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Occultism,
Anarchism,
and
Abstraction:
Kandinsky's
Art
of the Future
By Rose-Carol WashtonLong
years
As examined the development
of mod-
Art Journal
together in the artists' quarterSchwabing-in Munich, when the "genuine Schwabingers living in their farmhouses" had no idea what "was growing" in the earth near them.22
During this period, occultists and
mystics, anarchists, socialists, and pacifists did not exist in completely separated camps. Theosophists such as
Rudolf Steiner, whom Kandinsky
praised in On the Spiritual in Art, had
worked with German socialists and anarchists. Steiner had lectured several
times a week from 1899 to 1904 at the
school for workers' education, founded
by Wilhelm Liebknecht, one of the organizers of the German Social Democratic
Party.23 He was friendly with John
Henry Mackay, who had written the
book Die Anarchisten and had studied
the individualist-anarchist theories of
the mid-nineteenth-century German
Max Stirner. Steiner had also lectured
on the monist theories of the Darwinian
biologist Ernst Haeckel at the Liebknecht school and had led a literary
group, Die Kommende, where young
artists such as Else Lasker-Schiiler and
Herwarth Walden read their works.24
Intellectuals who espoused various
communalist aspects of anarchism, such
as the political theorist Gustav Landauer, who was to become in 1919 one of
the leading members of the Bavarian
Socialist Rditerepublik,and the Russian
Symbolist poets and critics Georgii
Chulkov and Viacheslav Ivanov, were
also interested in mystical thought.
Landauer, for example, who translated
Kropotkin into German for publication
in 1904, had a year earlier edited the
writings of the German mystic Meister
Eckhart.25 Chulkov and Ivanov, who
sought to combine individual freedom
with collective responsibility, were
known to be interested in the occult26
and shortly after the brief Russian revolution of 1905 referred to themselves as
espite the negativeassociationsof mystical anarchists.27
mysticism, anarchism, and abAlthough they were all concerned
straction in the 1920s and 1930s and the with the radical transformation of a
later denials of this influence by schol- society they considered too materialistic
ars, much evidence indicates that an and authoritarian, these intellectuals
artist such as Kandinsky was familiar differed in the areas they felt would
not only with occultism, particularly most affect change. Steiner advocated
Theosophy, but also with contemporary study of Eastern religions as well as the
thought on socialism and anarchism in major Christian mystics, believed in
both Germany and Russia.2' From the meditation, and emphasized that artistic
time he arrived in Munich in 1896 until activity growing out of these studies
he left Germany in 1914, and during his would assist with the regeneration of
return visits to his native land, Kan- society. Chulkov and Ivanov, whose
dinsky associated with artists, poets, friend the poet Mikhail Kusmin contribwriters, and critics who explored oc- uted to the Blaue Reiter almanac,28were
cultism, medieval mysticism, ana- determined to have a direct effect on
rchism, pacifism, and socialism to find Russian life after the revolutionof 1905.
ways to change the direction of society. They urged that the artificial restraints
In a 1914 letter to Franz Marc, his of governments, religious dogma, and
collaborator on the Blaue Reiter alma- traditional morality be removed in order
nac, Kandinsky recalled their days for a new society based on the natural
Spring 1987
39
Art Journal
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KANDINSKY
OBER
DAS GEISTIGE
IN DER KUNST
ZWIaTE AUFLAS
in
Bt0?
SEITtR
iiiiii 1
political events in either Russia or Germany, but he did mention in his 1913
"Reminiscences" the significance the
student protests had for him when he
was at the university in Moscow in the
1880s. His memoirs indicate that he was
radicalized by this event: he explained
that the governmentban on the university's international student organization
made him much more sensitive and
more receptive to new ways of looking at
his country.56 Indeed, these memoirs
suggest that even in 1913 Kandinsky
viewed disruption and discord as powerful tools for change. In the discussion of
his student days, Kandinsky praised
activism whether it was individual or
collective, stating that it would "undermine the stability of our form of existence.""57Committed to making ordinary people receptive to change, he
stressed his support for actions that
contributed to stirring up "a critical
attitude toward accustomed phenomena."58 Without critical stimuli, Kandinsky believed that change would be
difficult. But for Kandinsky, it was the
artist, not the politician or the political
theorist, who could most powerfully
evoke these discordant stimuli. At the
end of On the Spiritual, Kandinsky
reminded the artist that he had "great
power," but that he also had "great
responsibilities."59
he viewed the artist as a
Although
prophet, like a Moses leading his
people to the promised land, Kandinsky
drew moral sustenance and visual
strength from indigenous peasant cultures, particularly from the Russian
peasant, whose love of color and ornament he called "magical" and whose
flexible attitude to legal matters he
much admired.6' As a student, Kandinsky had studied economics and ethnology and had traveled to the remote
Vologda region. He later recalled the
religious feeling he had experienced in
the homes of these peasants, particularly from their icon corners, and he
compared this somewhat mystical experience to the feelings he had in the great
Moscow churches and more recently in
Bavarian and Tyrolean chapels.61That
Kandinsky preferred the intuitive Russian peasant law to codified law reflects
not only his abhorrence of centralized
authority and rule but also his knowledge of anarchist theories such as Kropotkin'sand Landauer'sthat praised the
natural law of the peasant in contrast to
the artificial law of the state.
Kandinsky'sdiscussion of the natural
or internal law of the peasant is related
to his belief in an underlying law or
principle for all art forms that counters
the superficial rules "discovered in earlier art, together with those discovered
Spring 1987
41
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4
M~9www
i-.?il:~:iiiii i-:
i~-: :~:~-::
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Fig. 5 Wassily Kandinsky, Improvisation 28, 1912, oil on canvas, 437/8x 63/".
New York, The Solomon R. Guggenheim Museum.
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Art Journal
was an internationalist
Kandinsky
and a universalist. Believing that
nationalism brought "decline,"' he was
sympathetic to the interests of friends in
forming a transnationalunion of art and
politics. Correspondence from 1914
with the Serbian writer and lecturer
Dimitri Mitrinovic, who referred to
Kropotkin's works and planned to visit
the English socialists Wells and Shaw,79
and with the Berlin writer Erich Gutkind,so who would meet with Buber,
Landauer, and other pacifists in June of
Spring 1987
43
15 See the guideto the 1937 exhibition,"Entarsky's works before World War I, also knew the
tete"Kunst,reprintedin FranzRoh, "Entarpoet Paul Scheerbart and the anarchists Gustete" Kunst:Kunstbarbarei
in DrittenReich,
tav Landauer and Erich Miihsam from these
Hannover[1962].
early years. See also: Erika Kliisener, Else
Lasker-Schuler, Reinbek bei Hamburg, 1980,
16 The "Expressionistdebate" in the German
pp. 44-68.
Das
Wort
of
1937-38
reflects
emigr6periodical
someof theseattitudes.Mostof the essaysare 25 Landauer attacked private ownership of propreprinted in Die Expressionismusdebatte.
erty and bureaucratic authority in favor of a
Materialienzu einer marxistischenRealislocal, grass-roots, and communitarian socialism. Eugene Lunn's Prophet of Communimuskonzeption,ed. Hans Jurgen Schmitt,
Frankfurtam Main, 1973. For the clearest
ty: The Romantic Socialism of Gustav Landdiscussionof the "debate,"see: FranzSchonauer, London, 1973, offers a clear summary of
und Fascismus:Eine
Landauer'ssources; see: pp. 3-16, and passim.
auer, "Expressionismus
Diskussionaus demJahre1938,"2 parts,Lit26 Aleksei Remizov, Kukkha: Rozanovy pis'ma,
eraturundKritik7 & 8 (Oct.andNov. 1966),
Berlin, 1923, p. 23; and James West, Russian
pp.44-54, 45-55.
Symbolism: A Study of VyacheslavIvanov and
17 Georg Lukacs, "'Gr6sse und Verfall' des
the Russian Symbolist Aesthetic, London,
InternationaleLiteratur,1
1970, pp. 76-81.
Expressionismus,"
(1934); Englishtranslationin GeorgLukaics.
27 Bernice Glatzer Rosenthal, in "The TransmuEssays on Realism,ed. RodneyLivingstone,
tation of the Symbolist Ethos: Mystical AnarCambridge,Mass.,1980,pp.77-113.
chism and the Revolution of
Slavic
23 JohannesHemleben,RudolfSteiner,Reinbek
bei Hamburg,1963, p. 71; and also Walter
Kugler, "Rudolf Steiner in Berlin," Berlin
(citedn. 10), pp.394-404.
24 Frecot (cited n. 10), pp. 337-38. Walden,
whose Sturm Gallerywould featureKandin-
44
ment, p.
Kandinsky
poem by Kusmin for the Blaue Reiter almanac.
For a discussion of others such as Aleksei
Remizov in Ivanov's circle whom Kandinsky
knew, see: Long (cited n. 7), pp. 36-39.
1905,"
Review, Vol. 36, No. 4 (Dec. 1977), pointed out
that Chulkov attacked individualism and
referred to Max Stirner's theories as decadent,
p. 613, and passim.
Art Journal
Spring 1987
45