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CONCEPTION SYNCHROMY #0206_1/ 2006
(  Satoshi Kinoshita )
| Series: | Paintings: Landscape | | Medium: | water-based silk screen printing inks on non-stretched canvas | | Size (inches): | 26 x 22 | | Size (mm): | 660 x 559 | | Catalog #: | PA_099 | | Description: | Signed, titled, date, copyright in magic ink on the reverse.
Painting is an art, and the art in its whole is not a vain objets creation which get lost in the void, but a power which has a goal and must serve to the evolution and to the refinement of the human soul, to the moving of the Triangle. It is the language which speaks to the soul, in its proper form, of things which are the daily bread of the soul and which it can receive only under this form.
-Wassily Kandinsky, from "Concerning the Spiritual in Art" (completed in 1910) /en.wikipedia.org
*Wassily Kandinsky (December 4, 1866 (O.S., December 16, 1866 N.S.) – December 13, 1944) was a Russian-born French painter and art theorist. One of the most important 20th-century artists, he is credited with painting the first modern abstract works.
Concerning the Spiritual in Art:
The work Concerning the Spiritual in Art, completed in 1910, is Kandinsky’s most important theoretical writing. He had made notes for it already ten years before, it was published at the end of 1911, so it was ready for the opening of the exhibition of the editors of the "Blauer Reiter". Up until 1912, three reprints were necessary.
In the Introduction, "inner necessity", the expression which was important to Kandinsky was introduced. In the first chapter, Bewegung (Movement), Kandinsky draws a triangular picture of spiritual life: a triangle with a single figure standing at its point moves ever forwards. In the following chapter, Geistige Wendung (Spiritual change) Kandinsky specifies this idea and attempts to give it historical proof. Before he actually comes to speak of art itself, he mentions the Theosophical Society as a great spiritual movement. His appeal to literature leads him to Maurice Maeterlinck and Kubin as soothsayers of the decline; as far as music is concerned, he sees principally Claude Debussy and Arnold Schönberg, who renunciates the beautiful and leads into a new kingdom of spiritual experiences in music, as carrying the hopes of the "spiritual change." In painting he specially emphasizes Pablo Picasso and Henri Matisse as pathfinders. The chapter Pyramide (Pyramid) shows the relationship and the differences between the arts. Kandinsky strives towards a joining of the arts to form a "monumental art".
The main part, the chapter Malerei (Painting) is, in contrast to the preceding chapters, reserved for systematic argument. Kandinsky investigates the effect of colors (as "vibrations of the soul") and develops a system for connecting form and color. In this, he places abstract elements in the foreground. According to Kandinsky colors are basically arranged warm-cold / light-dark. Each color is assigned a spiritual expressive quality, which he illustrates with musical examples. From the preceding chapter he takes the idea of "monumental art" and designs a new form, the "stage composition", whereby dance joins color and music as a third element. The closing words concern reproductions of Kandinsky’s own works, here he makes sub-divisions into "Impression", "Improvisation" and "Composition" and refers to motives and aims of his own works.
Kandinsky: Über das Geistige in der Kunst (Concerning the Spiritual in Art) with dedication to Arnold Schönberg [Title – Dedication].
-www.schoenberg.at/4_exhibits/asc/
Kandinsky/Geistige_e.htm
On the Spiritual In Art:
Kandinsky compares the spiritual life of the humanity to a large Triangle similar to a pyramid; the artist has the task and the mission of leading others to the top by the exercise of his talent. The point of the Triangle is constituted only by some individuals who bring the sublime bread to men. It is a spiritual Triangle which moves forward and rises slowly, even if it sometimes remains immobile. During decadent periods, souls fall to the bottom of the Triangle and men only search for the external success and ignore purely spiritual forces.
When we look at colors on the painter's palette, a double effect happens : a purely physical effect on the eye, charmed by the beauty of colors firstly, which provokes a joyful impression as when we eat a delicacy. But this effect can be much deeper and cause an emotion and a vibration of the soul, or an inner resonance which is a purely spiritual effect, by which the color touches the soul.
The inner necessity is for Kandinsky the principle of the art and the foundation of forms and colors' harmony. He defines it as the principle of the efficient contact of the form with the human soul. Every form is the delimitation of a surface by another one; it possesses an inner content which is the effect it produces on the one who looks at it attentively. This inner necessity is the right of the artist to an unlimited freedom, but this freedom becomes a crime if it is not founded on such a necessity. The art work is born from the inner necessity of the artist in a mysterious, enigmatic and mystic way, and then it acquires an autonomous life; it becomes an independent subject animated by a spiritual breath.
The first obvious properties we can see when we look at isolated color and let it act alone; it is on one side the warmth or the coldness of the colored tone, and on the other side the clarity or the obscurity of the tone.
The warmth is a tendency to yellow, the coldness a tendency to blue. The yellow and the blue form the first big contrast, which is dynamic. The yellow possesses an eccentric movement and the blue a concentric movement, a yellow surface seems to get closer to us, while a blue surface seems to move away. The yellow is the typically terrestrial color whose violence can be painful and aggressive. The blue is the typically celestial color which evokes a deep calm. The mixing of blue with yellow gives the total immobility and the calm, the green.
Clarity is a tendency to the white and obscurity a tendency to the black. The white and the black form the second big contrast, which is static. The white acts like a deep and absolute silence full of possibilities. The black is a nothingness without possibility, it is an eternal silence without hope, it corresponds to death. That’s why any other color resonates so strongly on its neighbors. The mixing of white with black leads to gray, which possesses no active force and whose affective tonality is near that of green. The gray corresponds to immobility without hope; it tends to despair when it becomes dark and regains little hope when it lightens.
The red is a warmth color, very living, lively and agitated, it possesses an immense force, it is a movement in oneself. Mixed with black, it leads to brown which is a hard color. Mixed with yellow, it gains in warmth and gives the orange which possesses an irradiating movement on the surroundings. Mixed with blue, it moves away from man to give the purple, which is cooled red. The red and the green form the third big contrast, the orange and the purple the fourth one.
-en.wikipedia.org/wiki/Wassily_Kandinsky
#The_Blue_Rider_.281911-1914.29
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