expressive function.
He
presented his Program for Inkhuk in June 1920 at the First Pan-Russian
where
it
at the State
was
On
shows
a logical
development
Goldach
in 1914.
The emphasis
Program
in the
is
on
the objective, analytical approach to the study of art, a tendency that cul-
minated
in his later
and Line
to Plane of 1926.
He
Book Point
effects,
He
maintained that the interrelationships between painting, sculpture and architecture should also be researched, with the further goal of progressing to
"monumental
art
all
music, literature, theater, dance, circus and variety shows should be analyzed
to discover their underlying principles
and
effects
on the psyche.
Many
of
the features of his proposal represent the continuation of those aspects of his
earlier thinking that ultimately derive
from Symbolism:
his
concern with
expression and intuition, with the integration of the arts and with the find29. In Izobrazitel'noe Iskusstvo,
1919
p. 881, note
14); "On Stage Composition" (Uber
Biihnenkomposition," Der Blaue
Reiter, Munich, 1914), Lindsay/
Vergo, I, pp. 257-265.
(see
30.
Lindsay/Vergo,
Lindsay/Vergo,
I,
II,
pp. 455-472.
The
positivist
and materialist
orientation of his Inkhuk colleagues, along with their growing doubts re-
art,
his
program.
is
the importance
27
range of people to the visual elements. Tabulating their results would pro-
qualities.
verifiable
was both
versal language
a scientific
Program
pects of his
many
questions,
The
It
(cat.
exercises as responses.
The varying
effects of
on
page are considered, as are combinations of different colors and shapes. The
questions on the psychological effects of forms and colors are especially in-
teresting
Insti-
tute:
Does
it
similar to that of a
canarya
lemon? Which
triangle or a circle?
it
seem
to
Is
most similar
is
to the singing of a
is
similar to Philis-
was involved in the formation of a similar institution, the RusAcademy of Artistic Sciences (RAKhN), which operated, as Inkhuk had,
quently, he
sian
under the auspices of Narkompros. Kandinsky was chairman of the committee to establish the
Academy, and
in
June
192.1
summarizes aspects of
opened
31. Rudenstine, Costakis Collection, pp.
Moscow,
instituted, as
at the
Kandinsky has reported that Kandinsky was passed over for President of
the
of Petr Kogan,
may have
cited in
32.
in
was not
his
who
was. 34
If this
member
were the
of the
Communist
Party, in favor
Kandinsky's disappointment
case,
In fact there
program
for
The
rejection of
that
had
his
170.
developed between him and the Russian avant-garde. The emphasis of the
am
rift
this translation.
qualities,
33.
for
this article,
28
cism, 1902-1934,
34.
and on the
II,
p. 902.
Nina Kandinsky,
p. 86.
many
years. Further
developments by the
this
fall
opposed
argument
of 1921 put
in his writings
Kandinsky
at
an even greater distance from the leaders of the avant-garde. Shortly after
their exhibition
5x5 =
25, held in
Moscow
in
art
tendency was
and
in
ideals.
It is
as his
ironic that
his July
ion
interview he referred
first to make
December and in the first half of 1921, when he also
designed embroideries. 36 Examples of the cups have survived, as have numerous drawings for cups (see cat. no. 49) as well as for a teapot and sugar
bowl. The designs were for the parts of a tea service to be manufactured
at the Galerie
van Diemen
Kandinsky
An
in
Berlin in 1922,
in
Red Spot
utilized characteristic
approach. In
this regard,
it
saucer
Kitnstausstelhmg
abstract
77,
no. 50)
(cat.
A cup and
was not
art,
essentially different
from that
Malevich and
Ilia
the Suprematists' imagery occasionally accords with the shape of the objects
more
so directly as to function
Of
they did not represent a repudiation of fine art nor an affirmation of the
primacy of
utilitarian goals.
35- See
36.
frequently,
rare
works
minor
artists,
Vasily
Bobrov
(see cat.
exh.
cat.,
109,
no,
Lindsay/Vergo,
I,
pp. 476-477.
Andreeva, Sovetskii farfor 192.01930 gody, Moscow, 1975, pp. 115116; other designs are reproduced in
Lothar Lang, DasBauhaus, 19 19-19}}:
37. L.
and
Idee
of the Civil
War
and
illogical.
39
Nina Kandinsky has made clear in her account of their years in Russia. Once the prospect of going to Germany presented itself, he could hope for a far more comfortable environment, material
sion to leave the Soviet Union, as
P-73-
39.
John
The
ff.
commercial successes
The occasion
in the years
many
friends
and
immediately before
artistic
contacts in
33-
Kandinsky's work
He condemned
critic
38.
40.
in
2-9
Weimar. 11
in
A teaching position
visit to
study the
new
institution in
Kandinsky only
to
The change
in
in reference to the
work
in
which he participated,
affected his
own
art, as in the
exhibitions
process, however, culminating in 192.3, over a year after his departure from
i:
in
which
belief in
concrete, rational and scientific artistic approaches that allowed the production of art
mass
society.
Thus Kandinsky's
in-
move toward
toward
art
and
work was
art
par-
Kandinsky 's
Dec. 27,
192.1, to Klee in "Huit lettres de
Kandinsky a Klee" in "Centenaire de
41. See
Kandinsky,
XX'
letter of
artistic
The Houghton
version of
Library, Harvard
More
recently,
how-
have convincingly
attributed the drawing to about 1924
and connected it with the painting of
that year, Reminiscence (Riickblick),
which it resembles closely; Angelica
ever, scholars
Museum
On
I,
and
however,
later,
period, yet
it
a radically
Kandinsky,
New
York, 1979,
p. 126.
and
later theoretical
The
corresponding elements
in
Most important
gravity, of suspension in an
9 14
is
entitled Suprematist
Museum
of
Modern
Art,
respect
in this
Malevich painting of
is
appropriate because
a sense of
modernity and a
As suggested by John
cites
edges and
Spiritual in Art, in
of
"The Semaphores
News,
vol. lxxii,
Dec. 1973,
p. 20.
flat
The
straight
1915
Kan-
the sense of
New York);
is
E. Bowlt, who
Malevich's friendship with Nikolai Kul'bin and posits his reading the
Russian publication of On the
and
pedagogical work.
in Russia.
of the primary colors and basic geometric shapes published in the Russian
chusetts.
43.
developments
his
and forms-
42.
Earlier,
in the size of
neighboring
Suprematist Fainting of
is
a type of
referred in
Red
in
favor of a flatter
is
A construction
embodies:
it
a translation, albeit in
and anticipates
inscription explain-
it
many
parallels Kandinsky's
work
movement by
shifting
Painting, 1916
more
of Kandinsky's
10).
(fig.
imminent
away from
the
as in Suprematist
dispersal,
of infinite space that characterizes his Suprematism and also to the dynamic
came
to share.
objective art
was
two
an absolute non-
form
in a painting.
to elementary
//
fig.
IO
toward the
Kazimir Malevich
and
versus
flatness
Oil on canvas
Collection Stedelijk
picture's corners
Museum, Amsterdam
namic
(cat.
qualities.
no. 54),
(cat.
space.
effects: stability
Malevich's drawing
shows through
its
differences in size
and
elements
may
in turn,
Kandinsky's
feelings elicited
affected
On
by those characteristics. 44
by Suprematism
in his stress
on
the basic elements and their positioning and alignment in his Inkhuk Pro-
In his
subjects
further.
in
Moscow was
strongly
felt in
the emerging
Plastic Revolution:
New
Concepts
were
Supremus group
active in
Though Malevich
left
IZO
1916 to 1917, and after the RevoNarkompros and at the Svomas in Moscow.
in
members
of
3i
Diamonds
exhibition in
series of paintings,
Among
Moscow
works were
ground. 45
light
and
trapezium along with odder forms an unusual trapezium with one curved
side
Each shape
is
fig.
the elipse, red brown; the triangle, orange; and the angled form, yellow.
embody
ings
and
in surface
146-147,
fig.
46.
figs.
269.
p. 21.
II,
p.
759-
Moscow,
Nakov,
my
vol. lxviii,
Summer
1980,
pp. 120-121.
Wilhelm-Lehmbruck-Museum der
Kandinsky's use of
this
combina-
"The contact
a triangle
Eugen
circle, triangle
and
a circle has
and quadrilateral
by Udaltsova from
strates
ca.
1918-20
(cat.
(fig.
n)
that coincidentally
classes, for
example
in the stark
juxtaposition of basic
forms.
positions" from 1916 to 1918 achieve a density and energy through the over-
is
is
dinsky's later use of large geometric planes that often serve as backgrounds
for smaller forms and his deployment of diagonal bars to
seem
Baden-Baden, Alexander
Rodtschenko and Warwara Stepanowa, exh. cat., 1982, illustrations
pp. 120-127.
of
halle
3*
tion,
p. 155.
America,
Suprematist Painting,
indebted to
52. Gail
53.
segment of
colleague at
Emory University, Dr. Juliette R.
Stapanian, for introducing me to the
concept of shift (sdvig) as it applies to
Russian avant-garde poetry and art.
51. See
in
the
140.
am
overlapping
Mu-
fig.
be-
in the
juxtaposition of
31.
50.
ometry
47
47. "Reflections
48.
tween
flat
dynamic
effect
as well
was
that
of "shift," 50 the placement of forms off axis to create a disjunction and sense
fig.
II
Ivan Kliun
Suprematism:
ca.
Color Composition.
1917
Oil on board
fig.
Along with Malevich and Popova, the most important painter of the
Kandinsky has already been mentioned. 51
ciation with
Many
elements of
Rodchenko's paintings and drawings from the years 1915 to 1920 were of
great relevance to Kandinsky's work of the early and mid-twenties. His de-
ii
Alexander Rodchenko
Untitled.
19 17
Gouache on paper
ruler, first in
in paintings, constituted a
drawings of 1915
major contribution
Private Collection
to
from 1915
1917 are colorful and dynamic compositions that employ many kinds of
circles, crescents and segments of circles in addition to
geometric shapes:
triangles
forms
54. Ibid., esp. illustrations pp.
28-131,
p. 166, and the painting Kinetic Composition "Points," 1910, p. 169. Two
of the relevant paintings in the
Solomon
R.
Guggenheim Museum,
is
The
53
variety
and
liveliness of
artistic
Rodchenko's imagery
is
extremely pertinent to
circles,
example,
of these
Rodchenko's
in the
younger
works halo
art that
effects result
the circle are incorporated in Kandinsky's paintings of the early twenties and
later.
His works of the mid-twenties show not only circular motifs but small
round points
its
1926
(cat.
33
fig-
chenko's paintings with brightly colored points on black of 1919 and 1920
13
Alexander Rodchenko
Composition No.
Oil
iij.
1919
on canvas
14
Alexander Rodchenko
Composition "Points."
tive
1910
Collection
in
the density and placement of small circles and dots, treatments similar to
lines
though such
here, as the
34
less
flat
and
structurally
earlier.
The
art
New") extended
by the addition of a Constructivist sense of calculated structure and a dynamic, contradictory three-dimensionality. Lissitzky also participated
movement toward
an abstract graphic
in the
graphic design and producing examples of agit-prop (agitation-and-propaganda). His works that are close to the Suprematist idiom contain simple,
flat geometric forms triangles, circles and bars similar to those Kandinsky
was beginning to incorporate in his pictures. The poster Beat the Whites
with the Red Wedge, 1919 (cat. no. 73), juxtaposes a white circle and a red
triangle a kind of contrast between colors and forms Kliun had investigated
later utilize.
book Of
Lissitzky used
Two
geometry
its
urgent Civil
of this agit-prop
War
message. In his
in a narrative
way
to
convey
a political
theme: "The
different
new
in
specific
is
red
very
forms,
mean-
(cat.
odd
link
artists.
the horizon and thus proclaim a new, liberated sense of space. 57 Kandinsky
some of
the
1919-21
gesting that
56.
Sophie Lissitzky-Kiippers, El
zky: Life, Letters, Texts,
Lissit-
New
York,
and
Malevich's
aerial allusions of
cept of rotation.
ca.
in
his
It is
(cat.
im-
rather than
it
art,
is
How-
all
which
is
directions.
1969, p. -4-
"The Catalogue" in
Guggenheim Museum, Selections
57. Rudenstine,
p. 175.
fig.
Proun
p.
3 A, ca. 1920
on Abstract Art,"
re-
Here and
in the painting
it
was
Lissitzky, therefore,
463.
(cat.
Kandinsky had
intuition
in
to pictorial composition.
faith in a calculated
mathematical approach
59
contempo-
one must consider more than the increasing use of elementary geo-
by other
resulted in an
though
in
than in an appropriation of
new
elements.
some
He was
implicit in his
The
affected
work, rather
him
35
flat
diagonality, dispersal
remained recognizably
his
a sense of
between
his
work and
new
is
fundamental
provided by their
opposing views of construction and composition. 60 For Kandinsky, constructionthe structural organization of the formal elements was subordinate to composition, which embraced the expressive function of the elements
Russian contemporaries,
his
was
deni-
economy and
were not
clear structure
in
elements more significant. His major pictures of the post-Russian years, thus,
are hardly reductive. Indeed, they have a complexity and richness of incident
comparable to that of
his
Munich works,
emerging geometric
retical activities.
style in a
clarity.
artistic
and theo-
formal elements in his teaching and the intuitive process of pictorial composition in his art.
II.
IN WEIMAR, 1922-1925
Return to Germany
Arriving in Berlin in
different
60.
Guggenheim Museum,
Selections
61.
artistic
milieu very
with the Social Democrats as the leading party had encouraged Utopian
arts
artists' or-
pp. 226-217.
"Program
more
egalitarian society.
The November-
liches
1925), Lindsay/Vergo,
36
II,
p. 516.
fiir
in
goals.
artist
stature in
Germany
as a pioneering abstract
Russian developments
in
in the arts
made him an
work took
bitions of his
May
Berlin in
He
June.
1922 and
German
in the
at
in
Munich
in
catalogue, in which
both of diverse
its
arts.
Stockholm
in
He was
Gumme-
important Erste
in the
Kunstschau
at the Juryfreie
in
in Berlin that
Kandinsky's art during the immediately preceding years were readily ap-
parent.
on Black, 1921
(cat.
in his
of
titles
works such as
toward
coming an important
review of the
artistic force in
Germany with
itself
was
be-
come
structivist
tendency
absorbed into
in
much
is
who had
it
own
may
language.
the
first
and
with irregular invented shapes and areas of stippling or loosely applied paint,
Two
paintings of 1922
include important elements of works from the preceding year: Blue Circle
(cat.
no. 80)
Cross
(cat.
is
no. 81)
plications, against
shows
which
its
is
I,
in
and
strip of
The
juxtaposition of
p.
the diagonal and crescent reverses the relationship seen in an untitled water-
300.
63. See Rudenstine, Costakis Collection,
pp. 256
White
ff.,
color of 1922
(cat.
no. 82),
which features
It is
from works of
a motif derived
whose cypher,
George
in Painting
with
White Border of 1913. 63 White Cross lacks the specific reference made by the
double curve, as well as the motif in the lower left of the watercolor that may
signify the coils of the multicolored dragon. Reversing the direction of the
tapering
line, its
37
fig-
15
Vasily Kandinsky
is
The Solomon
Museum, New York
fig.
February 1923
Collection
it
R.
Guggenheim
and the
oil
and
arc, the
(figs.
15, 16).
16
the
Vasily Kandinsky
Blue Painting.
(HL
January 1924
Oil on canvas
mounted on board
64
was published by
months at the
Bauhaus and of the first year of his renewed residence in Germany, these
prints are especially interesting for their range of imagery, which is both
retrospective and forward-looking. From his Munich work came the hilltop
prints.
267)
citadels of
Worlds
II (cat.
no. 85),
product of Kandinsky's
(cat.
prints
show
is
more picturesque
erine Dreier,
the portfolio
was
finally finished:
New
38
Haven.
whose
Many of the
Worlds VI
structivist
(fig.
18),
III (cat.
Black.
011
motif,
sail
Red Border,
first
which
X
is
(fig.
17)
used in Russia
in
On
Con-
White of 1920
19),
is
and
to be
flat,
and a further
fig-
17
Vasily Kandinsky
Small Worlds X.
1922
Drypoint on paper
The Solomon
Museum, New York
Collection
fig.
R.
Guggenheim
R.
Guggenheim
18
Vasily Kandinsky
1922
Woodcut on paper
Collection The Solomon
Museum, New York
fig.
19
Vasily Kandinsky
On
White.
(HL
February 1920
224)
Oil on canvas
Collection Russian
Museum, Leningrad
39
illusion of depth.
in these
forms
at the
ployed as devices for designs and formats for student exercises. Finally, the
forms and
clearly defined
as well as
some
flat
number
of these prints,
subsequent work: for example, the cluster of parallel bars and the circular
in
The advanced
dinsky's
art
participation of
vases. 65
Worlds
(cat.
I (cat.
no. 89)
and the
no. 84).
by Kan-
in the Juryfreie
museum, but
room
Worlds
Kunstsckau
in Berlin (see
room
of an
fourteen-feet-high
re-
"monumental art," here synthesizing painting and architecture. As such, it was a fitting accomplishment of his first months at the
Bauhaus, whose goal was the integration of the fine and applied arts and
where he had been appointed master of the Wall-Painting Workshop. The
origins of Kandinsky's desire to achieve a synthetic work such as the Juryfreie room ultimately can be traced to an early experience on an ethnological
research trip to the Vologda region of Russia in 1889. On entering the peasant
alize his ideal of
full
They taught me
move within
to
in his
experienced something
The intensity and scale of the Juryfreie murals allowed the viewer to become absorbed in the pictorial experience of Kandinsky's abstract imagery.
The mixture of free and geometric forms that characterized the style of
the end of the Russian period
is
found
is
in the
increased in
6s.
Nina Kandinsky,
66.
Lindsay/Vergo,
Comparison
67.
40
I,
p. 109.
p. 368.
sitions,
many
in
areas of the
tween two
Thus
It
compo-
favor of an abstract
in
Panel A,
to a conventional
contains an extraordinarily
in the
works of the
of the mural
above
all
shows
and
more
in the
68
Among
board elements
doorways and
and
On
Bauhaus work.
in the
work by
more important
role,
out
when he used
it
circle, a
is
in
usually near the boundaries, repeating the black and white checkered floor
of the original room, a feature that further unifies the paintings with their
three-dimensional context. 70
Within the
made
first
shop that
Workshop and
the Wall-Painting
Work-
and architecture. To be
and thus
reflected
than
sure, the
utilitarian
art,
importance of
institution's existence.
at the
Bauhaus
its
in
June 1922,
theoretical
and
just as a
away from
stylistic orientation:
am
grateful to Christian
Derouet of
in the
approach
to design.
the
bringing to
site
attention the
compo-
published
69.
my
founding proclamation of April 1919, the Frogramm des Staatlichen Bauhauses in Weimar (Program of the State Bauhaus) (cat. no. 99), suggests the
in
Will
sily
Kandinsky,
fig.
13.
Grohmann, Was-
mood
its initial
in the
Germany's
socialist de-
preceding November.
It
em-
P- 3-
New
York,
Gothic cathedral as the center of the culture, uniting people of different social
classes within a
common
spiritual ideology
visual
and
4i
performing
within
arts
its
must already by the beginning of 1920 have been aware that the
ideas and
made note
is
demonstrated by
He
not
fiir
gruppe and the Bauhaus but also called for "the building of an international
house of art" representing
all
the arts
which suggests
and the
cosmic, as well as angular shapes and direct evidence of the woodcut techni-
draw
que, which
fact,
at
The
print, in
founding, as articulated
its
in the final
in
the Prograrmn:
Let
11s
raise
new guild
create a
and
desire, conceive,
create the
new
one day
velikoi
Khudozbestvennaia Zhizn',
1910), Lindsay/Vergo, I, pp. 444-448;
"Steps Taken by the Department of
utopii,"
mezhdu-
"Program
Culture," Lindsay/Vergo,
72.
"Programm des
hauses
in
I,
p. 463.
Staatlichen Bau-
translated in
us
in
When Kandinsky
joined the
Workshop, Johannes
who was
Work-
Workshop and
subse-
in the
Theory of Form
all
taught
program,
new kind
artists
would
of design that
modern
word "building"
A much
for "structure" as
my book,
Kandinsky Unterricbt am
Bauhaus: Farbenseminar und analytiscbes Zeichnen, dargestellt
am
Illinois,
74
society,
which were
classes of Itten,
later
taken
program
in
faculty participated.
The
credited to Itten,
who
tivity to materials
Expressionist
brought a background
1971.
74. See
serve
firmly maintained that "free art" should be the basis for the practical arts,
account of Kandinsky's
the school is provided in
fuller
activities at
42-
let
Together
rise
artist!
in early
and encouraged
and an awareness of
their
own
is
to be
progressive education
in his
students a sensi-
psychic responses.
can be seen
in the
The
typography
104, 105),
and
reflect
an
Itten
colors,
in
and rhythmic
studies. These exercises sometimes resulted in highly simsummations of movements or formal relationships, as exemplified in
the diagram at the lower right of Itten's sheet of sketches analyzing Meister
ings
plified
Magi
(cat.
no. 106).
He
reductive schematization of Itten's analyses seem to have influenced Kandinsky's teaching of analytical drawing, particularly in
form
made another
Itten
its
more elaborate
Dessau Bauhaus.
at the
materials and visual elements that gained ascendancy at the school: his
is
at the
Bauhaus
Itten's
diagram
(cat.
from white
is
Otto Runge
at the
indebted to his
own
is
particularly
color charts in his teaching, but relied on simpler ones such as the six-part
color circle.
teaching
is
matic contrast using the square-in-square format. Vincent Weber's study done
for Itten's course (cat. no.
mary
nz) demonstrates
and
in exercises
(see cat.
when
the influence of
75-
"Analysen
alter
Meister"
in
Utopia:
Dokumente der
Wirklichkeit, Weimar, 192.1, pp. 28-78. The typographic design was a collaborative
project involving the student Friedl
Dicker
76.
in
contrasts, gradations
effective
addition to Itten.
formats (see
and
cat. nos.
113-115).
is
found
in
my
little
specific
is
known:
and publications
own
course notes
43
V"
fig. 2.0
Gerhard Schunke
Analytical Nature Drawing: Character
of the Objects
Ink on paper
Collection Bauhaus-Archiv, Berlin
fig.
ii
Maria Rasch
Analytical Nature Drawing: Constructive
Analysis
Ink on paper
Collection Bauhaus-Archiv, Berlin
fig.
22
Maria Rasch
Analytical Nature Drawing: Geometric
Connections
Ink on paper
Collection Bauhaus-Archiv, Berlin
fig- z-3
Ida Kerkovius
Ink on paper
Collection Bauhaus-Archiv, Berlin
44
in his
contributions to the
book published on
the large
and
the occasion of
78
both
In these
and
in isolation
"its characteristics,
in
power,
Spiritual in Art. 19
was
specialized subject
Kandinsky taught
at the
On
the
Bauhaus
Four of the student drawings were reproduced in the book published in conjunction with the Bauhaus Ausstellung (figs. 20-23). These show a simplification of outline and analysis of the structural networks inherent in the
life
still-
tion. 80
Subsequently,
in
own
clarity of his
in part
from the
at the
He
(cat.
lized a
77-
of
Form" and
pp. 498-504.
asked to
fill
in the
their choices.
in outline. Participants
and the
were
triangle, red
yellow
affinity of
circle.
The concept
of
78.
79.
On
80.
An account
may
of Kandinsky's early
on Kandinsky,
Lindsay/Vergo,
82. Ibid., p. 163.
I,
Munich,
pp. 157-158.
may
when appro-
this
sharp forms
sized
for
(e.g.,
by rounded forms
Russian publication of
(e.g.,
1911),
is
that
and
reproduction in the
book
in
empha-
colors
priately
On the Spiritual in
"as a high note on the trumpet hurts the ear." 81 Accordingly, shapes and
Inter-
journal, vol. 43, Spring 1983, pp. 1730. 1 am indebted to Peg Weiss, editor
81.
see p.
three-
45
These correspondences
and colors appear
as well as contrary
Among
the
and
a red
square
(cat.
mental scale
in his
were part of the wall-painting program for the exhibition. These were three
one for each
large murals,
composition with
circles; the
second with images dominated by red and the square; the third yellow with
triangles (cat. no. 119). In chromatic value
alike, this
ening.
The theory
tudes toward
throughout
art, for
his career
atti-
it
was
results
beyond
Kandinsky
taught the theory throughout his Bauhaus career and occasionally applied
in his
own work. He
it
through the application of the theory and believed that students should
learn systematic approaches to formal elements before they
in the
more
became involved
its
Weimar Bauhaus,
and 1924.
many of the objects and works of art
The wooden
(cat.
this
nos.
formal
and semisphere.
which include
cubes and pyramids, and the glass and chrome components of K.J. Jucker's
83. "Analysis of the
Primary Elements
in
Important factors
De
in the influence of
46
Stijl
(cat.
II,
p. 854.
84.
were stressed
were made up of
this
in
circular, square
body
The
made
(cat. nos.
letter
forms
represents a continu-
ation of the use of simple abstract forms by the Jugendstil artists at the
beginning of the century for the purpose of reforming the elaborate design
traditions of the nineteenth century. In
its
and
social idealism
belief that a
ment, the Bauhaus also reflected the point of view of the Werkbwid, the
German
association of
was dedicated
to
and embodied
new
rationalism.
were more functional and better suited to mass production than traditional
ones. Rather than simply resulting from a logical assessment of the function
style
new
Bauhaus Masters
background
This concern
scape subjects
(cat.
no.
133).
it
of-
development during
is
in the representational
Feininger's views of
and abstract
his coastal
landscape or
city-
straight-edged shapes,
flat,
many
the grid in a
locking
explicit
way than
slightly, the
profile,
mer
(fig.
24).
parallel to the
frontally or in
human
it
modeled
more
flat
fig-M
The
Oskar Schlemmer
Figure of a Youth in Components.
Pencil
done
Private Collection
in
Kandinsky's
grid
was introduced
classes.
but
its
De
The ways
at the
Bauhaus by
implicit presence in
Stijl
group assured
currency
in the art
role in
created
in
probably used the grid more subtly and inventively than any other
Beginning as early as 1914, and especially during
his
Bauhaus
artist.
years, he
em-
47
ployed
this
geometric device
in his paintings.
85
number
In a
of examples
from 1913, the proportions of the squares and rectangles vary considerably,
and diagonal deflections or additional shapes such as triangles or half-circles
are introduced, changing the
illusions of shallow
depth. However, the alterations of the basic structure of the grid seem deter-
in his teaching.
86
and
effects, subjects
hue,
who
Feininger,
abstracts
visual world,
and
differs
from
A
1922
tree
freer use of
(cat.
geometry by Klee
The
nudged
much
is
The
submerged
(cat.
in the
no. 132),
particularly interesting in
lines floating in
may
objective.
be,
87
by
human
they
is
Red Balloon of
drawn elements of the
face
is
To
Klee's playful
as-
sociative elements reveals his belief in the dual nature of artistic creativity,
85. See
Klee Notebooks,
London and
New
vol.
87.
and
utilizing
from 1921
to 1923. His
program
whom
appointment
school's
p. 155.
who
shared a
to rationality in the
He had
them
artistic
Magazine,
48
in
of Paul
Glaesemer,
shift
he
to the
knew when he
Bauhaus
lived in
in the spring of
graphy, typography and industrial design accorded with the growing emphasis on technical and utilitarian aspects of design at the Bauhaus. In
fields,
works show
ruler, as
it
that he
had been
and
and bars
half-circles, lines
float against
space
(cat. nos.
137, 138;
fig.
25).
The formal
surfaces and
flat
the
ways
differs
it
Moholy,
"predetermined
ideally
is
relations." 88 Kandinsky's
intellectual
in the
work
is
at every point of
technical
its
and
is
for
fig-*5
Laszlo
Moholy-Nagy
DIV.
1922
in
which
Oil on canvas
George
B.
Fund, 1973
commitment
where abstract
art
was developing
in the teens
and twenties,
The
goal of the
in
was believed
Bauhaus was to
it
to
Europe
common
The
artists at the
school
contributed toward this end through their pedagogical and creative work. In
this
context Kandinsky was able not only to develop his theoretical ideas, but
He
accomplished
this in
De
Stijl
which
more
when
the
complex
pictorial
The major
Von Material zu
Architektur, Bau-
York, 1930,
.
irregular
it
circle as a
many
prominent motif:
of Kandinsky's
this
works of the
that bore the central imagery in the bordered pictures of the Russian years.
p. 59.
say/Vergo,
shows
II,
p. 759.
The atmospheric depth provided by the black background and the modulated areas is in marked contrast to the two dimensionality of the key works
49
fig.
26
Vasily Kandinsky
On
Gray.
1923
(HL252)
Oil on canvas
The Solomon
Museum, New York
Collection
R.
Guggenheim
that followed.
transition to these
(fig.
26), a
(fig.
5), in
On Gray
geometric elements. Kandinsky said his "cool period" the more geometric
style that
in
90.
91.
II,
pp. 603-608.
background, axial
onal lance
man
St.
Munich
in
George
in
my opinion,
work
its
floating suspension
clearly
planes in
many
no. 145),
(cat.
which contains
a sequence of
large shapes that underly the composition: the tan trapezium suggesting a
a white
unconvincing,
on
is,
is
50
indebted to the
shifts
square
tilted
and warped
Bauhaus during
this
in
circle.
Kandinsky's
commitment
to
geometry, though his use of the trapezium for the square suggests that he
was making
a point
about pictorial
art
and
its
as Kliun.
Other forms
with which Kandinsky was concerned during the Bauhaus years appear
more
Point
movement
tensile
and Line
into depth
to Plane indicate.
90
as the
The
in
Kandinsky's
reflect
verging lines in the lower right are also borrowed from Constructivism, from
Rodchenko
in particular,
Another major
feature here
.
uL
example,
17
on paper
on a grand
27)
Munich
is,
it
fig.
Vasily Kandinsky
Pencil
fig-
is
Its surfeit
was
bearing pictures within the picture, makes this a disconcerting and yet
crucial to Kandinsky's
development during
Weimar period.
In June and July 192.3, shortly after Traversing Line was completed,
Kandinsky painted In the Black Square, Composition 8 and Circles in a Cir-
somewhat simpler
in their array of
in
composition and
and
and curved
lines against
quality.
The
lines
predominate
in these paintings,
and
their black
Weimar period
background from
atmospheric
in particular. Simi-
at the
their
and planetary
their
monuWhereas cer-
Clusters of lines and overlapping circles in the three canvases are strongly
larly
of the
work presumably
recalling the
integrated into the variety of other forms. Moreover, the trapezoidal white
field of In
own
is
and
its hilt
George and the dragon the latter
pair no longer opponents, but unac-
the narrowness of the border heightens the tension between the black square
St.
circle
Ibid.
Grohmann,
p. 188.
art.
Kan-
92.
its
field lies in
it
is
uncertain
series.
/;;
the Black
91
critic.
92
Large in
size
his
his
principal con-
as
5i
fig.
28
Vasily Kandinsky
1923
Watercolor on paper
Collection Galleria Galatea, Turin
evidenced by the existence of a small squared drawing for the entire picture
and
no. 148)
(cat.
the painting
fulfills
for designating a
work
as a
me
...(..
(fig.
z8),
Munich period
feelings that
after the first preliminary sketches, I have slowly and almost pedantically
examined and worked out." 93 Composition 8 transforms the mountain and
work
The importance
of Composition 8
lies
also in
its
embodiment
of Kan-
Its forms are predominantly angular and circular, reprewhat he considered "the two primary, most strongly contrasting plane
figures," the triangle and circle. 94 Corresponding to the colors yellow and
blue, these shapes possessed for him the polar qualities of sharpness, warmth
and advancing and eccentric movement, versus coldness and retreating and
concentric movement. 95 In addition, the triangle, when pointing upward as
here, was characterized by stability and ascension, and the circle, by eccentric
as well as concentric movement, both stability and instability, as well as
freedom from gravity. As always for Kandinsky, these properties of forms
were influenced by colors, warm colors advancing, expanding and rising,
cool colors receding, contracting and descending. Composition 8 offers a
variety of combinations of colors and basic shapes, especially for the many
circles. Thus one can witness these effects here, particularly the spatial ones,
which are also influenced by the placement of the shapes in higher or lower
dinsky's theories.
senting
93.
On
new
title
was given
in
94. Point
Vergo,
95. Cf.
ties
new work.
and Line
II,
to Plane, Lindsay/
p. 600.
51
halos around
many
among
colors and
Comparison
by
artists
Even
96
works
an abstract
at
effects.
level,
works maintains
of
"experiments"
and
literal
only illusionism but a hierarchy of forms and multiple relationships, including sets and series of forms and chromatic interactions.
abundance of elements,
there are an
and an
which
is
effect
On
had discussed
own
com-
"One
finds
is
lines
Composition
8.
In writings
and
comes ultimately from the inherent forces or tensions of the elements, their
psychological and perceptual effects. Accordingly, in Point and Line to Plane
he stated: "The content of a work finds expression in composition, i.e., in the
inwardly organized tensions necessary
in this [particular]
Kandinsky
work." 99
utilized the
It
was
to
complexity
in the
upper
left.
Dramatic accents
are supplied by the vibrant smaller circles, the one freely curving line and the
special note
is
tion of small but vivid shapes, near the top of the painting: a yellow triangle
On the Spiritual in
Vergo,
I,
Art. Lindsay/
triangle
and
plifying the
power of
Lindsay/Vergo,
Lindsay/Vergo,
is
enhances the polarity of the shapes. Though the generic landscape reference
p. 516.
99.
II,
p. 548.
in
53
content
is
abstract.
to
feel-
which
is
1929 Kandinsky
1926).
Lindsay/Vergo,
102. Rudenstine,
II,
p.
739.
I,
concerning
this
art-historical literature.
Kandinsky had prepared this statement so it could be used in Grohmann's 1930 monograph on him;
." Kunstler schrei"Lieber Freund
ben an Will Grohmann, Karl Gutbrod,
.
Cologne, 1968,
p.
(e.g.,
warm, very
dark,
This
is
what
is
called 'mood'
." 101
.
By 1930 he was
(cat.
this
letter to
Will
Grohmann
circle:
It is
use
it
above
all
formally ....
1.
2.
valued the "inner force" of this abstract form, as he said in his answer
to Plaut's questionnaire. There he
continued, "I love circles today in the
3.
4.
j.
The
circle
horses
which
loved,
find in circles
is
more inner
the reason
why
e.g.,
concentric
possibilities,
and the
Though painted
tion 8
specific
is,
associations with
St.
on the
unconditionally,
soft,
itself
it.
II,
especially,
and
he wrote con-
56 (Oct. 12,
and
in equilibrium.
Of
the
and Circles
image and
it
combines the
in a Circle
attest to the
range of
its
circle as a
first
second
cosmic
the
in a
form
man-
passing ring.
circle
continu-
forms
more generally: "Les Themes de
l'inconscient" in "Centenaire de
Kandinsky," 1966, pp. 48 ff.
54
Similarly, in a statement of
etc.).
Guggenheim Museum
Collection,
ed.,
interior-
the picture," maintaining that the artist "tries to achieve the clearest possible
101. Kandinsky's
103.
100
concluded
in
Grohmann
ter to
now
(fig.
background, represents a
light
(cat.
rich-
it
Yelloiv
in its
The chromatic
the yellow of the ground. Moreover, the density of overlaid planes, shapes
and
lines in
Yellow Accompaniment
more openly
distributed forms in
is
marked contrast
in
works such
as
Composition
8.
This com-
One Center, 1924 (cat. no. 154), whose conand shapes shown against a dark background
and curving
lines
and angular
straight
elements
in
come
main themes of
the
and
and Elementary
29)
(fig.
clarity
the single black circle versus a cluster of angular colored forms in the
first,
the ringed greenish yellow circle contrasted to the horizontal black bar in the
second.
fig.
29
Pointed and
Vasily Kandinsky
Black Relationship.
1924
Watercolor on paper
Collection
The Museum
of
Modern
Art,
New
fact, this
with
this project
last
part of the
Weimar
He
period
seems to
in
terms
be attributed to this
complex
upper
Above and
left
most
He
Left
dif-
lightest
and most
diffuse.
105
Therefore, a strong
104.
II,
p. 530.
Grohmann
he reported
his progress with the writing of the
manuscript: by July 16, 1925, he had
begun, and by Nov. 3 the work was
completed. These letters are in the
In letters to
Grohmann-Archiv, Staatsgalerie
Stuttgart, and copies are in the library
of
The Museum
of
Modern
Art,
New
right quadrants.
Black Triangle
(cat.
thus,
treatise.
10
In both the
lines
and curve"
York.
105. Point
and Line
Vergo,
II,
painting, the interconnected lines are like the students' analytical drawings,
to Plane,
pp. 639-655.
Lindsay/
in
and
a standing figure,
55
By
virtue of
its
size
192.5
is
Its richly
Yellow -Red-Blue
(cat.
no. 196).
title refers
linear
network of Composition
While
Kandinsky presented
circles play a
major
square and rectangular forms, there are also prominent irregular shapes,
of the later
Weimar
AND
city of
IN DESSAU
BERLIN, 1925-1933
variety of
period.
III.
The
background creates
in the
Thuringian
in
to design symbolized
by
its
famous building
its
Bauhaus moved
apogee,
(cat.
mass production,
to the industrial
modernist approach
its
no. 176):
(cat.
its
modern
lightness, cubic
epitomize the school's aesthetic and functionalist ideals. Kandinsky was the
first
later.
it
108
During the Dessau period Kandinsky wrote Point and Line to Plane,
which appeared
in the
Bauhaus Book
series, as well as a
and from
teaching,
this
number
He
of articles,
systematized his
own
art.
and Line
to Plane
and
in his teaching,
Some
of these
Nina Kandinsky,
Kandinsky stayed
p. 119.
Kandin-
and of the
stu-
my book
also
56
tober
1,
at the Bauhaus through its closing in Dessau on Ocwas decreed by the National Socialist majority on the
He then moved with the school to Berlin, where it reopened
1932, which
city legislature.
when
it
was closed
for
their
assumption of
move
to
Rohe
for the
who
Meyer came
Kandinsky began
to teach his
and
his
this
As he expressed
this position,
fessional training, a
receive,
new
as a specialist but as a
dinsky's course, Klee taught a painting class and Joost Schmidt a sculpture
class, all of
the
Bauhaus
is
was strong
at
alike.
Kandinsky even
at the
Bauhaus."
re-
112
Bauhaus building
30
di-
In
Feininger,
Marcel Breuer
itself,
Bauhaus masters.
Kandinsky ad-
hered to a certain extent to the aesthetic of the Bauhaus, and also asserted his
own
was used
square base and tubular metal legs and stand, was a typical Breuer design, an
Collection
point of view.
He and
39),
May
their
class, the
am Bauhaus,
(see fig.
round white-rimmed
ness,
setting for
one of
in surviving
felt
his
own
paintings:
On
White and
(for
example,
spirit.
Bauhaus approach
114
in the
apartment interiors
P-37-
Weimar.
p. 119.
Nina Kandinsky,
Though awkward
Kandinsky
its
cat. nos.
cat.,
with
exh.
also used in
table,
1,
The
on the other hand, were unique and were designed following Kandinsky's
instructions. 113
112.
167-169, 175).
and traditional
May
18, 1928).
Museum, Bauhaus
115
(cat.
architect
The Masters'
German
in
Bruno Taut,
this
in
order to create a
De
Stijl
and of the
57
new
in the
many
buildings in Dessau
of his contemporaries
was
it
among
exteriors.
ter's
is
good ex-
and
(cat.
interior
yet interrelated
lat-
according to his design. The walls were light pink, except for the short wall
behind the divan, which was ivory white, the doors were black, the
gray,
and
a niche
goldleaf.
The
softness
ceiling,
and immateriality
weight. 116
Through
in the
was not
the formal articulation of the architecture nor the creation of spatial effects.
He wanted
this
mained one of
his
acteristic of his
work
a synthetic
fundamental
ideals.
artistic principles
He
it
view
For
instance, he
no.
(cat.
utili-
downward
and expres-
way he analyzed
in the
this feeling
chair especially
pull of gravity,
and achieved
a sense of
had embodied
an
this vertical
n6.
Nina Kandinsky,
May
18, 1918).
Unterricht,
p.
148, note
this sort
were frequently
intro-
117
German word
at the school
sought
and
material.
is
and which
118
in his writings
in the
58
in his classes.
87.
118. Cf.
way he
duced by Kandinsky
Kandinsky
and
strict
to humanistic
psychology and
his
its
artistic
As he did
was intended
the various intellectual and artistic disciplines as called for in his concept of
synthesis.
119
arts
and
and drawing on a
sciences, as well as in
logical
its
its
is
of a spoof
The
on
his
Bauhaus colleagues
basic progression
presented
in
(cat.
from point
made
as part
no. 179). 12
to line to plane,
his
and 1920.
be found
119- See Kandinsky's chart in
120.
"And,
Synthetic Art,"
Lindsay/Vergo,
p. 709.
humorous presentation
his
9 Jahre
on the
on Big Questions:
Line," Lindsay/Vergo, I, pp. 424425; and "Program for the Institute of
On
Lindsay/Vergo,
I,
P- 459-
L.
Teuber,
"New
Aspects
Bauhaus Style"
in Des
Moines Arts Center, Paul Klee:
Paintings and Watercolors from the
Bauhaus Years, 1921-1931, exh. cat.,
of Paul Klee's
1973. P123.
pictorial elements
and Line
artistic
to Plane, accordingly,
is
composition.
phenomena
Munich psychologist Theodor
empathy and his eye-movement theory of perwas August Endell's application of Lipps's
ideas to artistic questions and his formulation of ideas of tension and tempo,
which characterized lines and linear complexes. 124
Designed by Herbert Bayer, the book is illustrated with many diagrams
and drawings by Kandinsky and a number of photographs in addition to
illustrations taken from scientific publications. Even a small selection of the
Lipps's concept of kinetic
ception.
Of
further relevance
"On
and
their ramifications.
different shapes
and
sizes
of 1881,
the Origin
ff,
125. Point
and Line
Vergo,
the discussion of
9-
124.
Marianne
originally
line in
122.
by the famous
Scientific Lectures
Artistic Culture,"
in
It is
Some Remarks on
II,
II,
to Plane, Lindsay/
pp. 555-556,
figs. 5, 6.
"Nebula
nitrite."
in
125
Since a point
is
also in
itself
a complex unity
(its
size
its
shape),
it
may
identical and
how
if,
in the
course of development,
and shape
are
59
fig-
A number
31
Vasily Kandinsky
Drawing
"Curve
for Point
to Plane,
freely undulating."
1925
Ink on paper
Collection
of the illustrations
Musee National
image
d'Art
(cat.
these ideas,
As
his
own
art indicates,
loose,
" 127
in the variety of
wavy
fig- 3 2
Vasily Kandinsky
Drawing
"Curve
for Point
and Line
to Plane,
freely undulating."
1925
Ink on paper
Collection
Musee National
plane. In
some of
curves,
d'Art
Paris,
freely
ducing the
effect of
emphasis or
line,
pro-
book,
his
attention to the varying nature of the different parts of the picture plane or
surface.
have
(fig.
129
34).
distinct characteristics.
of points are good examples of these qualities. All three emphasize the "un-
He
"harmonic" or
right to
upper
left,
but also
nearness of the lower part and the right side, versus the lightness and distance
127. Ibid., pp. 566-568,
and
fig. 12.
figs.
34, 35,
pp. 602-604,
129. Ibid., p. 646,
figs. 82-84.
60
figsfig.
of the
and
upper and
placement of
left
"heavy weight"
in the light
area increases
its
tension
is illus-
39-42.
77,
is
in the
upper
left (cat.
no. 185).
influential
Vasily Kandinsky
Drawing
for Point
and Line
to Plane,
free
1915
Collection
by the
titles
of the plates,
which are
in addition to "Point: 9
indicated
is
Ascending points,"
Ink on paper
Musee National
d'Art
Many
fig-
33
of the
34
Line to Plane take as their theme the expressive contrast or consonance of the
Vasily Kandinsky
Drawing
for Point
and Line
to Plane,
1925
195).
Ink on paper
Collection
Musee National
d'Art
in
The
Hard but
Soft,
both 1927
(cat. nos.
complex
shape, dominates these images, even where one aspect of the polarity pre-
vails.
Among
the
probably the
is
finest of these
first
Several Circles
first
(cat.
The
largest
smaller
its
concerned with
Grohmann,
stine,
ment of
a large circle
1,
works
and
left in
movement and
place-
1,
1923
moving
diagonals create effects not only of ascent but also of both coalescence and
61
in
an
illu-
in
Point
and Line
to
it
depth)":
the
way
forward (toward the spectator) and backward into depth (away from
the spectator) so that the picture plane
in Pink,
1926
companion
to
it.
It
no. 190),
(cat.
is
this
power
though smaller,
in
is
in
extreme measure} 12
many ways an
in a
quadrilateral fields
first
used
in
use of a large
manner
squares and a
in the
effects
interesting
in
these
diamond-shape and
vertical
circle,
dark yellow
ity,
though these
of the
Accent
in
for yellow
with the dark violet corners which contain a good deal of blue. The com-
complex equilibrium
created here: near the center are focal contrasts of black and white, while
complementary oppositions of green and red or pink balance the lower and
upper parts of the picture. The resonant color and cosmic reference provided
by the image of the
and Accent
in
62
II,
p. 648.
(cat.
Red
(cat.
no.
Dessau years.
Color Theory
The student
exercises
done
group of
such material that survives from the Bauhaus. Well over two hundred of
these
most
all
free studies
The
collected
by the Bauhaus-Archiv
in
West
and paintings
Berlin. Al-
number
of
teaching.
dents
would become
phenomena and
principles,
education of this sort was central to the Bauhaus program. Students benefited
not only from executing the studies but also from the discussion of their
works
in class.
The
exercises
in exhibitions of the
Dessau
at the
bis 1930,
in at least
which opened
cities.
in
154
This probably accounts for the careful construction and execution and explicit labeling of
many
and
effective
artistic principles
derived from the charts and diagrams used in scientific and theoretical
sources.
scale of
many
ventiveness and subtlety of others, and certain of the formats, such as those
based on the grid, clearly show that they are products of a school of modern
design.
The majority
systems and sequences, the correspondence of color and form, color interrelationships
works from the Bauhaus years. A programmatic statement of this sort is the major painting from the months preceding
the move to Dessau, Yellow-Red-Blue, 1925 (cat. no. 196). This work embodies the systematic ordering of colors by the color circles and gradation
sequences Kandinsky taught in his classes. More than his fellow Bauhaus
masters Itten and Klee, who also taught color theory, Kandinsky placed
involved in these categories
great emphasis
this
in his
correspondence theory,
Busch-Reisinger
Museum, Harvard
University, Cambridge,
setts,
P/A1/7.
Massachu-
site poles.
Though
elements and
which he called the plus-minus polarity, and this concept was adopted by
Kandinsky in his synaesthetic view of these hues. He quoted Goethe on this
polarity: yellow "is the color nearest the light.
It
it
63
ness with
it
."; while blue "always brings something of darkand provides "a feeling of cold,
shade." 135 The areas of
."
left
black forms on the right near the blue circle represent these
are
shown
affinities,
which
For Goethe red was the bridge between the poles and originates from
them by the principle of "increase," which he called the "primal phenomenon."
He
based
this
becomes denser,
it
When
light
is
phenomenon exemplified by
sunsets.
is
From both
is
was conceived
as the
this
violet
on the
Thus
other.
illuminated.
itself is
medium
The blue or lavender
opposite effect, when
effects of turbid
in the center
sequence, which
is
and
found
also
student exercises
in
colors
In the assignments
in Point
and
Line to Plane, the color sequences show gradations of lightness value and
warm
to
also,
and
its
designation as "a slow, natural slide from top to bottom" 137 (see
wide range
ment of green
gradation (see
cat. no.
its
p. 219;
II,
ff.
pp. 579-580.
vom
Hues," pp. 41
64
"The
ff.
Series of
Color
warm and
some
studies
show
(cat. nos.
circles also
the place-
in Into the
in
broken or
217, 201).
show
Many
Color
cool, to
Condensation, 1930
of the major
its
parallel to red in
zoo).
number
(fig.
35).
The
first
and
lie
yellow-violet, orange-blue
and red-green
their opposition:
no. 197).
on
his
four hues are the primary chromatic sensations, this pairing corroborated
Goethe's concept of the yellow-blue polarity and thus must have appealed to
domain of yellow.
Kandinsky expanded
picture, the
in his
his students to
that could accord with the secondary colors (cat. no. 203). In Point
to Plane
Kandinsky elaborated
and Line
this
sequence from obtuse to acute angles, so that blue and violet correspond to
obtuse angles, red to the right angle, and orange and yellow to acute angles
(see cat. no. 204).
ing bends of a
14
complex curve
(cat. nos.
this general
own
paintings Kan-
and forms
way. Composition 8
in a systematic
and
warm
some of the
pink, and in
(cat.
circles
and
some
triangles. In fact,
he readily
"new
offer
and thus
possibilities
also
harmony." 141
Nevertheless, a few paintings from the beginning of the Dessau period embody the correspondence theory quite directly. Three Sotinds, 1926 (cat. no.
202), presents parallel sequences of color and shapes in its triad of triangles:
the acute triangle is yellow, the equilateral one, red, and the more open one
with a curved side is blue. Tension in Red and Calm, both 1926 (cat. nos.
192, 295), follow the general outlines of the theory to achieve their overall
forms and
titles.
warm
The
first is
by the predominantly blue and greenish blue circular forms. The repose conveyed by Calm derives from the dominant blue
fig-
35
Hans Thiemann
background and
also
circles
in
cool colors.
ca.
1930
texts
art
rangements
first
Occasionally Kandinsky's
own works
Itten's
and grid
ar-
Preliminary Course.
backgrounds
the subtle
in
phenomena
late
The more
in the
141.
II,
pp. 588
I,
p. 461.
ft.
On the Spiritual in
or complementary of
ample, red
Art, Lindsay/
its
may appear
neighbor
lighter
in
shifts
The
is,
65
(cat.
on
this
in his
Albers's art
to
by Kandinsky
at
clearly articulated
various stages of his career. Kandinsky returned to this aspect of the nature
of artistic elements in 1939, stating, " 'Absolute'
ing;
its
means
It
from
is
means do not
exist in paint-
142
complex process of
One
for the compositional use of color. This exercise utilized a format based
on
mann
mentary colors
into the
were asked
to examine: Accenting
no. 213).
(cat.
example by Thie-
in the
relate to
each
other visually across the surface and create equilibrium by completing each
other.
torial
The
investigation of the
ments indicates
and
its
phenomena
in
them to be crucial
harmony in significance.
sidered
for
left-right disposi-
number
of contrast in a
He
importance to Kandinsky.
their
its
and expressive
of the assign-
he con-
to supercede traditional
spatial effects
ested Kandinsky.
contrast of
its
of hues from
is
Two
warm and
warm
demonstrated
in the
circles
sion
"The Value
of a Concrete
p. 8x3.
literal
word
that
say/Vergo,
II,
work
Dark, 1928
in size.
The movement
Thus
spatial
(cat.
no. 216),
shown
in
not decrease
(cat.
violet;
in the progression
in the
from
set of triangular
ambiguity
is
this progres-
of chromatic perspective by the relative flatness of the graphic element. Lightness value as well as temperature participates in the production of chromatic
effects, as
shown
in the studies
using concentric
circles,
where
is
a tunnel-like illusion
p. 758.
66
is
Work"
in the latter
in
The caption
for
Thiemann's study
no. zi8)
(cat.
Yellow forms on a blue ground and blue forms on a yellow ground ....
lie
whereas the
lie in
stcl>
Changes
known
whereby
as irradiation,
von Helmholtz,
movement
this
was
well
a bright object
From
field.
known
as a perceptual effect.
145
The
of colors
knew the
eccentric
irradiation,
therefore,
movement
in colors.
146
as well
its
a range
to occult science.
size,
placement, and the exact hue and shade of the colors often prevent the
normative spatial
complexities
is
effects
from occurring
and
"On
tion
in paintings.
His interest
in
such
147
may be
ored according to the correspondence theory, overlap each other causing am-
some appear
to be fused
it is
on the same
lies in
front of which,
and contradictory
and
That Kandinsky
by colors and
Poling, Kandinsky
forms
and notes
on
39, 40.
is
attested to
by the recollection of
a painting student,
who commented
his class:
146. Ibid., p. 54
He
which he holds
in front of us to test
and
to
this is
add
is
this black,
(fig.
ca.
Kandin-
ef-
sky's
and
in
149.
On
Vergo,
I,
pp. 171,195.
Analytical
Studies
produced through
their juxtaposition
and grouping,
in
analytical
composition.
pic-
67
drawings
arrangements
set
up by the
class.
The
The teaching
of drawing at the
and the
cise observation,
Bauhaus
an education
is
in looking, pre-
of the subject were perceived and subordinated to a precisely depicted "simple over-all form."
plified
The drawings
renderings of the
still-life
Executed with
agram
clarity.
Many
little
or no sense of depth, so as to
how
151
Often
this
graphic abbreviation
made for
late Munich
stage. Here, in a
ond
more geometric
the basic com-
way
in the
lines of
lines,
secondary tensions were indicated and the major contours and the axes of the
its
cir-
(cat.
no.
150. "Analytical
Drawing" ("Analytisches
Kandinsky
Unterricht, pp.
Vergo,
II,
Drawing," Lindsay/
p.
68
729.
On
networks
in his analyses of old masters, and
Kandinsky used diagrams of earlier
Poling,
no. 224).
drawn
is
a three-legged stool,
which
is
is
an
circumscribed by a
found
more
were presented
complexes of
lines,
is
and sometimes,
made
visible
by
as in the
.
second
In the
shows
a highly simplified
diagram that
an enlarged version of a
like
is
schema but emphasizes dramatic movement. The dynamic red S-curve with
diagonal spiked ends
in Bella
subject's
drawings
(cat.
no. 225)
They
areas could be pictorialized by the addition of color (see cat. no. 229). Indeed,
no. 232),
class,
apparent
is
such as
in his
Hermann
Roseler's geometricized
still
to
fig.
Vasily Kandinsky
trasts. In
1929
Present whereabouts
unknown
own
no. 159)
many
of the early
(fig.
36).
drawing and
was
(Feb.
157.
1,
157-165, 267-283.
I,
dance and
art, ideally
Munich
uniting the
which was derived from the Romantics and Richard Wagner, and
in that early
1926).
and schemata of
Bauhaus
his painting.
'Pictures at an Exhibition"
drawings
in
was
composition:
drawings could be
on board
in pictorial
was
36
Fixed Points.
Oil
period he had written several works for the stage, including The
Yellow Sound,
Reiter almanac.
157
"On
However, he had no
Bauhaus
pp.
Stage,
69
his ideas
article
the 1923
was
included in the Bauhaus journal in 192.7. 158 This work, originally written in
was announced
1914,
Books, though
as a
forthcoming publication
never appeared.
it
159
Then,
in the series of
Bauhaus
in
Modest Mussorgsky's
Pictures at an Exhibition.
This was the only time in his career that he was able to realize his dream
of creating a synthetic stage work.
much
158.
"Uber
Staatliches
193}, Lindsay/Vergo,
"Aus
II,
Bauhaus Books,
Schlemmer reported
that
realized
many
of his
the
(Munich
Artists'
Oskar Schlemmer,
Die Biihne im
Bauhaus, Bauhausbiicher 4, Munich,
1925. Essays by Farkas Molnar, Laszlo
Moholy-Nagy and Schlemmer; English translation, Walter Gropius, ed.,
The Theater of the Bauhaus. Middletown, Connecticut, 1961, p. 34. Such
expressive use of color would have
accounted in part for Kandinsky's
belief that his own ideas were realized
in Schlemmer's work.
ed.,
form a structure of
stylized
no. 241), as
stage} 62
abstract and mechanical props and devices as well as the staging tech-
niques used in the Bauhaus theater undoubtedly gave Kandinsky ideas for
his
production. Students
made
An example
is
development
devised by students and performed in 1923 in which abstract figures assembled from geometric cutouts were carried across the stage by concealed
dancers. 163
Mack
in
On
one occasion,
in early
though
to illustrate
it.
164
Andrew Weininger's
from about 1926 and 1927 (cat. nos. 243-245) are especially relevant to Kandinsky. Most noteworthy are Weininger's colored stage wings and suspended
colored strips that
moved
vertically, horizontally,
like a constantly
changing
tated.
pp. 366-367.
at the
Wesen, Ziele,
Weimar, 1925, pp. 12-22;
divided the score into sixteen scenes, including the introductory and inter-
lichtspiele,
70
by Kandinsky
from the humorous to the serious. The first is a gay burlesque with
lemon-yellow drop curtains. The second, ceremonious and solemn, is on
a rose-colored stage. And the third is a mystical fantasy on a black
The
shown
164.
earlier
ing
8,
163. This
much
own
162.
Middletown, Con-
Kunstlert heater
160
for
theater:
body, mechanical props and the use of colored settings to create expressive
effects.
Kandinsky
Schlemmer,
new
mer had
pp. 504-507;
Kritiken,
see also
made
and
tempo and mood. He
mediary Promenade sections as well as the ten Pictures. For these he designed
'
Up
fig-
37
Vasily Kandinsky
Drawing
for Scenes
I,
111
and XVI
of
Mussorgsky's "Pictures at an
Exhibition."
1928
Ink and pencil on paper
Collection
Musee National
d'Art
fig.
38
Vasily Kandinsky
Musee National
moved
predominated
235, 239). In
tions, as in
was
Kandinsky's paintings of
two scenes
setting
in the
'abstract.' "
this period.
in
Kandinsky
asserted,
howentire
"the abstract stage," indicating the kind of production in which the stage
Bauhaus
were not
strictly
music, which did not "depict" the original pictures but rendered Mussorgsky's
forms that
165. "Pictures at an Exhibition" ("Modest
Mussorgsky: 'Bilder einer Ausstellung,' " Das Kunstblatt, 1930),
is
swam
before
[his]
As production
Kandinsky and made an annotated copy of the musical score. This fascinating document records the cues for the lighting and the movement of the
Revue, vol.
which
photograph showing the two dancers
flanking the backdrop in The Marketplace in Limoges scene.
166. This score
is
quest at the
in the
Kandinsky Be-
Musee National
d'Art
two of which
a disk
in front of the
static
images
in the
water-
made up of separate elements that moved durThe simplest scenes were four of the Promenade
two scenes
in
diameter
(fig.
37)
(fig.
39) featured a
(fig.
in
38)
7i
fig-
rectangular,
39
Vasily Kandinsky
made from
reflective
similar hue.
The
circle
was illuminated by
a light of a dis-
across the stage, suggesting the great wheel of the Polish cart that gives this
Gouache on paper
scene
Collection
Theatermuseum der
Universitat Koln
in
fig.
its title.
Limoges
(cat.
in the
40
Vasily Kandinsky
In Scene X,
silhouettes
were
Musee National
d'Art
(fig.
40),
image,
program.
Collection
map
in the
lit
in these
props
at different speeds,
at
times
evoking the
lighting, for
example,
drop. In Scene
the set
was
lines
at first
in
in
which
(cat.
tioned behind the scenery illuminated the various patterns of dots and lines
cut into
its left
and
right sides.
When
was revealed, the clockface glowed with a yellow backlight while the single hand rotated. Among the most dramatic scenes must
have been those in which the images were built up gradually by assembling
the component elements before the audience's eyes, as, for example, in Scene
XIII, The Catacombs and The Great Gate of Kiev, the final scene {XVI) (cat.
nos. 237, 239, 240). The latter began with the side elements and twelve props
representing abstract figures, to which were added successively the arch, the
towered Russian city and the backdrop, each lowered slowly from above.
At the end these were raised, the lighting became a strong red and then was
of Russian folklore,
72.
the performance
lights finally
this
was illuminated
at full strength
ground
in
effects.
The
flat
Grote.
167
Kandinsky united
pictorial, theatrical
Ludwig
in this
work, which
sions.
Pictorial
imagery
is
a diversi-
modes and
motifs:
medium
and
illu-
size
168
This diversity in part represents
a variety of pictorial ideas concurrently.
response to his Bauhaus colleagues, the environment at the school and his
association with the Blatie Vier (Blue Four) group in which he participated
He was
during the Dessau years their relationship was strengthened because they
shared a Masters'
House and
him
number
in a
of
ways. 169 Albers's work bears comparison with Kandinsky's with regard to a
few
specific motifs.
the
work
However, only
more general
lensky. Their
work shows
and
Though
in a
group despite
common
their
many
philosophy
stylistic dis-
similarities.
it
5.
States,
Kan-
169.
October 1929
at the Galerie
Ferdinand Moller
Germany
1932.
and space
later
170. Jan
in
in the
with the
tacts
artists
in the
work
ment
in
Bauhaus and the Constructivist moveGermany. The architectural and technological orientation of the
reflected tendencies at the
in
in the
Bauhaus, particularly
instituted
under Meyer
Scheyer Collection,
was
n. d., p. 13.
human
73
Klee's in
artistic
independ-
ence from utilitarian ends. 171 During the years of Meyer's directorship, in
fact,
art in a course
dents.
172
on
and expressive
visual
modern
qualities of
He
He
also
compared
its
chairs,
cited a
mentioned above, he
dis-
verticality
modern
factory
building, stating that these exemplify a contrast between vertical and hori-
zontal "tensions" and varying qualities of light and axial arrangement; these
characteristics
produced
different aesthetic
was
and psychological
effects.
174
Ulti-
Tower
and Line
to Plane he
Eiffel
tall
(fig.
fig-4 1
Laszlo
Berlin
wrote,
Moholy-Nagy
Radio Tower, seen from below
Photograph
tures as
networks of
and Line
lines
relates
both to the
analytical
Figure 68 in Point
He
to Plane, 192.6,
image of
a pylon, abstracting
its
Kandinsky quite
strutwork
in the adjacent
where precarious
form. However,
vertical
masts or lad-
some examples
the
constructions are completely abstract, but the vertical orientation and link-
age of the lines provide the generic reference to structures. Finally, a teetering
balance of diagonals
is
On
making
The major
172.
was made by O.
K.
Werck-
Institute,
which
spring
bound depictions
structures are
Mar.
1,
1929),
structures.
II,
("Au
sujet
du
ness
For Kandinsky
artistic
8C
much more
369.
175. Lindsay/Vergo,
74
in class.
its
artists
ordering principles. In the late twenties and early thirties Kandinsky often
based
in
his pictures
He produced
which
a single
dominant
main
few compositions of
triangle
relationships,
and
some
in
own
of his
was placed
to explore contrast
watercolors he employed
is
this structure
in the
266).
triangles arranged
is
manipulated
of 1930 (cat. no. 257), one of Kandinsky's most impressive pictures based on
rectangles,
transparent planes.
The
made ambiguous
left,
position.
Black
fig-
41
Vasily Kandinsky
Lightly Touching.
on
1931
(HL561)
Oil
explored by Albers
on cardboard
The
visual energy
depends
in part
Kandinsky admired. 178 However, the variations in size and visual rhythm
and the slightly diagonal contours in White on Black differ markedly from
the stricter geometry in Albers's grid-based works. Kandinsky's conception of
the
movement
in his
composition
which
is
is
draw-
of horizontal and vertical lines evidence of his feeling for the "living" energy
in
cations of geometry.
in class
of geometric shapes cut out of paper. 179 This aspect of his teaching
from a letter published in the
catalogue of the exhibition Erich
Mendelsohn Wassily Kandinsky
Arno Breker, Staatliches Museum,
Saarbriicken, 193 1, Lindsay/Vergo,
177. Extract
II,
178.
p. 858.
May
19, 1932.,
Grohmann.
ings.
of 193 1
(fig.
balance
is
42).
Gray
larger-scale
(cat.
of such elements
is
number
with
sets
reflected
of his paint-
(cat.
no. 267).
These works indicate that incipient movement and visual tension remain key
have survived
in the
is
in Sers's collection
and
The
logical ar-
in the
tion.
and indeed dominated the major works of his last years in Germany.
Spatial illusions and their contradiction continued to fascinate Kandinsky during his later Bauhaus period, and he utilized a wide range of devices
to create these effects. Examples include the superimposition of shapes and
chromatic tensions of Thirteen Rectangles, and the suggestion of a three-
75
fig-
43
Vastly Kandinsky
Sky Blue.
1940
(HL673)
Oil on canvas
Collection
Musee National
d'Art
in
The
lectures oc-
Teuber
sions
haus:
"New
were Feininger's Gaberndorf No. U, 1924, Kandinsky's Above and Left, 1925, and
On Points, 1928, and Klee's Threatening Snowstorm, 1927 (cat. nos. 133,
An
(cat.
no. 271),
where an additional
no. 274).
is
nos. 275, 276), anticipating the formal distribution and effect of certain
of the Paris period, such as Sky Blue, 1940
Of
particular interest
is
(fig.
(cat.
works
43).
employ such
effects at
thirties
about the
same time and Klee had done so for a number of years. The specific impetus
for this development was provided by lectures given at the Bauhaus by
Gestalt psychologists, a series that reflected Meyer's efforts to put the study
of visual
The two
is
shapes across the surface of Fixed Flight and Drawing No. 17 of 1932
1931
perspective element
180. Teuber, pp. 141-144.
(cat.
phenomena on
more
scientific basis.
The
reversible figures of
two-dimensional
line
fig.
44).
These
180
when
own
perceptual
76
The ambiguous
Glimmering, 1931
as
(cat.
Kandinsky's watercolor
in
for
44
Paul Klee
1930
Oil on canvas
Paul Klee-Stiftung,
(cat.
t ^
Kunstmuseum Bern
rationality
part in an essential
45
Paul Klee
Senecio (Baldgreis).
way from
to create an independent
fig-
Collection Offentliche
often with
wry
for regularity,
or, as will
Oil on canvas
Basel
reflect,
Bauhaus predilection
Kunstsammlung
had long
do not
The physiognomic
result
of schematic
from
a process of
potential of abstract
(fig.
45)
is
geom-
a para-
visage.
some
point during the creative process. This procedure of starting with geometric
series,
is
man-
curl.
physiognomic image Upward of 1929 (cat. no. 286) is closer to Klee's pictures
than to Jawlensky's in that the components are complete geometric shapes
77
#
Kfig.
Vasily Kandinsky
Sides Red.
In other
December 1928
(HL437)
The Solomon
Museum, New York
R.
Guggenheim
47
Succession.
Phillips Collection,
Washington, D.C.
and other
Kinds of 1930
(fig.
how
46),
(cat.
no. 290)
month
of the
of
knew works
Upward
is
to that in
fester Ausgleich),
78
shows
1928
183.
Jocular Sounds,
1935
on canvas
It is
in
1929 (cat. no. 287). This element is very similar to the "figures" for The Great
Gate of Kiev scene (cat. no. 240) in Pictures at an Exhibition. Klee sometimes
used fully anthropomorphic figures assembled from geometric elements, such
Jumper, 1930 (cat. no. 289). This complete and explicit figure differs
from Kandinsky's more cryptic and abstract forms, seen in Two Sides Red,
(HL617)
182.
fig-
as that in
Vasily Kandinsky
Oil
to create
Collection
The
Oil on canvas
fig-
that obviously provided the starting point for the composition. 182
46
Two
Y1
in
sense of an abstract being. Kandinsky's Levels of 1929 (cat. no. 292) exhibits
in
Marks of 193 1 (cat. no. 294) the figures are like abstract hieroglyphs or
signs set up in series. The boat elements in the latter painting and the wormlike forms in Drawing No. 25, 1933 (cat. no. 299), are more direct in their
references and therefore are closer to pictographs. Like the crosses in For
Nina
(for
example of the
Christmas 1926)
a conventional
(cat.
arrow
297),
in the
Munich
period, p. 55,
fig.
25.
in
Green, 1931
(cat.
no.
is
<
^
fig.
Light of 1930
48
Vasily Kandinsky
Black Tension.
the
unknown
49
schematic notations
more organic
and Line
in
ordered presentations
in
like
some
quality of
of the
is
in the analytical
Its
buoyancy and
of energy and
movement
and early
Already
to Plane, 1926,
is full
and context.
arranged
Figure 71 in Po;r
pictorialized in treatment
Gouache on paper
Present whereabouts
(cat.
1925
ft
prefigures
were sometimes
works of the
late twenties
183
contoured shapes appear. They are especially interesting because they par-
the
allel
Swimming movements
of plants created
by flagellation
Figure 73 in Point
see cat. no. 321
fig-
his
Calm
and Line
to Plane, 1926,
51
as well as anticipate a
and Line
to Plane, 192.6,
as
and Line
fea-
clematis blossoms
(figs.
49-5 1).
flagella
pp. 625-628,
figs.
71,73.74-
appear
frequently: the leaf shape in Green (cat. no. 297) and the extraordinary
creature of the imagination that dominates Pointed Black (cat. no. 296) are
examples
II,
and
and wispy
in
two
pictures of 1931.
The
is
latter
animated
form
in its
is
an inventive, highly
48)
(fig.
hair-like crystals,
irregular
185.
prominent
more
biomorphism of Surrealism
ture of his style of the Paris period. Organic forms occasionally are seen in
50
fig.
Gloomy
mood
literal
52),
Kandin-
abstract personages.
(fig.
Germany through
its
confrontation of two
185
and early
thirties
share certain
79
early
Weimar
which
less
is
complex
and
at the begin-
ning of the Dessau period, even where the formal variety was reduced, in
pictures such as Several Circles (cat. no. 188). This limitation to a single kind
One
toward two
com-
field
266, 257).
that results
is
background
The
compositions
color,
which create
26.
(cat. nos.
247, 296).
1933
Present whereabouts
plified
simplicity
in these
tures or
Here the
entire picture
is
On
clarity of the
and self-contained
spatial
frequently.
pictorial
at this time,
exem-
(cat. nos.
less
and
figures
structure.
unknown
The
Vasily Kandinsky
Drawing No.
in
in the earlier
Bauhaus
developed
in the
vide varied structures for resonant color compositions and thus play a major
role in several of Kandinsky's
in
Germany.
architectural context.
originally designed
development
(cat.
in Stuttgart that
was
Werkbund
exhibition of 1927
80
its
The chrome-plated steel tubing also accorded with the shiny surface of the
ceramic tile. The tile must have been chosen for its architectural qualities: its
hardness and relative permanence, as well as the measured, visually stable
and unifying
effect of
The
its
character of the
environment created by the murals can be judged not only from the gouache
maquettes
work
and
(cat. nos.
(cat. no.
Kandinsky's imagery
in the
late
The
images.
right wall
are symmetrical.
is
the
The long
central wall
is
among them an
its
most complex,
the
as
it
includes
is
The underlying
an armature for the compositions and varies from wall to wall because of the
changes
in the
The
made up
is
is
tiles.
of square
tiles
left
wall,
tiles;
most of
its
which depicts
area;
and the
its
it.
and the
material,
scale of the
left
The
wall
is
right
an especially effective
foil
colors: the
clarity of the
effect of the
whole.
stated that he offered his project as an alternative to the "blank wall" charac-
of
teristic
room.
.
modern
must have
fork,"
it
can thus
affect or
the goal he wished to accomplish in this space intended for the playing and
experiencing of music.
Final Years in
Germany, 1932-1933
At the conclusion of
his
of abstract geometry
lowing
his
work was
186. Amtlicher Katalog
und Fuhrer:
Grohmann.
and
color. In
his
effects
work
number
of
of the previous
in the
Weimar
that fol-
years, his
187
This
characterized by "great calm with strong inner tension."
phrase aptly describes a painting such as Several Circles of 1926, which maintains a sense of quiet energy
by means of
its
vivid color
and organization
work
two years
in
Germany Kan-
composition
is
(cat.
whose multiple
Order is maintained
no. 309),
among
the varied forms by the strict arrangement of the picture here and in
(cat.
many
most
com-
Balance Pink, of early 1933 (cat. no. 311). Kandinsky presents color
harmonies and chords in grid patterns and stripes, as Klee does in his strata
plexity
is
geometric motifs. The internal framing device, the consistency of scale of the
larger grid
abstract
is
and horizontal
lines
spatial de-
doorways or gateways;
in altered
vertical
a similar
is
set for
of Kiev.
How-
element appeared
maintained.
The
is
accomplished above
all
which
by the use
just
warm
is
To
a strong
image of or-
The
was a meaningful
Germany during 1932 and 1933. Already in
moved
its
it
moved
to Berlin
and began to
and
in April
now
in
power
searched and
next day the Nazis' terms for allowing the Bauhaus to continue to exist were
delivered: they included the termination of
Kandinsky
^.^9"
82
'
and Oct.
who
Ludwig
guarantee to sup-
189. Letter to
as well as
7,
1933.
felt
It
was impossible
for
and
in
in the fall
December he
left
Germany
191
feeling of
his art.
of the time
in the validity of
works
particularly in several
felt
is
from July and August 1933. Such is the case in Gloomy Situation (cat. no.
298), where black abstract figures confront one another, and Similibei (cat.
no. 313), in
which an ascending
by a dense black
ground of
picture
dull red.
series of black
circle
Brown of 1933
Germany and one of
Development
Kandinsky executed
in
in
summation
It is
(cat.
of this kind
by dark browns and other dark and muted hues placed against
large vertical
and
medium
form
ele-
It
is
as
somewhat
Hope
both interpretations.
The two
moment
in
his
Bauhaus
reflect
subsumes the chromatic interrelationships and regular formats that were the
subjects of his teaching in a synthesis of structure
and
ment
to
in
Brown
is
an
a testa-
express ineffable abstract meanings. Such had been his consistent belief since
at least
geometric art
in Russia.
This
culminating work embodies the impressive effect and meditative qualities his
abstract imagery ultimately achieved.
191.
ff.
83
CATALOGUE
works
When
number
and
date.
85
I.
KANDINSKY
TRANSITION, 1915-1916
Vasily Kandinsky
i
Untitled,
Composition No.
I.
1915
86
IN RUSSIA, 1915-1921
Vasily Kandinsky
2 Untitled.
1915
New
The Museum
of
Modern
Art,
Rockefeller
87
Vasily Kandinsky
Vastly Kandinsky
3
5%
6Vu"
Lenbachhaus, Munich
///.
4 Etching 1916-N0.
///.
Drypoint on paper,
5 14
1916
x 6V4"
(13.5 x 16 cm.)
Lenbachhaus, Munich
Vasily Kandinsky
5 Etching
1916-N0. IV.
Drypoint on paper,
(9.1
1916
3%
V4"
8.3 cm.)
Lenbachhaus, Munich
V<fP
Vasily Kandinsky
6 Trumpeting Angels.
19 16
Lenbachhaus, Munich
5>
"^D"V
7
l->^
tf
'
89
Vasily Kandinsky
7 The Horseman.
1916
x 24.9 cm.)
The Museum
of
Modern
Art,
New
90
York;
Vasily Kandinsky
8 Picnic.
February 1916
The Solomon
Museum, New York
Collection
R.
Guggenheim
91
Vasily Kandinsky
9 Painting
on Light Ground.
1916
(HL203)
Oil on canvas, 39% x 30%" (100 x 78 cm.)
Collection Musee National d'ArtModerne,
Centre Georges Pompidou, Paris,
Gift of Mme Nina Kandinsky
91
Vasily Kandinsky
Vasily Kandinsky
1916
Pencil
on paper,
4%
Lenbachhaus, Munich
11
brown paper,
li
/n x 7V2"
x 19 cm.)
Lenbachhaus, Munich
93
Vasily Kandinsky
12 Untitled ("Ceiling").
October 1916
94
Vasily Kandinsky
("To the
September 1916
13 Untitled
Unknown
Voice").
Vasily Kandinsky
14 Simple.
1916
xny
Collection
95
THE REVOLUTIONARY
PERIOD, 1917-1921
Vasily Kandinsky
15 Study for
Pencil
"Red Square."
1917
96
Vasily Kandinsky
1
6 Untitled.
19 17
97
Vasily Kandinsky
October
17 Untitled.
24,
1917
Vasily Kandinsky
18 Study for
"Gray Oval."
1917
The Solomon
Museum, New York
Collection
98
R.
Guggenheim
Vasily Kandinsky
19 18
19 Untitled.
n7
Collection Busch-Reisinger
Museum,
memory
Anonymous
of Curt Valentin
Gift in
Vasily Kandinsky
20 Untitled.
January 1918
Guggenheim, 1941
'
->
1
JV'
IOO
Vasily Kandinsky
21 Untitled.
February 1918
2-5-5
13%
x 10"
cm.)
Collection
Vasily Kandinsky
22 Untitled.
March 1918
Guggenheim, 1941
IOI
Vasily Kandinsky
23 Untitled.
19 18
Vasily Kandinsky
14
Red
(HL
Border.
119)
Oil on canvas,
36^ x 2-7%"
Private Collection
103
104
Vasily Kandinsky
25 In Gray.
1919
(HL222)
Oil on canvas, $o x Y\(, x 6^Y\i,"
(129 x 176 cm.)
lv
!
Vasily Kandinsky
on paper,
1919
Vasily Kandinsky
1919
Watercolor and India ink on paper,
io7i 6
x i^/m,"
Collection
105
Vasily Kandinsky
1919
izW
106
Vasily Kandinsky
15% x
Collection Haags
Window
in
Gemeentemuseum,
Photograph
Modeme,
Olga Makhroff
31 View from a
Apartment
Window of
Moscow
Kandinsky's
in
Photograph
lllflM
311 II
1 1 Ti
**
mm
,'""
nun Tli m
m
I
107
Moscow.
1978
Photograph
Vasily Kandinsky
33
Red Oval.
(HL 227)
Oil
1910
on canvas, 28% x
(71.5
i8i/g"
x 71.2 cm.)
**--
108
R.
Guggenheim
109
Vasily Kandinsky
1920
IIO
Vasily Kandinsky
35 Points.
1920
(HL231)
mounted on board,
X36" (110x91.5 cm.)
Collection Ohara Museum of Art,
Oil on canvas
43
5
/i 6
Kurashiki, Japan
III
Vasily Kandinsky
36 White Stroke.
192.0
(HL232)
Oil
Collection
112
Vasily Kandinsky
37 Red Spot
II.
1921
(HL234)
Oil on canvas,
51%
71%"
Galerie im Lenbachhaus,
Munich
113
Vasily Kandinsky
38 "White Center.
(HL
Oil
1911
2.36)
(118.7 x
136.5 cm.)
The Solomon
New York,
114
R.
Hilla
Guggenheim Museum,
Rebay Collection
Vasily Kandinsky
39 Multicolored Circle.
1911
(HLZ38)
Oil on canvas, 54*4 x yo x ^/\i
(137.8 x 179.8 cm.)
New
Haven,
Anonyme
115
Vasily Kandinsky
40 White Oval.
1921
(HL239)
Oil
cm.;
116
Vasily Kandinsky
41 Black Spot.
(HL
192.1
240)
117
Vasily Kandinsky
42 Circles on Black.
1921
(HL241)
Oil on canvas, 53% x
(136.5 x 120 cm.)
47%"
The Solomon
Museum, New York
Collection
lit
R.
Guggenheim
Vasily Kandinsky
43 Untitled.
1921
Watercolor on paper,
(19.4 x 28.3 cm.)
7%
nVs"
119
Vasily Kandinsky
44 Inkhuk Questionnaire.
1920
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re
nee BoanowHhie
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yroft,
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lacuiradt:
in
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'
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"
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;im
m?MI
B ,
11
rionuTaflTecfc BbipaaHTii
ll'.l
11
...
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ia
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o IBjKKHtrt
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II
:!
ith
ii.).iy.i..
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1:
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-i
h i .1 h t a
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lyBCTBfl
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urn.
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npncovaniiHTi
oh Ban
ouiyuifHHe
Kpyi Kaicaa
ujyw noroay
"',
K3KII
111
HHKa
ib<
rasjisen,
i,.,.,.,i,
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ii
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rei
11
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1..1..
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HO3HOWH0 rOIHO
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11
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ry
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45
Musee National
192.1
Photograph
Collection
46
Photograph
d'Art Moderne,
121
Vasily Dmitrievich
Bobrov
47 Untitled. 1921
Watercolor and ink on paper,
(33.4
x 25 cm.)
Vasily Dmitrievich
48 Untitled.
Bobrov
1911
122
Vasily Kandinsky
on
lined paper,
n.d.
7%$ x 5%"
Collection
12.3
Vasily Kandinsky
1911?
124
Vasily Kandinsky
51
192.1?
/i6 "
2%"
(7
cm.)
d.;
(13.8 cm.) d.
12.5
KANDINSKY'S RUSSIAN
CONTEMPORARIES
iz6
Kazimir Malevich
52.
Kazimir Malevich
Suprematist Painting.
191
Collection Stedelijk
Museum, Amsterdam
Collection
New
The Museum
of
Modern
Art,
York; Purchase
12-7
Kazimir Malevich
54 Suprematist Painting, Black Rectangle,
Blue Triangle.
19 15
Oil on canvas, z6Y\(, x az7is"
(66.5 x 57 cm.)
Collection Stedelijk
128
Museum, Amsterdam
Kazimir Malevich
55 Suprematist Element: Circle.
Pencil
1915
Collection
New
The Museum
of
Modern
Art,
York
29
Ivan Kliun
56 Untitled,
n.d.
Gouache on paper,
(35.1
I3 1 Y[ 6 x
13%"
x 35.2 cm.)
Ivan Kliun
n.d.
%
130
Kl
Ivan Kliun
58 Untitled,
Pencil
ca.
1917
on paper,
5%
4%"
(13.6 x 12 cm.)
Nadezhda Udaltsova
59 Untitled,
ca.
1918-20
131
Liubov Popova
60 Cover Design for the Society of Painters
Supremus. 1916-17
Ink on paper, 3V2 x 3Vs"
(8.8
x7.8 cm.)
Liubov Popova
61 Architectonic Painting.
Oil
19 17
(80 x 98 cm.)
Collection
New
132
The Museum
of
Modern
Art,
133
Liubov Popova
62 Abstraction,
n.d.
134
Liubov Popova
63 Cover Design for a Set of Linocuts.
ca.
1917-19
.yl.ffyflaBQvf.
135
Liubov Popova
64 Untitled,
ca.
1917-19
136
Nadezhda Udaltsova
Liubov Popova
65 Untitled,
ca.
66 Untitled,
1917-19
Linocut on paper,
(35 x 2.5.5 cm.)
13%
x 10"
ca.
Gouache and
1918-20
pencil
on paper, 9 u/i6 x
&
A"
137
Alexander Rodchenko
67 Composition,
Oil
ca.
1918-20
on cardboard, 18 x 14V8"
(45-7X35.9 cm.)
Collection Albright-Knox Art Gallery,
Buffalo, General Purchase Funds, 1978
138
Alexander Rodchenko
68 Study of a Circle.
1919
Private Collection
139
Alexander Rodchenko
69 Circles.
1919
x 29 cm.)
Collection
Musee d'Art
et d'Histoire,
Geneva
140
Alexander Rodchenko
70 Non-Objective Painting.
1919
Collection
New
The Museum
of
Modern
artist,
Art,
through
141
Alexander Rodchenko
71 Linear Construction.
Oil on paperboard,
(44x35 cm.)
Collection
Musee
1919
17%^ x i^Yli"
d'Art et d'Histoire,
Geneva
Alexander Rodchenko
72 Line Composition.
1920
New
142
The Museum
of
7%"
Modern
Art,
El Lissitzky
Red Wedge.
1919
Poster, color lithograph
18% x
on paper,
143
El Lissitzky
74 Proun 12E.
Oil
ca. 192.0
(57.2x42.5 cm.)
Collection Busch-Reisinger
Museum,
Fund
144
Museum
Association
El Lissitzky
75 Proun }A.
ca.
1920
New York
145
El Lissitzky
76 Proun 6B.
ca.
1919-zi
146
El Lissitzky
The Museum
of
Modern
Art,
New
York;
147
II.
RETURN TO GERMANY
78 Kandmsky's Russian Passport Picture.
1921
Photograph
Collection
79 Kandinsky
in Berlin.
1922
Photograph
Collection
~^
TT
148
n -^
Vasily Kandinsky
1922
(HL142)
Oil on canvas, 43 x 39"
(109.2 x 99.2 cm.)
The Solomon
Museum, New York
Collection
R.
Guggenheim
fcs.
149
Vasily Kandinsky
Si
192.2.
(HL243)
Oil on canvas,
40%
x 43 Vi"
150
Collection, Venice
Vasily Kandinsky
82 Untitled.
1922
Vasily Kandinsky
83 Untitled.
1922
R.
Guggenheim
t/,
151
SMALL WORLDS,
1922
Vasily Kandinsky
84 Small Worlds
(Kleine Welten
Vasily Kandinsky
I).
The Solomon
New
152-
R.
1922
n"
Guggenheim Museum,
85 Small Worlds
11
(Kleine Welten
The Solomon
New
R.
14'/)
11).
1922.
n"
Guggenheim Museum,
Vasily Kandinsky
86 Small Worlds
111
(Kleine Welten
Vasily Kandinsky
111).
New
(36 x
Guggenheim Museum,
York, Hilla Rebav Collection
The Solomon
911
R.
2.8
1"
cm.)
The Solomon
New
1911
IV).
R.
Guggenheim Museum,
153
Vasily Kandinsky
Vasily Kandinsky
I
Small Worlds
14'/^
1922
n"
89 Small Worlds
1922
VU (Kleine
Welten
VII).
x 28 cm.)
The Solomon
New
R. Guggenheim Museum,
York, Hilla Rehay Collection
The Solomon
(36.2.
New
!s>":
154
>f
R.
Guggenheim Museum,
-V'.;^T<i>
Vasily Kandinsky
Vasily Kandinsky
Woodcut on
p.ipcr, 15
Vlll).
1921
10%"
Drypoint on paper,
The Solomon
New
R.
14%
x n'/s"
Guggenheim Museum,
The Solomon
New
R.
Guggenheim Museum,
w&%>
**B
P VV At m
in /Ok
? Jr
Jr\^
155
JURYFREIE MURALS,
1922
92
a,
Photographs
Collection
156
157
93
a,
192.1
Photographs
Collection
Vasily Kandinsky
Vasily Kandinsky
94 Maquette for Mural for Juryfreie Exhibition (Entwurf fiir das Wandbild in der
Juryfreien Kunstschau): Panel A.
1922
60 cm.)
Collection
158
Mme Nina
Musee National
d'Art Moderne,
95 Maquette for Mural for juryfreie Exhibition (Entwurf fiir das Wandbild in der
1922
Juryfreien Kunstschau): Panel B.
Kandinsky
x 60 cm.)
Mme Nina
Kandinsky
159
i6o
Vasily Kandinsky
Vasily Kandinsky
96 Maquette for Mural for Juryfreie Exhibition (Entwurf fiir das Wandbild in der
192.2.
Juryfreien Kunstschau): Panel C.
60 cm.)
Mme Nina
Collection
Gift of
97 Maquette for Mural for Juryfreie Exhibition (Entwurf fiir das Wandbild in der
Juryfreien Kunstschau): Panel D.
1922
Kandinsky
x 57.8 cm.)
Collection
Gift of
Mme
Nina Kandinsky
Vasily Kandinsky
98 Maquette for Mural for Juryfreie Exhibition (Entwurf fiir das Wandbild in der
Juryfreien Kunstschau): The Four Corner
Panels, D-A,C-D,B-C,A-B.
1922
Mme Nina
Kandinsky
161
Lyonel Feininger
99 Untitled (Cathredral [Katbedrale]) for title
page of Programm des Staatlichen Baubauses in Weimar. 1919
Woodcut on
(30.5
paper, iz x 7V2"
x 19 cm.)
Collection
The Art
Institute of
Chicago,
162.
Johannes
Itten
1916
(105 x 80 cm.)
163
Johannes
Itten
1917
Colored pencils on paper, 87s x 87s"
(22.5
22.5 cm.)
164
Tempera over
pencil
paper, I3 13/Ux
878 "
(35
Johannes
103
Nude
Itten
(Akt).
1923
x 31.8 cm.)
Collection Busch-Reisinger
Museum,
165
Johannes
Johannes
Itten
9%"
JOHANNES ITTEN
ALTfR 1
Itten
(Analysen
from Utopia. 1921
1
Bescheidenheit
.,;.
cJje'Schwere
= Hl^eie^i
J
'
:.'
w "^ w
I1H
1C D . 1H
|
WWWW
i
!|
lii:tl ; :; ::::::;:::::i^:
:;;::::::iiiinit!::::::::::::i:;
A[L
(
L.
H.
S
K
i;
'
'
IIIIJlll.llllllllIJl.ljj.lJlJjlj
'
ivTs "S"u"i'
LLL'IL-.:..!.-..^
-
mi
.ii.! iii
..m
nuLiiiiiuiiiiiiiimiinmi..
::
::
^o v
:;
iecbs
:y
;'."\"iV"g''Tr"i
-
:!
.'
1
:::;:::!::n:::::::::::::^:;f:
'
'
:::
i7
'
*~, ".,.,....
i;;i !! it ! ! !! ! !!
.'.
(PLATO)
Peon
fiott
ller Plate,
He QctdmffcneM top
Anbe<lao
Eln
<
1.
h.
oMnrt
v>
Uh ~ 1
I
,,
Kfln.llrrh.
166
grosse
Demut
v.,
IHM -- UNBEGREIFLjCHEN
Anrrktnnunj
den bUdtodcn
die
Johannes
Johannes
Itten
Itten
J<feefrn&
ufca*f<r
y\.
cf<c istdal1otfaac!a<tcj)(
ae.-ag:&?=
ad
ft
ititc '
167
Johannes
Itten
Werner Graeff
109
22V1,;
x 28 l yi 6
"
(56x73.5 cm.)
Collection Bauhaus-Archiv, Berlin
Max
no
Peiffer-Watenphul
in Rhythm (Akte,
Bewegungen aus dem Rhythmus).
Nudes, Movements
ca.
1920
Charcoal on paper,
97ls
13%"
(14 x 35 cm.)
Farbenkugel
7 Lichtslufen
168
.,
12
T6nen
I
169
Friedl Dicker
in
1919
170
Vincent Weber
Tempera on
board,
ca.
cut paper
I2% 6 x
7 /16
1920
mounted on card-
" (31.5
x 18.5 cm.)
Ludwig Hirschfeld-Mack
Values Combined with
Green (Weiss-Schwarz
Stufen, im Cegensatz zu Gelb, Blan,
Yclloic, Blue,
Griin).
1922
Gouache and
21%
collage on paper,
x i6'/8 " (55.2x42.2 cm.)
Collection Busch-Reisinger
Museum,
"3 zi
171
"
Ludwig Hirschfeld-Mack
1
Wirkung).
ca.
1922-23
8 V4
x 46.3 cm.)
Collection Busch-Reisinger
Museum,
172-
Ludwig Hirschfeld-Mack
1
15 a,
173
KANDINSKY'S THEORY OF
CORRESPONDENCES
Erl&uterung: Die 3 Grundlarben golb. rot. blau vertellt auf die zugehorlgen
FIAchenlnhaltes, Dreleck, Quadrat, Kreis.
Daruntor die raumllchen Formen, Tetraeder, Kubus, Kugel.
3 Gn idformen
glelchen
Specie?Mat (Beruf)
GescMecht-
,.t. t _
Notional/fat;
Jr
',.
Ifenn mogficfi
Begrundung:
174
t'?-i
<
'.'Vrv
Vasily Kandinsky
graphical entry)
Vasily Kandinsky
15. 1 cm.)
Ludwig Hirschfeld-Mack
117 a-c Exercises in Basic Colors and Shapes
(Studien mit Grundfarben und- formen).
192.2
studies:
a.
c.
cm.)
Germanic Museum
Association
175
Oskar Schlemmer
1921-13
118 Atelier-Weimar.
Pencil on transparent paper,
(28 x 22.6 cm.)
Herbert Bayer
nx8
%e"
119 Design for Stairwell Mural, Weimar Bauhaus (Entwurf fiir die Wandgestaltung des
Nebentreppenhauses im Weimarer
Bauhaus-Gebaude). 1923
Baubaus
Photograph
Collection of the Artist
176
-v,
'-.,-<
SEKRETRRIHT
177
JULI
b.
178
4?
-SEPTEMBER
1923.
li
Lyonel Feininger
c.
e.
Rudolf Baschant
h.
Oskar Schlemmer
b.
Vasily Kandinsky
Moholy-Nagy
f.,g.
Herbert Bayer
Yic>
x 4"
BAUHAUS
AUSSTELLUNG
AU55TELLUNG
3ULI- SEPT. I92i
SEPTEMBER
BAUHAUS-AUSSTELLUNG
WEIMAR. JUL -SEPT. 1923
I
179
Oskar Schlemmer
122 Prospectus for Bauhaus Exhibition (Prospekt fiir Bauhaus-Ausstellung). 1921
n ^"
on 2
ERSTE
BAUHAUSAUSSTELLUNG
IN
WEIMAR
HS SEPTEMBER
f
1923
Verblndung und fruchtbare Durchdrlngung ersirebt mil dem Zlel der Verclnlgung lm Bau. Oct Baugedanke soli die verlorene
elnem
verbossellen
Kunstgewerbijugrunde .{ing; er soil die grosse Benrjrsaekien
Akademikertum
und
wlederbringen. die In elnem
Das Ideal 1st alt, seine Fassung
ziehung aula Ganie wiederhersleilen und in elnem hOchsIen Stnn das Gesamlkunslwerk ermoglichen
Jodoch Immer wleder neu, die Eriuilung 1st der Stll und nie war der Wllle ium SM machtiger als eben heuie. Aber die Verwlrrung der
Geisler und Begrirte macht, dnss Kampf und Strait um seln Wesen 1st, das aus dem Zusammenprall der Ideen heraus sieh bllden
Elne solche Schule, bewegond und In slch selbsi bewegi, wird ungewollt ium Gradmesser der Erwird als die neue Schbnhett.
scbUtterungen des poMtlschen und gelstlgan Lebens der Zelt und die Geschlchte des Bauhauses wlrd zur Geschlchte gegent
1.
MlW
n.
bang*"
.r
1"
Ober
eioliicher Luit
el
grill
gelnne
dar
s,ni
S10'
erglbl dat
^nba-renrten MOgl'chhei
"'<"' O-ganm
gag/node,
.en gagen H
alur.
n
am
GeoenOi
tilhanismut aul Europe
*on Slondf
ium MaDilab
.l>
"
.
""i slch verwirkhcnen. da&s die Menschen slch mil alien Ihren Kratlen. mlt Hen und Geisl, mil Versl.ind und -(
.Wonn die
eft
Allah brauchl nichi m ^4^IIJ
werelnigen und voneinander Kanntnis nelimen, so wlrd slch erelgnen, woran Jelzt noch koln Mensch denken kann
scharlen, wir erschatfen seine Welt " Es 1st die Synthase, die Zusammenfaisung, Slelgeruni; und Vordliihtiing alles Poslllvon iur slorken Mlite^Jle
Land
wlrd
Kunsl.
Oeutschland,
verslanden
als
und
Glelchgewicni
zur
Idee
der
deutschen
und
Schwacho,
Wage
der
Mine,
torn
Halbhelt
idee
iron
der Mltte. und Weimar, Hen In dlesem. Is! nlcht turn ersten Mai WahlstaH gelstlger Entscheldung Es gent um die ErkenMnls dessen, was uns ge
mass 1st. um uns nlcM ;ie!1os iu verhersn Im Ausglelch der polaren Gegonsatie, lernste Vergangenheil wie fernste Zukuntt llebend. Reakllun wie
so werdcn
Anarchlsmus abgewandi, vom Selbsbweck. Elnzel-lch im Anmarsch aul das Typlsche. vom Prohlemalischon ium Gultlgen und Fesien
wlr iu Tragcrn der Veiantworlung und ;um Gewlssen der Welt Eln Ideallsmus der Aktlvllal. der Kunsl und W>ssenschaH und Technik umlass!. durchLohre - Arbeit wlrkl, wird den Kunst-Bau des Menschen auHOhren, der iu dem Weligobaude nur em
drlngl und elnigt und der in Forschung
bedenken, Grund :u Jegen und die Beusteme iu berelten. Aber
Glelchnls 1st. Wlr konnen heute nlcht mehr tun, als den Plan des Ganzen
1
IN
180
>.
AUSSTELLUN6
DIE
und Biidung des Menschen auf dem Wege von Handwerk und Kuns! Die Schule
will dan blldnerlsch Begabten aus dem nalven Basleln und Werken iu der Erkenntnis seine'
Mlttel und Ihrer (ja.sot.ie und daraus iur Frelhelt schopferlschen Gestaltens fuhren
An Schulbelsp'elen soldier An mil besonderer Elnstellung aul das Werkmasslgo werden Lehrgange galelgt, die von programmallscher Bedeulung fUr den Kunstunterrlcht slnd.
zelgt Erzlehung
DIE
SCHULE
zelgen selbstandlge und auf den Bau beiogene Werkarbelt der TJschlerel, Holz- und StelnblldDie Kenntnls des
hauerel, WandmaTerel, Glas- und Metallwerktletlen, Tbpferel und Weberel
Materials, seine Gesetze und Mogllchkelten, die Durchdrlngung des Handwerkllchen und f ormalen
(kUnstlerlsche Phantasle) soil aus dem Zusammenbruch des zunftmtisslgen Werkens von elnst und
gelstloser Maschlnenarbell von haute lane Synthase herstellen, die ein Qebllde schtin, neu und
zweckmasslg macht. Auf dem Wege solcher Geslaltung 1st das Handwerk Im alten Slnne heute
Uebergang, das die vollendele Mascnlne nlcht ausschllessL sondern erstrebt. Die Ueberleltung
der Schulwerkslatten In produktlve 1st elne Froge eber auch ein Oebot der Zelt.
DIE
WERKSTATTEN
lelgt das elnfache Haus und seine Elnrtchtung. Denn Sinn und Wesen der Bauhausarbelt 1st der
Bau und unser unmlttelbares Zlel die Gestaltung unserer Wohnstatte nach den BedUrtnlssen und
Mdgllchkellen heutlgen Lebens. Der Zusammenschlust elles werkmasslgen Gestaltens Im Dlenste
DER
BAU
elner Idee, der Bau- und Hausldee, die Zweckbezlehung und Blndung aller Telle macht kollektlve
Arbeit zur Notwendlgkelt und damlt den Bau lum Gemelnschaftswerk. Das Sledlungsgelande des
Bauhauses soil elnem weltgelessten Sledlungsplan dlenen, der Elnzelhauser, Bad, Spiel platz und
Garten umfassl. Das weltgasteckte Zlel das Bauhauses schllesst den metaphyslschen Bau nlcht
aus. der liber die Schonhelt des Zweckvollen hlnaus als wahrharies Gesamthunstwerk die Verwlrkllchung elner abstrakten monumentalen Schonhelt erstrebt
zeigen Elnzelwerke und Ihre Verelnlgung und Blndung durch Archltektur. Die Au'gabo der bildenden Kunst wer iu alien Zelten grossen Stlls elne ethlsche und sle wlrd es ternerhln seln. SloH
und Ideen der Darstellung haben slch gewandelt ebenso wle Hire Darstellungsmlttol. Mlt dai
Heraufkunft elner neuen Baukunst 1st die monumental^ Kunst heute wledor Im Werden. vorweggenommen oder vorbereltet Im Elnzelblld, das slch von archltektonlschen Vorslellungen leiten
Solcrte Unabhanglgkclt schaftt Ihm
lasst oder auch liber Jegllche Bezlehung slch hlnwegsetzt.
weltesten Splelraum und lasst es die Grenzen blldnerlschen Gestaltens kilhn erweltern.
MALEREI
UND
PLASTIK
DIE
BlIHNE
D
brlngt
Statt,
Vodrage
BAUHAUSW
E
liber
1923
AUSSTELLUNG VON
NATUR-STUOIEN
DER WERKSTATTEN
HAUS UND
SEINE EINRICHTUNG
SIEDLUNG5PLANE
UND MAUSMODELLE
UTOPISCHES
AUSSTELLUNG
INTERNATIONALER
ARCHITEKTEN
INTERNATIONALE
KUNSTAUSSTELLUNG
AUSSTEUUNG VON
EINZEIWERKEN DER
BAUHAUSANGEHORi
GEN MALEREI UND
PLASTIK IN RAUMLICHER BINDUNG
AUFFUHRUNGEN DER
8AUMAUSWOCHE
AUSSTELLUNG VON
FEN MO-
Splelgango.Tanze.
Ms
Umgobung
SYNDIKUS
EMIL LAN6E
LEHRENDE MEISTER
FUR DIE FOBWIEHRE
181
Alfred Arndt
123 Design for Advertisement (Entwurf fur
Anzeige).
1921
1-/-2
S<
mi
182
K.J.
Jucker
Replica
German
silver,
1914
6 1/\ ( " (17 cm.) h.
New York
183
Marianne Brandt
Josef Hartwig
Wood board
(33
and 32
x 33 x8.1cm.)
1924
pieces, 13 x 13
x 3^"
1924
New
The Museum
of Modern Art,
McAndrew
Marianne Brandt
128 Ashtray (Aschenbecher).
1924
xn
Marianne Brandt
129 Teapot (Tee-Extrakt-Kannchen).
Brass, silver
(7.5
and ebony,
7.^Y\ 6
x 6V6
15.5 cm.)
184
1924
1~**\
N
185
BAUHAUS MASTERS
Paul Klee
192.2.
oil transfer
12.14" (3i-7
31. 1 cm.)
The Solomon
Museum, New York
Collection
186
R.
Guggenheim
Paul Klee
131 Architecture (Arcbitektur).
Oil on board, ziYm, x
1913
Collection Staatliche
Kulturbesitz, Nationalgalerie Berlin
j
1
H H
187
"
Paul Klee
1923
The Solomon
Museum, New York
Collection
R.
Guggenheim
Lyonel Feininger
133 Gaberndorf No. U.
Oil
on canvas, 39% x
1924
301/2
x 77-5 cm-)
Collection Nelson-Atkins Museum of Art,
Kansas City, Missouri, Gift of the Friends
of Art
(99-4
HF^JrC?^ JS-
'
WJBr
189
190
Oskar Schlemmer
134 Design for Two Figures from the Triadic
Bcillet (Yellow Sequence) (Zwei Figur inert
zum Triadischen Ballett [aus der Gelbcn
Reihejj.
ca.
1919
Oskar Schlemmer
1921
135 Figure Design Ki (Figttrenplan Ki).
From Bauhaus Portfolio, Neue Europaische
GrafikI
Lithograph on paper,
(39.7x19.3 cm.)
15% x 7 9/h,"
Oskar Schlemmer
136 Figure Fiicing Right with Geometric
Forms (Figurine nach rechts mit
geomctrischcn Formen). 1923
Gouache on paper,
(56.2
22I/8
x i6 9/\&"
x 42.1 cm.)
Private Collection
191
Laszlo
Moholy-Nagy
x44
cm.)
192
"
L.iszlo
Moholy-Nagy
1923
138 Construction (Konstritktion).
From Kestner Gcsellschaft Portfolio
Lithograph on paper,
(60.4 x 44 cm.)
23% x ijYh"
193
i 94
Laszlo
139
Z ///.
Moholy-Nagy
1912
Laszlo
Moholy-Nagy
(38.5 x
2.8
cm.)
195
141
Laszlo
Moholy-Nagy
1925
II.
Oil on canvas, 37
(95-4x75.1 cm.)
Collection
% x 29 y8 "
The Museum
New York,
of
Modern
Art,
Moholy-Nagy, 1956
196
KANDINSKY'S ART,
1923-1925
Oud.
Weimar, August
r.923
Photograph
Collection Musee National d'Art Moderne,
Centre Georges Pompidou, Paris
197
Vasily Kandinsky
(HL z 49
51M6"
198
Maeght
Vasily Kandinsky
144
On
February-April
1923
(HL
253)
Oil on canvas, 41 V2 x 3 8 ^i
(105.5 x 98 cm.)
g"
Mme
Nina Kandinsky
Vasily Kandinsky
(HL255)
Oil
I4 I
x 202 cm.)
200
Vasily Kandinsky
(HL
259)
Oil on canvas,
Collection
38% x 36%"
The Solomon
(97.5 x
93 cm/
Guggenheim
of Solomon
R.
Gift
Guggenheim, 1937
20I
Vasily Kandinsky
(HL
8).
July 1923
160)
Oil on canvas,
55%
Collection
Guggenheim, 1937
Z02
Vasily Kandinsky
fiir
Vasily Kandinsky
Collection
203
Vasily Kandinsky
(HL261)
Oil on canvas,
38% x
~ijy%' (98.5
95.6 cm.)
Philadelphia
Museum
of Art,
The Louise
ZO4
Vasily Kandinsky
o
o
205
Vasily Kandinsky
(HL
February-March 1914
269)
38%"
R. Guggenheim, 1939
206
Vasily Kandinsky
May
1914
The
Hilla
2.0-,
Vasily Kandinsky
154
One Center
(Ein Zentrum).
November-
December 1924
(HLz8 5
Oil on canvas,
55%
39%"
R. Guggenheim, 1937
208
Vasily Kandinsky
209
Vasily Kandinsky
January
192.5
(HL288)
Oil on paperboard, 31V2 x
cm.)
(80 x
tfYu"
no
2IO
Vasily Kandinsky
(HL
193)
2.II
Vasily Kandinsky
(HL z 94
Oil on
wood,
2.7V2
Collection Fort
212
links).
Vasily Kandinsky
(HL
320)
Collection
Museum Boymans-van
Beuningen, Rotterdam
213
III.
AND
IN
DESSAU
BERLIN, 1925-1933
Hugo
Erfurt
160 Kandinsky:
Dresden,
192.5
Photograph
Collection
Photograph
Collection Musee National d'Art Moderne,
Centre Georges Pompidou, Paris
1931
Photograph
Collection Bauhaus-Archiv, Berlin
214
ausweis
bauhaus dessau
s-y
ist
sl u
wo
o wap
des
bauhauses
in
dessau
"5
1925-26
Photograph
Collection Musee National d'Art Moderne,
Centre Georges Pompidou, Paris
216
1926
Photograph
217
Monument
to
Goethe and
Schiller.
Hendaye-Plage, 1929
Photograph
Collection
218
KANDINSKYS APARTMENT,
BAUHAUS MASTERS' HOUSE
Lucia
Moholy
1926
Photograph
Courtesy Lucia Moholy
ZI9
Lucia
Moholy
Photograph
Courtesy Lucia Moholy
220
1932
Photograph
Collection
Photograph
221
Dessau, 1930
Photograph
Collection
Dessau, 1930
Photograph
Collection
Dessau, 1931
Photograph
Collection
222
2Z3
Dessau,
Summer
1931
Photograph
Collection
Photograph
2-2-4
Marcel Breuer
175 a-e Kandinsky's Dessau Dining-Room Table
and Four Chairs. 1926
225
Marcel Breuer
176 "Wassily" Chair (Sessel "Wassily").
1925-16
Nickel-plated steel tube and canvas,
i9 lA" (74 cm.) h.
Collection Bauhaus-Archiv, Berlin
Gustav Adolf
2.26
Alfred Arndt
227
Oskar Schlemmer
179 Point-Line-Plane (Kandinsky) (PunktLinie-Fliiche [Kandinsky j).
192.8
India ink and collage on paper,
15
x 7 15/l6" (io.i x 20.1 cm.)
7 /i6
2.2.!:
Vasily Kandinsky
Vasily Kandinsky
(Umschlagentwurf
Flache).
fiir
ztt
1925
181
Drawing No.
India ink
Collection
Collection
10 ("Centralized
complex
Komplex
22<?
Vasily Kandinsky
Collection
230
Vasily Kandinsky
181
1925
Vasily Kandinsky
1925
Collection
Collection
231
Vasily Kandinsky
1925
India ink and India ink
1211/16x8%" (31.2.x
Collection
wash on paper,
2.1.3
cm.)
Musee National
d'Art Moderne,
232
Herbert Bayer
1
Museum,
2-33
KANDINSKY'S ART,
1926-1927
Herbert Bayer
Vasily Kandinsky
(HL
25W
The Museum
Collection
New
tt
of
Modern
canvaSi S5 y4 x 55 3/8
(140-3 x 140.7 cm.)
T
Jr
"
323)
on on
Art,
Guggenheim, 1941
!$uU ,ssTB 13
-
I
GEMALDE
jUB1
GEBURTSTAG
2-34
AQUARELLE
aUMS.*U5STHUH3
PolW,; -ru
ci
d
Collection
1 he Solomon R.
Museum, New York,
January-
r
u
Guggenheim
Gift of
Solomon R.
*35
Vasily Kandinsky
189
First
Entwurf
on paper,
x 37.4 cm.)
Collection Musee National d'Art Moderne,
Centre Georges Pompidou, Paris,
Kandinsky Bequest
Pencil and India ink
i4% 6 x 14%"
236
(36.6
Vasily Kandinsky
190 Accent
(HL
in
1916
32.5)
Collection
Mme Nina
Kandinsky
2-37
Vasily Kandinsky
April 19Z7
(HL393)
Oil on cardboard, 19% x 14V2"
(49.5
x 36.9 cm.)
Collection
New
1953
238
The Museum
York, Kathenne
S.
of
Modern
Art,
Dreier Bequest,
Vasily Kandinsky
(HL
Oil
1926
326)
on board, 26 x 21%"
Guggenheim, 1938
239
Vasily Kandinsky
August 1926
(HL341)
Oil on paperhoard, z^Yk, x i3 n/i6"
(60.8 x 34.7 cm.)
Collection
Wilhelm-Hack-Museum,
Ludwigshafen
wwwvyyw
240
Vasily Kandinsky
(HL
1927
409)
Collection
26%"
Art, Gift of
Ira
of
Gershwin
241
Vasily Kandinsky
195
Hard but
October 1927
Watercolor, opaque white and India ink
on paper, 19 x 12%" (48.3 x 32.2 cm.)
Collection The Solomon R. Guggenheim
Museum, New York, Gift of Solomon R.
Guggenheim, 1938
242.
COLOR THEORY
Vasily Kandinsky
March-May
1925
(HL314)
Oil on canvas, 50% x
(128 x 201.5 cm -)
79%"
Collection
143
Eugen Batz
197 Six-Part Color Circle (Sechsteiliger
Farbkreis).
1930
244
Eugen Batz
198 Stepped Color-Scale (Getreppte farbskala).
1930
Tempera over
9
9
"
7 /i6 x 7 /16
on cardboard,
x 19.Z cm.)
pencil
(19.2.
Eugen Batz
Lothar Lang
Tempera over
1930
on cardboard,
n.d.
11% x 17V2"
pencil
(*9-8
x 44.5 cm.)
2-45
Vasily Kandinsky
(HL518)
Oil on cardboard,
(49
19^5 x I4%6"
x 37 cm.)
Z46
Vasily Kandinsky
(HL343)
Oil on canvas, 23ys * ZIV2"
(S9-9 * 59-6 cm.)
Collection
Guggenheim, 1941
247
Eugen Batz
203 Correspondence Between Colors and
Forms (Korrespondenz zwischen Farben
und Formen). 1929-30
Tempera over
248
Friedly Kessinger-Petitpierre
Friedly Kessinger-Petitpierre
205 Colored Angles and Basic Color Relationship (Farbige Winkle und elementare
Farbbeziehung).
1929-30
Colored pencils and typed text on paper,
15
/16 x 878 " (30-3 x 2i -4 cm ->
di wlnkel
IJiiiii
f
I riiijgffigrrr
1
nn
249
Fritz
Tschaschnig
Hans Thiemann
1931
Tempera over
i6"/i6
x 13"
on black cardboard,
x 33 cm.)
pencil
(41.4
(49-3
^H
1
.
250
4;
S,fflSP'%^'^HB&*'
Color Interrelationships
Vasily Kandinsky
June 1928
Vasily Kandinsky
209
Two
(HL524)
Tempera on cardboard,
(33.2
13 Vis x
June 1930
9%s"
x 23.6 cm.)
Collection
2-51
Eugen Batz
210 a-c Color Studies (Farbstudien).
Mixed media
n I3/i6 x
1929-30
8i'/i 6 "
L52
2-53
Eugen Batz
zn
Tempera over
16% x
pencil on paper,
2-54
Lothar Lang
pencil
on
is it**-*
155
Hans Thiemann
213 Accenting the Center; Balance, Above and
Below (Betonung des Zentrams, Ansgleich
(-19- 1
x 34-8 cm.)
256
Lothar Lang
214 Center Accented by the Blue-Red Opposition (Mitte betont durcb Wettstreit
blau-rot).
1919
Tempera over
12 x
13
on cardboard,
x 30 cm.)
pencil
/i6" (30.5
2-57
Karl Klode
258
Vasily Kandinsky
2-59
z6o
Vasily Kandinsky
Watercolor on paper,
18% x
May
1918
12 V2"
Collection
The
Hilla
Hans Thiemann
218 Yellow Forms on Blue Ground and Blue
Forms on Yellow Ground (Gelbe Formen
auf blatien Grund und blaue Formen auf
gelben Grund).
ca. 1930
texts
1
:
,:
261
Eugen Batz
219 Color Scale in Concentric Circles (Farbskala, angelegt
ah konzentrische
Kreise).
1930
Tempera over
pencil
on cardboard,
i9-i cm-)
z6z
Eugen Batz
220 Spatial Effect of Colors and Forms (Raumliche Wirkung von Far ben und Formen).
1929-30
Tempera over
i5
7
/ir,
pencil
on paper,
263
Fritz
Tschaschnig
221 Spatial Effect of Colors and Forms (Raumliche Wirkung von Farben und Formen).
1931
Tempera over
pencil
i6 u/i6 x 13V16"
on paper,
(4M x
33-i cm.)
264
ANALYTICAL DRAWING
Vasily Kandinsky
Analytical
z,
graphical entry)
2 unterrlcht
mi<iyilicn<
untorrichi kandlnsky
analytisches zelchnen
zweKe
itufo:
3 untarricht Kandinsky:
analyttactiea zalchnan
drltt* stuls;
gegeniUnde vollkommen
roQir
In
ensfgiespjfuiungen ubersetzt,
In olnielnen
_ " erschiebungen
lulbBL
frltt
flu
265
Vasily Kandinsky
of Palucca
(Tanzkurven: zu den Ta'nzen der Palucca),
Das Kunstblatt, vol. 10, March 1926
Modern
z66
Art
Lothar Lang
222 Analytical Drawing (Analytische Zeicbnitng).
1926-27
Ink and pencil on cardboard,
ii/i6 x SY8 " (29.6 x 21.8 cm.)
Collection Bauhaus-Archiv, Berlin
Lothar Lang
223 Analytical Drawing (Analytische Zeichnung).
ca. 1926-27
Ink and pencil on cardboard,
l
X
9 /s x 7 A" (2-3-i x 18.4 cm.)
Collection Bauhaus-Archiv, Berlin
267
Hans Thiemann
224 Principal Tension (the Green Triangle),
Overlaid with Network of Secondary
Tensions (Eine Hauptspannung [das
griine Dreieck], dariiber ein Netz von
Nebenspannungen).
ca.
1930
i9% 6 x 13%"
x 34.9 cm.)
z68
Bella
Ullmann-Broner
Tempera over
pencil
on cardboard and
layers,
269
Charlotte Voepel-Neujahr
paper,
Charlotte Voepel-Neujahr
Tempera over
11% x 9V2"
on cardboard,
x 2 4- T cm -)
pencil
(2.9.9
*7 l
2.70
Charlotte Vocpcl-Neujahr
n"
Charlotte Voepel-Neujahr
Tempera over
pencil on cardboard,
I3 3/8X 9V4" (34x23.5 cm.)
271
Friedly Kessinger-Petitpierre
2.72.
Friedly Kessinger-Petitpierre
x 26 cm.)
Hermann
>.}Z
Roseler
Composition ({Composition).
Oil
192.7
on composition hoard,
(40
x40
cm.)
2-73
Karl Klode
2-74
"PICTURES AT AN
EXHIBITION" AND THE
BAUHAUS THEATER
Vasily Kandinsky
234 Scene
1928
II,
Gnome
(Bild
II,
Gnomus).
Kbln
2-75
Vasily Kandinsky
276
Koln
Vasily Kandinsky
Pictures at
Collection
versitat
$VS "
(17.3 x 13 cm.)
Koln
Vasily Kandinsky
Koln
2-77
Vasily Kandinsky
0000
0000 00
O0ooooo
O
Vasily Kandinsky
o
COU
;]
0000
000
Collection
versitat
278
Koln
000
Vasily Kandinsky
Pictures at
Koln
2-79
Oskar Schlemmer
241 Costume Designs for the "Triadic Ballet"
(Figurenplan fiir das "Triadische Ballett").
ca. 1922.
Museum,
280
Museum
Purchase
Oskar Schlemmer
242 The Figural Cabinet (Das Figurale
Kabinctt).
1922
Watercolor, pencil and pen and ink on
paper, 12^ x 17%" (30.9 x 45.1 cm.)
The Museum
of
Modern
Art,
New
York;
281
Andrew Weininger
243 Mechanical Stage Revue, Phase
Mechanische Biihne,
1.
Phase).
(Revue
1926-27
Koln
Andrew Weininger
244 Mechanical Stage Revue, Phase
Mechanische Biihne, 11. Phase).
11
(Revue
1926-27
Koln
Andrew Weininger
245 Mechanical Stage Revue, Phase
Mechanische Biihne,
HI. Phase).
III
(Revue
1926-27
4^x7%"
Collection
versitat
282
(11.7
x20
cm.)
Koln
1920s
Structures
Vasily Kandinsky
The
Hilla
283
Vasily Kandinsky
247
1928
(HL433)
on canvas, 55V&
(140 x 140 cm.)
Oil
x SSVs"
Collection
284
Vasily Kandinsky
(HL
434)
16% x
Guggenheim, 1938
285
Paul Klee
Tempera and
192.7
ink
(48.9x31.4 cm.)
286
Paul Klcc
Collection
New
The Museum
of
Modern
Art,
287
Lyonel Feininger
251 Church at Gelmeroda (Gelmeroda XU).
1929
Oil on canvas, 39V2 x
x 80.3 cm.)
31%"
(100.3
Collection
Museum
of Art,
Rhode
Island
mmmmmmmm'Bmmmmm
HHIHHHHM^HBHHHi
Vasily Kandinsky
9%"
(34.2
x 24.6 cm.)
289
Vasily Kandinsky
253 Light
May
in
Heavy
(Leicht
im
Scbiver).
1929
(HL457)
Oil
Collection
Museum Boymans-van
Beuningen, Rotterdam
290
Vasily Kandinsky
x 36 cm.)
Collection
The
Hilla
291
Vasily Kandinsky
'M^m-m^.
II
fe%\
292
Vasily Kandinsky
Linie).
July 193
The Solomon
Museum, New York
Collection
R.
Guggenheim
293
Geometry
Vasily Kandinsky
(HL
Oil
525)
(69.5
x 59.5 cm.)
294
Paul Klee
1930
17W x
Private Collection
2-95
Paul Klee
(In der
x 43.5 cm.)
The Solomon
Museum, New York
Collection
R.
Guggenheim
296
Vasily Kandinsky
260 Untitled.
1930
The Solomon
New
R.
Guggenheim Museum,
Vasily Kandinsky
1931
India ink on paper,
(2-9-5 x 36.5 cm.)
11%
14%"
Collection
297
Vasily Kandinsky
Kunstmuseum
298
Basel
Josef Albers
263
Pillars.
1918
11% x
ii'/S"
31. 1 cm.)
299
Vasily Kandinsky
(HL531)
Oil on board, 27V2 x Z7V2" (70 x 70 cm.;
Collection Edward Albee, New York
300
Vasily Kandinsky
10% x 8 n/i6"
Collection
Vasily Kandinsky
(HL530)
Oil on cardboard,
(69.5 x 49.5 cm.)
Collection
27%
x 19V2"
Museum Boymans-van
Beuningen, Rotterdam
301
Paul Klee
1930
x 9%"
Collection
302.
(31
x 24.6 cm.)
Kunstmuseum Bern
Vasily Kandinsky
January 1931
(HL547)
Oil on paperboard, 27I/2 x
(69.9x59.7 cm.)
Private Collection,
2.3 V*
Cologne
303
Josef Albers
Gouache on paper,
(45.7
x44
1932
18 x
17^5"
cm.)
304
Space
Vasily Kandinsky
July 1928
35
Vasily Kandinsky
December
192.9
The
Hilla
306
Vasily Kandinsky
December 1919
(HL481)
Oil on board, 17V4 x
(69.2 x 47.8 cm.)
The Solomon
New
R.
18%"
Guggenheim Museum,
307
Vasily Kandinsky
(HL
Oil
February 1931
550)
308
Lyonel Feininger
274 Clouds Above the Sea U (Wolketl
Meer II). 1913
am
Museum, Hamburg
309
Vasily Kandinsky
(HL
(Fi.xierter Flug).
February
571)
Oil on
(49
310
x 70 cm.)
Maeght
Vasily Kandinsky
17).
311
Vasily Kandinsky
July 1931
The
Hilla
..J
/
-
-4
,
-3_
.r-
312
Paul Klee
278 Crystallization
(Kristallisation).
Collection
1930
on paper,
Kunstmuseum Bern
313
Paul Klee
The Solomon
Museum, New York
Collection
R.
Guggenheim
->
>;>,-;...
:;>.
f
^.
314
"*
.
"
Josef Albers
Gouache with
1931
pencil
on paper, x8
/i
Washington, D.C.
315
Vasily Kandinsky
281
Now
Upwards!
(Jetzt Atif!).
June 193
316
Rebay Foundation
Vasily Kandinsky
The Solomon
Museum, New York
Collection
R.
Guggenheim
317
Figures
and Signs
Vasily Kandinsky
June 1928
Museum
of Art,
The Louise
318
Alexej Jawlensky
284
Dawn
(Morgengrauen).
1928
"
16% x I2% 6
Collection
319
Alexej Jawlensky
285 Frost.
1929
Oil on paperboard,
(42.9
16%
x 13V6"
33.3 cm.)
320
Vasily Kandinsky
(HL
October 1929
470)
321
Vasily Kandinsky
December
192.9
(HL485)
Oil on cardboard,
(34.9x48.9 cm.)
13% x
19V4"
Collection Busch-Reisinger
Museum,
Museum Association
memory of Eda K. Loeb
chusetts, Purchase,
Fund and
in
II
32.2
Vasily Kandinsky
May
1930
(HL514)
Oil
(49 x
70 cm.)
Private Collection
23
Paul Klee
1930
(51x53 cm.)
Private Collection, Switzerland
.:
mmm
Paul Klee
Watercolor on canvas,
(2.9.5 x 48 cm.)
1930
11%
x i8'yi 6
"
Vasily Kandinsky
(HL
Weihnacht
1926J).
364)
Oil on cardboard, li 1
(32.8 x 44.6 cm.)
(Fiir
Nina
November 1926
^x
ij 9/u"
Collection
32.5
Vasily Kandinsky
March 1929
(HL452)
Oil on board, 2214 x 16" (56.6 x 40.6 cm.)
Collection The Solomon R. Guggenheim
Museum, New York
326
Vasily Kandinsky
(HL
April 1930
504)
Oil on
Collection
327
Vasily Kandinsky
Tempera and
India ink
on paper,
Collection
z8
Kunstmuseum
cm
-)
Basel
1931
Organic Form
Vasily Kandinsky
295
Calm
(Stilles).
(HL357)
Oil on wood
19x6
panel, 19 x 1814"
Guggenheim, 1941
329
Vasily Kandinsky
(HL545)
Oil on board, 27% 6 x 23 %" (70 x 60 cm.)
Collection Kunstmuseum Basel
330
Vasily Kandinsky
May
1931
(HL557)
Oil on paperboard, 23V2 x 2.7V2"
(59.7x69.9 cm.)
331
Vasily Kandinsky
332
Vasily Kandinsky
1;).
1933
India ink
on paper,
i},
V\(,
x i6 li/\&"
Collection
1%
333
1931
Photographs
Collection Bauhaus-Archiv, Berlin
Facing page:
Vastly Kandinsky
Wandbild
fiir
March 1931
(HL 554A)
Bauausstellung, Berlin).
Gouache No.
Vasily Kandinsky
Wandbild
fiir
March 1931
Gouache No. 2 (HL 554B)
Gouache on paper, 17% x 39^6"
Bauausstellung, Berlin).
(45X99-5 cm.)
Collection Artcurial, Paris
Vasily Kandinsky
Wandbild
fiir
March 1931
(HL 554C)
Bauausstellung, Berlin).
Gouache No.
334
.M^ii-fc
=i^i
>
335
Chrome-plated
steel
1927
and
leather, 31"
(78.7 cm.) h.
Collection
New
"*
336
The Museum
of
Modern
1927
Jr.
1917
Chrome-plated
steel
337
**^%^
Berlin, 1933
Photograph
Collection,
Hugo
Erfurt
Dresden, 1933
Photograph
Collection,
339
Vasily Kandinsky
February 1932
(HL569)
Tempera and
oil
Collection
Nathan Cummings,
New York
T^\
340
Vasily Kandinsky
Rosii).
(HL573)
Oil on canvas,
(80.9 x
31%
x i9Ys"
100 cm.)
The Solomon
Museum, New York
Collection
R.
Guggenheim
341
342-
Vasily Kandinsky
(HL583)
Oil and tempera on canvas, 36'/^ x
28%"
(92 x 73 cm.)
Collection
Musee National
d'Art
Vasily Kandinsky
The
Hilla
von Rebay
Foundation
343
Vasily Kandinsky
August 1933
Watercolor on paper, 15*4 x
(38.7x31 cm.)
313 Similibei.
12I4''
344
Vasily Kandinsky
(HL
Oil
594)
Collection
Musee National
d'Art
Paris
345
DOCUMENTS
Vasily Kandinsky
315
"O dukhovnom
("On The
Trudy vserossiiskago
s'ezda Khudozhnikov, Dekabr '1911v iskusstve"
Spiritual in Art"),
I,
Petrograd, Golike
Not
in exhibition
Vasily Kandinsky
316
Om
Vasily Kandinsky
Angeles
319b
Van Diemen,
Cover design by
Berlin, 1922
El Lissitzky
New York
319 Staatliches Bauhaus Weimar, 1919-1923
(Bauhaus, 1919-1923), Weimar and
Munich, Bauhausverlag, 1923
Cover design by Herbert Bayer; typogra-
b.)
Collection
Vasily Kandinsky
346
Modern
Art
Vasily Kandinsky
Ludwig Grote
Collection
Neumann
&
Nierendorf,
Berlin, October-November 1916
Collection
Modern
Art
Vasily Kandinsky
Foundation
logue, Galerie
The
Hilla
327 "Modest Mussorgsky: 'Bilder einer Ausstellung' " ("Modest Mussorgsky: 'Pictures at an Exhibition' "), Das Kunstblatt,
Potsdam, vol. 14, August 1930
Collection The Museum of
Library, New York
Modern
Art
von Rebay
Foundation
Vasily Kandinsky
Modern Art
Vasily Kandinsky
Ludwig Grote
325 "Junge Bauhausmaler" ("Young Bauhaus
Painters"), Bauhaus, Dessau, vol. 2, no. 2-3,
1928
Not
in
exhibition
347
CHRONOLOGY
By Vivian Endicott Barnett with Susan
B.
The following
chronology
heim,
New
is
Kandinsky
York, 1983.
in
at the
Guggen-
1866
1897
December
born
in
Vasilievich Kandinsky
4. Vasilii
Moscow
divorced.
1898-99
1876
examination to Munich
Academy; works independently.
Fails entrance
Attends
Gymnasium where he
learns to
made
until 1885, to
Moscow
with father.
1900
Student of Franz von Stuck at
1886
Participates in
Moscow.
Academy
in
Munich.
Moskovskoe
tovarishche-
1889
May
until 1908.
stvo
first
kov" ("Critique of
Critics"), published in
Travels to Paris.
1892
Second
more
Exhibition of the
Association of South Russian Artists,
Odessa.
trip to Paris.
1893
Writes dissertation
Trip to Odessa.
"On
the Legality of
Phalanx
1902
1895
Becomes
Kandinsky
Law, University of
Moscow.
artistic director of
printing firm in
KuSnerev
Moscow. Designs
covers
1896
Sees a Haystack by
dustrial
bition. Eleven
Fall. Participates in
Shemiakina.
348
1901
April. His
Monet
at
French
in
In-
Moscow.
a student in his
painting class.
Participates in
St.
Mir Iskusstva
exhibition,
Peterburg.
Secession.
i93
December. Participates
Secession.
closes.
1906-07
December
XII Berlin
in
17,
1909-February
Participates in Izdebsky's
which
Kiev,
Winter. Participates
St.
first
6,
1910.
Interna-
travels to
in Briicke exhibition,
Dresden.
1907
1910
January. Paints
in
Munich.
Le Musee du
Peuple exhibition, Angers, sponsored by
Works on
Summer. Participates
in
Munich Kunst-
Makes
angewandte Kunst
Art), Munich.
fi'ir
Miinter in Berlin.
December. Participates
in
1908
Mid-August-September.
Salon d'Automne,
first
Society of Artists,
exhibition of
St.
New
Petersburg, and
latter
1909.
1905
end of June moves to 4, petite rue des Biwhere he and Miinter live
nelles, Sevres,
collaborative
St.
one year.
president.
NKVM
St.
Peters-
Miunk-
year.
Vinci Society,
Moscow.
October-November. Participates in
Galerie Wertheim exhibition, Berlin.
December
for
Marc about
plans
almanac.
Mid-September. Meets Schonberg.
Fall. Divorce from Ania Shemiakina
finalized.
until 1913.
First Improvisations.
Summer.
presidency.
January 10. Resigns
February 9. His essay "Kuda idet 'novoe'
iskusstvo?" ("Whither the 'New' Art?")
published in periodical Odesskie novosti
(Odessa News).
White).
1911
January
ings).
exhibitions.
Petersburg.
1909
January. Cofounds Neue Kiinstlervereini-
First
1908-09
Salon,
Markov.
December. Participates in Bubnovnyi
valet (Jack of Diamonds) exhibition,
Moscow. Shows fifty-four works at IzOdessa. Catalogue includes Kandinsky's
i forma" ("Content and
its
sojourn
First
Paris.
1906
for
May
Berlin
Moscow.
Participates in
XIV
Secession.
Fall. Participates in
Compositions.
verein exhibition.
first
theory of colors.
April.
in
1-15. First
iz
NKVM exhibition,
Munich.
December. Uber das Geistige
published by Piper, Munich.
December
Munich.
of
in der
Kunst
in der
Kunst read by
349
Diamonds
Moscow.
Hans
Goltz,
Munich.
April. Second edition of Uber das Geistige
in dcr Kunst published by Piper, Munich.
May. Der Blaue Reiter almanac published by Piper, Munich.
May 25-September 30. Participates in
Sonderbund Internationale Kunstausstellung, Cologne.
Moderncr Bund
German
German Autumn
Der Sturm,
One-man
in
Salon)
Berlin.
exhibition at
Kandinsky's.
Composition
and Painting with
White Border.
1914
January 1. One-man show opens at
Thannhauser's Moderne Galerie, Munich.
January. Invited to lecture at opening of
one-man exhibition
War
curtails production.
London
New York).
Kurdibowsky presents
in lecture at
St.
Peters-
burg.
Moscow.
and others.
May. Spends
"Formen
Klange, prose
lished
London.
August 3. After outbreak of World War
Munich
in Blast
23,
1915-March 1916. To
February
March.
I,
held at
work
exhibition of
Gummeson
Gummesons Konsthandel,
Stockholm.
February. Kandinsky's essay
Om
Gummesons Konsthandel,
Stockholm; statement "Konsten utan
chure by Forlag
in periodical
March
Konst, Stockholm.
17. Galerie
Dada
(formerly Galerie
poems read by
Zurich;
Caba-
Ball at
poem "Sehen"
One-man
1.
amne"
10.
Vystavka zhivopisi
191; god (Exhibition of Painting: 1915),
Moscow, with Natan Altman, David and
1916
Kunst,
at Kreis fur
April. Participates in
December
December
oil
cities.
Rus-
1915
Executes no
IV, Composition VI
November
at Galerie
October.
(First
in
zhivopisi (Exhibition of
Contemporary
1913
leaves
Switzerland.
1917
February
never appears.
travels
350
and Line
to Plane),
11.
skaia.
Trip to Finland.
of 1926.
lerie
December
1921.
Zurich.
Narkompros (NKP)
(People's
Com-
Moscow
Lunacharsky
tion. Anatolii
Commissar
is
made
of Enlightenment.
Inkhuk
ity),
1918
Moscow
quests his
sky
is
Lunacharsky,
visits
named member
of
IZO NKP.
Moscow, with
and other
work with
his
"W. Kandinsky:
Kttnstblatt,
December. Participates
vite Artists, Vitebsk,
in First State
Exhi-
among many
and Rod-
others.
dinsky
IZO NKP,
stesenicheskoi
first
Kan-
Moscow Svomas.
"Stupeni" ("Steps"),
khudozhnika (Text of
the Artist) by IZO NKP, Moscow. With
critic Nikolai Punin and artists Tatlin
and David Shterenberg, appointed to
committee in charge of International
Bureau of IZO; Kandinsky initiates contact with German artists and architect
lished in Tekst
December
5.
Commission on
the Organi-
zation of the
ture,
artists
1919
February.
"O
A.M. Rodionov,
to investigate possibility
Sciences
accepted by academy
21.
Kandinsky
in
Moscow
Summer. Delivers
arts in
for article
on the
artists.
until 1969.
lecture
on "The Basic
1920
January-April. Three articles by Kandinsky, including
"Muzei zhivopisnoi
of fine arts
kul'-
October.
hkusstvo
dinsky
replaced
in 1919.
May. Inkhuk
RAKhN opens
with Kogan as
initially as
sia,
is
1922.
tury" ("The
ture) established in
Walter Gropius.
art
of establishing Russian
and
appears in
to chair science
RAKhN, which
1919-20
"O
1921
May. Appointed
commission, July
Through
factory.
tistic
and Musco-
chenko,
in
Potsdam.
sections of
Das
periodical
Westheim
Moscow.
is
1920-21
this
Selbstcharakteristik" ("Self-Characteriza-
rejected; at
aware of
is
Moscow
mar. Kandinsky
Heads
activities of
Pan-Russian Conference
of
at First
head, affiliated
December. Kandinsky leaves Soviet Russia for Berlin, where he stays in furnished
room on Mottstrasse. Meets Lyonel
Feininger.
1922
June
March. Gropius
16.
fessor at University of
Moscow.
Mos-
offers
Kandinsky position
Weimar Bauhaus.
April 30-June 5. One-man
at
exhibition at
June.
Moves
room
in Cranachstrasse.
to
Weimar,
lives in furnished
Kandinsky and
Klee reunited. Teaches Theory of Form
(Formlehre) in the preliminary course and
Summer. Designs wall paintings for entrance room of projected art museum,
November-December.
museums.
Works on Entsiklopediia izobrazitel'nogo
Societe
its
Nikolai Sinezubov.
and
Participates in
Landesausstellungsgebaude, Berlin, in
July 1-14.
which
hauser's
is
never published.
in
fall.
351
Curves:
One-man
Academy
in
in
Tokyo, which he
declines.
home
of Gropius's mother at
at
Timmen-
Gummesons
bition at
15.
One-man
exhi-
Konsthandel,
Stockholm. Participates
in Erste russische
in
Weimar, pub-
by Propylaen-Verlag,
May. Kandinsky's
September i-October
tional Exhibition of
1923
Schonberg direct
Weimar Musikhochschule. Begins correspondence with Will Grohmann.
August 15-September 30. Bauhaus Ausstellung in Weimar; Kandinsky's "Die
April. Suggests that
lerei"
Ma-
Fall.
Der Cicerone.
Binz. Otto Ralfs
in
May
March
14-31.
15.
One-man
exhibition at
San
impressed by mosaics
Returns to Bauhaus by
18-May
particu-
4.
1.
May
is
Ravenna.
in
Cercle
in
Carre exhi-
et
1.
Mussorgsky's Pictures
at
an Exhibition,
at Friedrich-Theater,
Bauhaus.
193
February.
ings
One-man
d'Olonne, Paris.
Galerie Ferdinand Moller, Berlin.
Neue Kunst
Fides, Dresden.
at Galerie Alfred
Flechtheim, Berlin.
at
New
York, which
he declines.
Designs ceramic
tiles
for a
Deutsche Bauausstellttng,
opens May 9.
May 26.
music room at
which
Berlin,
haus, vol.
exhibition of paint-
and watercolors
March. Receives
at
as director of
Bauhaus.
v,
no.
3,
Bau-
of
in Paris
one-man exhibition
20-May
Bauhaus
April
Early
1932
February.
Galerie Zak.
1926
352-
uing to
first in
1929
January 15-31.
art collectors.
shows of
German
series of
citizens.
Summer. Vacations
exhibition at Brax-
One-man
1-15.
1928
tisches
to Klee.
March
begins.
on North
room
April
7; sublets
1930
January. Invited by Michel Seuphor to
See.
Dessau.
Moltkestrasse
Mendelsohn and
Visits Erich
larly
November.
1.
1927
as Director of
April
visits
Ostend.
in
April
1925
James Ensor
Lazzaro.
1924
10).
tion in Painting").
Sea.
May
with Klee.
Summer. Vacations in Muritz.
November.
Berlin.
exhibition at
9.
artists exhibi-
Kandinsky
at
Bauhaus.
One-man
exhibition of water-
at Galerie
which
August
Dessau
22.
by
Dessau Bauhaus,
October i.
effective
September. Vacations
Dubrovmk,
tion of
in
1937
Interviewed by art dealer Karl Nieren-
dorf,
work
York in March.
February 21-March 29. Kandinsky
Yugoslavia.
Klee.
and operates
Berlin
as a private institute.
New
Gallery,
December
at
Valentine
Moves
Berlin Siidende,
to Bahnstrasse 19,
where he
next
in
n. Bauhaus
in Berlin
closed by the
with
German museums
Bauhaus
Development
last
in
work
in
Germany,
Brown.
Raspail.
1.
November 7-December
Participates in
Duchamp.
December
group exhibition.
October-early December. Returns to
Berlin.
Moves
into sixth-floor
boulevard de
at 135
la
Seine
suburb of
Galerie l'Esquisse.
13.
1938
February. Writes "Abstract of Concreet?"
for catalogue of exhibition Abstracte
at Stedelijk
at
Museum, Amsterdam.
Guggenheim Jeune
London.
March. Kandinsky's "L'Art Concret"
published in
Guest of honor
Late December.
one-man
Paris.
Gallery,
apartment
Last
et
tistique,
15.
Kunst
26.
in
One-man show
October 27-November
Paris. Sees
last
sclerosis in cerebellum.
August. Paints
Origines
J 933
in
exhi-
July 30-October
year.
April
works
of his
it
bits
Included
York.
10.
Many
of his
New
in
1944
January. Shows at Galerie Jeanne Bucher
XX'
first
Siecle.
August. Kandinsky's
German
passport
expires.
1939
January. Completes Composition X, his
last large canvas.
Paume,
re-
Paris.
Paris.
sition IX.
1934
May
Works
illus-
May. Exhibition
at Galerie
Cahiers d'Art,
Paris.
and
June 30-July
15.
Included in
first
Realites
1935
February. Invited to serve as
dence
at
tier, Paris.
artist in resi-
September
3.
War
the offer.
museum
Lucerne.
Shows with
Neumann's
becomes
1941
May. On behalf
with
of France.
in
Neumann, who
of Centre Americain de
New
York
to remain in France.
1942
1936
and Concrete,
Lefevre Gallery, London; Cubism and
Abstract Art, The Museum of Modern
paintings on
Participates in Abstract
Art,
New
York.
July
small
wood or canvasboard.
21-August 4. One-man exhibition
at
353
SELECTED BIBLIOGRAPHY
i.
By Kandinsky
in
Piper,
versity,
1,
1973; vol.
2,
1974
Collection,
Hans
Viking, 1974
2.
On
Kandinsky and
Troels Andersen,
his
Contemporaries
"Some Unpublished
Let-
ters
Geraldine Weiss,
French translation:
passe"
sur
le
in
in
and Line
to Plane.
Contribution to the
1926
"Centenaire de Kandinsky,"
no.
pp. 155-166
Kandinsky: Essays
see:
in
prepara-
354
gli scritti,
Siecle,
tion,
Homage
New
York, 1975
David
Elliott,
edi-
to Wassily Kandinsky,
Rodchenko,
"
College,
1970
pp. 12-14
the Guggenheim,
New York,
1983
1951
Bowlt,
ed.,
New
Criticism,
John
New
York, 1947,
May
1975
York, 1976
E.
and
the
tion
XX
John
Exhibition
Paris,
eds., 1971.
catalogue
Julia
The Busch-Reisinger
John David Farmer and
1980
Busch-Reisinger
ismen
Bowlt
Galerie Gmurzynska, Cologne, Kiinstlerinnen der russischen Avantgarde, 1910-
I 93>
texts
by Szymon Bojko,
J. E.
Bowlt,
ct al
New
York, 1968
Will
Der Cicerone,
pp. 887-898
Will
XVI, September
192.4,
Cahiers
Will
Jg.
a" Art,
Paris,
1930
Will
Grohmann, Paul
Klee,
New
Grohmann, "Art
Life
into Architecture:
Kunstblatt, vol.
PP. 4-5
lection
Se-
New
Feininger,
New
Barnett
New
R.
Guggenheim Museum,
York,
The Solomon
New
R.
Guggenheim Museum,
in Munich: 1896-
York, Kandinsky
und
Wilhelm-Lehmbruck-Museum der
Warwara Stepanova,
catalogue
Munich, Junge
Bauhaus, 1979. Exhibition
catalogue with text by Peter Hahn
Maler
2,
fiir
Werner Hofmann, "Kandinsky und Mondrian, 'Gekritzel' und 'Schema' als graphische Sprachmittel,"
1.
Internationale der
Das Bauhaus
in
Wei-
1976
Berlin,
Johannes
Utopia:
"Analysen
Dokumente der
Bruno Adler,
ed.,
alter Meister,"
Wirklichkeit,
Weimar,
192,1, pp.
28-78
sity
New
York, 1980
ed., 1981.
1930
tionale of Color,
Itten,
am
the
mons,
Itten,
Subjective Experience
New
New
York, 1961
New
York, 1967
Grohmann
ich,
t982. Exhibition
Schorske
of Paul Klee,
Stadt
1963
Berlin,
der
Johannes
Werk
Werner Haftmann, "Kandinsky (19271933)," Derriere le miroir, no. 154, November 1965, pp. i-[i8]
in
Ill,
The Solomon
March
Kunstblatt, vol.
"II.
Das
New
Fiir,"
rie
I.
Ill,
Wolfradt,
vol. lxxvi,
1974
1954
Moholy-Nagy,
York,
ed.,
1961
pp. 28-31
Will
Richard Kostelanetz,
New York, 1970
Dokumente
Gesellschaft:
355
Musee National
Cam-
Paris, Kandinsky
musees sovietiques,
1979. Exhibition catalogue with text by
Christian Derouet
Georges Pompidou,
Paris,
Paris-Moscou,
The Museum
of
Modern
Art,
New
Finland, 1970
Georges Pompidou,
Musee National
and
York,
Sixten
Henning
vol. LII,
and the
the zoth Century: Painters and
Stage in
Sculptors
Work
ed.,
New
York,
Zwanziger Jahre:
15.
Europaische Kun-
June
L. Ness,
London, 1968
Lyonel Feininger,
New
York,
1974
Willy Rotzler, ed., Johannes ltten:
und
Werke
204-391
1880-194;,
New
York, 1976,
vol.
I,
pp.
Theorie de
la
couleur
et
grammaire
pic-
Oskar Schlemmer,
ed.,
194-208
Connecticut, 1961
Change,
vol. 26/27,
February
Unterricht
am Bauhaus:
Sammlung
Bauhaus, Bauhausbiicher
Letters
and
Diaries of
ed.,
Oskar Schlem-
Krishna Win-
London, 1959
Ringbom, "Art
in
'The Epoch of
und
Werner
Sixten
A Study
356
Artifact,
Mary Henle,
Towards a New Art: essays on the background to abstract art 1910-20, London,
1980. Texts by Peter Vergo et al
Beeke
Sell
in
Ann Arbor,
Michigan, 1981
Konstantin Umanskij, "Russland IV: Kandinskij's Rolle
Der Ararat,
Jg.
im russischen Kunstleben,"
II,
May-June
1920,
28-30
in
Russ-
Zeichnungen
in
Munich: The
1979
Robert Welsh, "Abstraction at the Bauhaus," Artforum, vol. VIII, March 1970,
pp. 46-51
Rainer Wick, Bauhaus-Padagogik,
Cologne, 1982
Hugo Zehder,
autorisierter
ed., n.d.
the Early
XXIX,
and
New York,
ternationally 1968-70
land, 1965
Institutes, vol.
Weingarten, 1982
Sixten
4,
The
L.
Die Biihne im
Munich, 1925;
The
Theater of the Bauhaus, Middletown,
turale,"
May
Exhibition
ed., 1979.
Munich and
1979
Hans
Tendenzen der
[E.]
Klee," Vision
vol.
Armin Zweite,
catalogue
Marianne
Hans
Kiinste,
1912,
Akademie der
Nationalgalerie,
by Magdalena Droste
3e annee,
Spies, Albers,
New
York, 1971
Staatliches
und Kan-
14-127
INDEX OF ARTISTS
IN
THE CATALOGUE
Albers, Josef
Arndt, Alfred
Baschant, Rudolf
Batz,
Eugen
178
197-199, 203,
219, 220
Bayer, Herbert
Kliun, Ivan
cat. nos.
Klode, Karl
Lang, Lothar
I2ie
cat. no.
cat. nos.
in,
2ioa-c,
280
cat. nos.
47.48
Makhroff, Olga
Breuer, Marcel
Dicker, Friedl
Hugo
127-129
cat. nos.
I75a-e, 176
cat. nos.
cat. no. 31
125
Werner
307
Grote,
Ludwig
Hartwig, Josef
cat. no.
Moholy, Lucia
cat. no.
Max
Roseler,
cat. nos.
ii3-H5a,b, ii7a-c
Itten,
Johannes
cat. nos.
67-72
232
I2ih,
134-136,179,241,242
Thiemann, Hans
no
60-65
cat. no.
Schlemmer, Oskar
122,
218,224
103-108
Itten,
Hermann
167
cat. no.
cat. nos.
Rodchenko, Alexander
326
126
Hirschfeld-Mack, Ludwig
I2id,
cat. nos.
Popova, Liubov
109
cat. nos.
137-141
Peiffer-Watenphul,
Graeff,
52-55
cat. nos.
Moholy-Nagy, Laszlo
cat. no. 11
cat. nos. 160,
Feininger, Lyonel
73-77
Brandt, Marianne
Erfurt,
cat. nos.
Malevich, Kazimir
233
222, 223
Lissitzky, El
186, 187
56-58
Johannes, Attributed to
Tschaschnig, Fritz
cat.
no. 102
Udaltsova,
Javvlensky, Alexej
Kandinsky, Vasily
285
33-
Nadezhda
211
Ullmann-Broner, Bella
cat. no.
Voepel-Neujahr, Charlotte
66
225
cat. nos.
226-229
K.J.
124
Weber, Vincent
cat. no.
Weininger, Andrew
112
cat. nos.
243-245
177
Kessinger-Petitpierre, Friedly
cat. nos.
130-132,
357
PHOTOGRAPHIC CREDITS
Color
cat. no.
Buffalo:
274
cat. nos.
Zurich:
101
cat. no.
Carmelo Guadagno:
fig.
cat. no.
40
cat. nos.
301-303
310
cat. no.
cat. no.
188
figs.
David Heald:
99
>
cat. no. 33
262
Courtesy Herbert Bayer:
cat. no.
41
Art Gallery,
New
Haven:
cat. no.
39
Robert
E.
Mates:
Robert
E.
cat. no.
259
217
Courtesy
cat.
Museum Ludwig,
314
Cologne:
no. 36
York:
Beunin-
266
26
Courtesy Busch-Reisinger Museum, Harvard University, Cambridge, Massachucat. nos. 19, 74, 103, 113, 114,
setts:
Courtesy The
New
Museum Boymans-van
Rudolph Burckhardt:
Courtesy
gen, Rotterdam:
120
Museum
cat.
of
Modern
Art,
no. 61
cat. no.
309
cat. no.
cat. no.
131
Itten,
Courtesy Philadelphia
cat. no.
Museum
of Art:
150
cat. no.
37
52
107
Museum
Zurich:
of Art:
cat. no.
285
Athens:
cat. no.
George Cos-
51
313
358
76
Robert
cat. no.
136
Museum
of
Modern
cat. no.
Carmelo Guadagno:
cat. no.
18
179
11, 16-18,
New
York:
cat. no.
Art,
cat. no.
Courtesy Hirshhorn
258
Sculp-
Washington, D.C.:
Courtesy Anneliese
cat. nos. 106,
cat.
Itten,
New
York:
75
fig.
48
et d'Histoire,
71
8,
30-34,
figs.
12-17,
Courtesy
Museum
of Art,
Munich
fig.
54
fig.
cat. nos.
137,138
New
134
cat. nos.
Island
cat. no.
York:
Museum
figs.
of
Modern
cat. nos.
Fort
Worth Art
158
Courtesy The
New
Library,
wigshafen:
cat. no.
193
267, 278
cat. no.
251
Art,
M*.
-5.
304
294, 296
Association:
cat. no.
Rhode
Courtesy The
fig.
249
New
Geneva:
1983:
cat. no.
^99, 307, 38
263
108
Art, Edinburgh:
Zurich:
of Art:
of
11, 26, 27, 30-32, 34, 45, 49, 78, 79, 82,
no. 280
Museum
no. 194
Modern
Museum
Museum and
167
David Heald:
German
York:
44
cat. no.
cat. no.
for
the Robert
cat.
43
84-91
Hague:
298,312
fig.
figs. 2, 13,
273
galerie Stuttgart:
Mates:
San Francisco
Art:
E.
Museum
York:
of
New
Haven:
cat. no.
62
Modern Art
cat. no.
320
Museum
cat. no. 35
44
of Art, Atkins
Museum
of Fine Arts,
cat. no.
133
Nordrhein-Westfalen, Diisseldorf:
cat. nos. 145,
156
Basel;
cat. no.
cat. no.
Inc.,
100
New
124
ADAGP,
Paris, 1983:
Courtesy Philadelphia
cat. no.
fig.
45
Museum
of Art:
283
ington, D.C.:
275
fig.
47
359
Exhibition 83/5
8,000 copies of this catalogue, designed
November 1983
for the
360
and