Kandinsky Vasily Vasilievich. Pictures and biography

The famous creator of the legendary "Blue Rider" turned to the arts relatively late - at the age of about 30, which did not prevent him from reaching significant heights, becoming one of the creators of abstract art, the founder of numerous art associations and a teacher at the Higher School of Construction and Art Design, better known like the Bauhaus.

Kandinsky came from an original Siberian merchant family, where the blood of the Tungus princes with the most ancient pedigree was fancifully mixed, no less than the ancient princely family of the Mansi and convicts exiled to Nerchinsk for God knows what faults.

In the childhood of the future artist, his family traveled a lot around Europe and Russia, and then settled in Odessa, which was then the third most important city in the Russian Empire. In this wonderful southern city, Vasily graduated from the gymnasium, and also received a musical and artistic education. Despite the undoubted talent of the boy, his parents predicted for him a career as a lawyer, which he brought to life, studying intermittently at Moscow University.

However, the real life of Kandinsky as an artist begins with an exhibition of impressionist art in Moscow in 1895, where he was struck to the very heart by the work of Claude Monet. The following year, he leaves for Munich, where he plunges into the environment of expressionism, but the outbreak of the First World War interrupts his formation and he returns to his homeland. But with Soviet Russia he is not on the way, and Vasily Vasilyevich in 1921 leaves his native land forever. He leaves for Germany, from where, after a while, together with his wife, he fled to France from the Nazis, who closed the Bauhaus and recognized only their own, deeply formalized and static art. In the host country, he receives citizenship, becomes famous and lives for the rest of his life.

Over the years of his work, Kandinsky founded the Phalanx association, a school, participated in the Jack of Diamonds, then founded the New Munich Art Association, and later the famous Blue Rider.

At the beginning of his artistic career, the master worked in a realistic and partly abstract manner, experimented with shapes and colors, and painted on glass.

Starting teaching, Kandinsky soon became a prominent theorist of abstract art and the Bauhaus. His most famous canvases are "Moscow", "East", "Hesitation" and "Composition", but there are a lot of them and each of them has every right to be called a real masterpiece. His paintings are extremely interesting to look at, there is a feeling that from every point of view something new and unusual opens up in them.

Unfortunately, the fascists who came to power managed to destroy many works by Vasily Vasilyevich, as well as other talented artists classified as “degenerate art”. But the remaining canvases are enough for us to understand what a great talent Kandinsky was. The master died in 1944 in Neuilly, a suburb of Paris.

Wassily Kandinsky faced many trials. He was able to survive both wars and revolutions, a dictatorial regime. His art was not understood, which caused outrage from critics.

In 1911, Kandinsky became an abstract artist. He calls his works compositions, impressions, improvisations. A classic example is the painting "Improvisation 21A". This is an abstract composition, but if you look closely, you can see real objects. For example, a mountain with a tower is visible in the central part. Clear black lines surround areas of intense color. Such lines will become the main ones in the work of Kandinsky.

One of the rare oil paintings is "In Grey". It was conceived as a composition with mountains, boats and figures of people. But on the final canvas, these objects and figures are almost indistinguishable. Everything is reduced to abstract hieroglyphs. The painting reflects the artist's desire for a thoughtful composition of the picturesque space. The master's palette becomes softer. Muted gray, brown, blue tones are characteristic of the so-called Russian period of Kandinsky's work. After leaving for Germany, the colors become uniform and flat.

The painting “Vibration” was created in Weimar. There are many geometric shapes here. A notable element is the chessboard. The triangle interacts with the circle. The opposition of shapes and colors is transmitted. In general, the composition is sufficient, solid and well thought out, and the unity of color and form has created a complex structure. The palette, apart from the checkerboard, is muted.

In his abstract painting, Kandinsky uses real objects, but conveys them with the help of geometric shapes. For example, the picture "Cossacks". The plot was inspired by the revolution of 1905, when the Cossacks were galloping around Moscow. Two Cossacks are especially depicted on the canvas, under them is a rainbow that forms a road leading to a palace on a hill. Kandinsky does not strive for the objects to be well recognizable, he wants the viewer to be imbued with spirituality. At this time, he is searching for a new language with which to express a new worldview. Forms crumble before our eyes, leaving behind only traces.

The whole path of Kandinsky is, first of all, evolution. He started with general discussions about spirituality, then specifics came later. He develops a mathematical theory of plastic art, which is based on the interaction of geometric shapes on a person, and their relationship with color in painting.

Probably, there are no such people who, upon first acquaintance with the work of Kandinsky, would recognize his genius. The first look at his “compositions”, “improvisations” and “impressions” provokes different thoughts: from “a child could paint such things” and to “what did the artist want to depict in this picture?”. And with a deeper acquaintance, it turns out that the artist was not going to portray anything, he wanted to make you feel.

The great discoverer of abstraction Wassily Kandinsky had absolutely no intention of becoming an artist, much less a philosopher of the art world. On the contrary, his father, the well-known Moscow merchant of that time, Vasily Silvesterovich Kandinsky, saw him as a successful lawyer, which led the future abstract artist to the law faculty of Moscow University, where he studied political economy and statistics. Of course, Kandinsky grew up in an intelligent family that did not deny the importance of art in human life, therefore, as a young man, Vasily received basic knowledge in the world of music and painting. But he returned to them only after he was 30 years old, which once again confirmed the simple truth - it's never too late to start. Despite the love for his homeland, in particular for Moscow, which appears on his canvases more than once, Kandinsky moved to Munich in 1896 for the sake of his passion for painting, a city famous at that time for its openness to new genres of art and hospitality for emerging artists. . The impetus to abandon the habitual way of life and go into the unknown was an occasion completely unrelated to art - a very important event took place in the world of physics - the discovery of the decomposition of the atom. As Kandinsky himself wrote in his letters to his supervisor, this revolution in the world of physics aroused strange feelings in him: “Thick vaults collapsed. Everything became unfaithful, shaky and soft ... ".

The fact that the smallest particle is not integral, but consists of many still unexplored elements, led the future artist to a new worldview. Kandinsky realized that everything in this world can be decomposed into separate components, and he himself described this feeling as follows:

“It (the discovery) resonated in me like the sudden destruction of the whole world”.

Another reason for a complete revolution in Kandinsky's consciousness was the exhibition of French Impressionists, brought to Moscow. On it, he saw a painting by Claude Monet "Haystack". This work struck Vasily Vasilyevich with its non-objectivity, since before that he was only familiar with the realistic painting of Russian artists. Despite the fact that the plot is hardly guessed in the picture, it affects certain feelings, inspires and remains in memory. It was precisely such deep and exciting works that Kandinsky decided to create.

In Germany, Wassily Kandinsky quickly mastered classical drawing, the technique of the Impressionists, Post-Impressionists and Fauvists, and soon became a recognized avant-garde artist. In 1901, his first professional painting “Munich. Planegg 1", which combined the bright brushstrokes of Van Gogh and the gentle sunlight of the Impressionists. Subsequently, Kandinsky in his work began to move away from the detailing of his creations, moving from realism to experiments with color.

"Munich. Planegg 1" (1901) - Private Collection

The first step towards abstraction was the writing of the philosophical treatise "On the Spiritual in Art" in 1910. The book was far ahead of its time, so it was very difficult to find a publisher for it. An interesting fact is that the original was written by Kandinsky in German, and the book was published in Russian only in 1967 in New York thanks to the International Literary Commonwealth and the artist’s wife, Nina Kandinsky. In the original language in Munich, the book was published in 1911 and was an incredible success. During the year it was published 3 times, and in Scandinavia, Switzerland and Holland, where the German language is widespread, the book was read by everyone who had at least something to do with art. Russian avant-garde artists had the opportunity to get acquainted with the content of the treatise at the All-Russian Congress of Artists in December 1911 thanks to the report of N.I. Kulbin "On the Spiritual in Art". In it, he used some chapters of Kandinsky's book, including a chapter on the different possible geometric forms in abstract art, which strongly influenced the leading Russian artists of the time, including Kazimir Malevich. But Kandinsky's work is not a textbook. “On the Spiritual in Art” is a philosophical, very subtle and inspiring work, without which it is simply impossible to understand and feel the paintings of the great abstract artist. At the very beginning of the book, Kandinsky divides all artists into 2 types, based on the definitions of Robert Schumann and Leo Tolstoy. The composer believed that "the vocation of the artist is to send light into the depths of the human heart", and the writer called the artist the person "who can draw and write everything." Kandinsky is alien to the second definition, he himself calls such people "artisans", whose work is not filled with meaning and has no value.

“There is a crack in our soul, and the soul, if it can be touched, sounds like a cracked precious vase found in the depths of the earth.”

Music has always had a great influence on the artist, since it is the only absolutely abstract art that makes our imagination work, avoiding objectivity. As notes form into a beautiful melody, so Kandinsky's colors in their combination give rise to amazing paintings. The overture of Richard Wagner's opera inspired the young artist the most. After meeting her, Kandinsky wondered if he could create a picture of the same strong emotional content as the work of the great composer, “in which the colors would become notes, and the color scheme would become a tonality?”

In search of an answer to this question, Kandinsky was helped by his acquaintance with the Austrian composer Arnold Schoenberg. In January 1911, in Munich, the artist heard the atonal works of his future friend and ally and was shocked. Thanks to Schoenberg's concerto, the still not completely abstract, but already almost non-objective picture of the master “Impression III. Concert". The dark triangle in the picture symbolizes the piano, below you can see the crowd attracted by the music, and the color scheme perfectly reflects the vivid impression that Kandinsky received at the Schoenberg concert.

Kandinsky was sure that it was Schoenberg who would correctly perceive his philosophy of abstract creativity, and he was not mistaken. The composer supported the artist in his endeavors with color experiments and the search for "antilogical" harmony, in which feelings would come first, and not the plot. But not all artists shared this point of view, which led to a split among artists and the creation of a community of like-minded abstract artists "The Blue Rider". Having teamed up with the artists August Macke, Franz Marc and Robert Delaney and, of course, the composer Arnold Schoenberg, Kandinsky finally finds himself in an environment conducive to the transition to complete abstraction in creativity, the search for new forms and color combinations.

“In general, color is a means by which one can directly influence the soul. Color is keys; eye - hammer; the soul is a multi-stringed piano. The artist is a hand which by means of this or that key expediently brings the human soul into vibration.

It is impossible to argue with Kandinsky in this statement, because a lot of modern research proves that color affects even our primitive desires and states: everyone knows that red causes appetite, green calms, and yellow adds vigor and energy to us. And by combining different colors and shapes in the picture, you can influence deeper feelings. This is what the great artist wanted to achieve. Kandinsky's experiments influenced many artists of the early 20th century, including Paul Klee, who, before meeting the founder of The Blue Rider, was a graphic artist who avoided colors in his paintings, and after that he was known for his gentle, in a sense naive watercolors. . The Swiss shared the abstractionist's love for music and his idea that art should evoke strong emotions, help a person listen to the inner self and gain an understanding of the processes taking place in the environment.

“Art does not reproduce what is visible, but makes visible what is not always so.” (c) Paul Klee

It is with this message that Kandinsky begins to write his paintings after 1911. For example, in our Tretyakov Gallery you can see one of the most significant and large-scale works of the artist, written in 1913, “Composition VII”. The artist does not give any clues to the plot: in the picture there is only color and form, distributed on a huge canvas (the work is considered the largest of all Kandinsky's works - 2x3m). The scale made it possible to place fragments of different intensity and color in the picture: acute-angled, thin, mostly dark elements in the center and smoother shapes and delicate colors around the perimeter allow us to experience different sensations looking at the same picture. The gloomy tones on the right contrast with the light on this canvas, circles with fuzzy edges are cut by hard straight lines. Kandinsky's compositions are a combination of the incongruous, the search for harmony in chaos, these are works that are more like music, since they are the most abstract. It is these works that are considered the main conductors of the artist's philosophy and the culmination of all his work.

Also realizing that most people need clues to understand his art, Kandinsky continues to write his "Improvisations", in which a thin (and in some works quite obvious) thread can be traced, connecting abstraction with reality, thanks to specific elements. For example, in several paintings we can see images of boats and ships: this motif appears when the artist wants to tell us about how a person fights with the outside world, as if sailing ships resist waves and elements.

In some paintings, we can hardly distinguish the masts, as, for example, in the painting "Improvisation 2 8 (Sea Battle)", created on the eve of the First World War, while on other canvases the image of the ship is visible at a glance, as in " Improvisation 209, written in 1917, when the spirit of the revolution was felt throughout Russia.

Another frequent element found in the "Improvisations" is horsemen, which characterize the aspirations of people. The image of warriors on horseback was of particular importance for Kandinsky as a person constantly fighting against established norms and canons for the sake of his convictions. It is no coincidence that this allegory is present in the name of the club of creative like-minded abstract artists.

While Kandinsky's "Compositions" are thought out to the smallest detail, and the arrangement of figures and the use of certain colors are absolutely conscious, when writing "Improvisations" the artist was guided by internal processes, showing his sudden unconscious emotions.

Noticeable changes in the creative path of Wassily Kandinsky occur during his return to Moscow in 1914. As a citizen of Russia, the artist was forced to leave Germany during the war and continue to make art in his homeland. From 1914 to 1921 he lived in Moscow and promoted his ideas to the masses, collaborated with the government in preparing the museum reform, developed art pedagogy and was inspired by his native city.

“Moscow: duality, complexity, the highest degree of mobility, clash and confusion of individual elements of appearance ... I consider this external and internal Moscow to be the starting point of my searches. Moscow is my picturesque tuning fork"

During his stay in Russia, the artist tossed between different genres and even depicted Moscow in sufficient detail (relative to all his work), and at some point returned to impressionistic sketches.

Throughout the creative path of Wassily Kandinsky, we see many different genres, techniques and plots. In one and the same year, an artist could create both a fairly concrete work with a meaning understandable to the masses, and a complete abstraction. This fact emphasizes the versatility of his personality, the desire for new knowledge and techniques and, of course, the constant development of creative genius within himself. The artist, teacher, music connoisseur, writer and, of course, the philosopher of the art world, Wassily Kandinsky does not leave anyone indifferent, because his main task was to make people feel, feel, experience emotions. And he achieved this goal thanks to the cultural heritage that he left to future generations.

Where to see paintings by Kandinsky in Russia?

• Astrakhan Art Gallery. B. M. Kustodieva
• Yekaterinburg Museum of Fine Arts
• Krasnodar Regional Art Museum. F. Kovalenko
• Krasnoyarsk Museum of Fine Arts
• State Tretyakov Gallery on Krymsky Val, Moscow
• State Museum of Fine Arts. A.S. Pushkin, Moscow
• Nizhny Novgorod State Art Museum
• Ryazan State Regional Art Museum. I.P. pity
• State Hermitage Museum, General Staff Building, St. Petersburg
• Russian Museum, St. Petersburg
• Museum complex of the Tyumen region

In 2016, the whole world celebrates the anniversary of Wassily Vasilyevich Kandinsky, the founder and theorist of abstract art, one of the most influential artists of the 20th century. For the 150th anniversary of the abstract artist, the Tretyakov Gallery on Krymsky Val and the State Hermitage Museum have prepared a project that includes an exhibition of the artist’s two main masterpieces “Counterpoint: Composition VI – Composition VII”, which can be visited from 13 April to 13 June.

Kandinsky's system of non-objective painting includes three types of paintings, embodying three stages of removal from the initial impulse that gave impetus to their writing: impression, improvisation and composition. Composition VI and Composition VII were recognized as the best works of the painter. In Russia, these works were last shown together 27 years ago.

"Untitled (First abstract watercolor)", 1910

"Composition X", 1939

What is painted in the paintings of Kandinsky?

When it comes to abstractionism, many people who are far from art immediately issue their categorical verdict: daub. This is followed by the phrase that any toddler will surely draw better than these artists. At the same time, the very word "artists" will certainly be uttered with demonstrative contempt, which in some cases will even border on disgust.

As part of a cultural educational program, this article describes what one of the most famous abstractionists Wassily Kandinsky sought to display on his canvases.

Painting "Composition VI"
Year: 1913
Exhibited in the museum: Hermitage, St. Petersburg

Initially, Kandinsky wanted to call the painting "Composition VI" "The Flood", since in this work the painter intended to depict a catastrophe of a universal scale. Indeed, looking closely, we can see the outlines of the ship, animals and objects, as if sinking in swirling masses of matter, as if in the waves of a stormy sea.

Kandinsky himself later, speaking about this canvas, noted that "there would be nothing more wrong than sticking the label of the original plot on this picture." The master specifically pointed out that in this case the original motif of the picture (the Flood) was dissolved and moved to an internal, purely pictorial, independent and objective existence. “A grandiose, objectively occurring catastrophe is at the same time an absolute and self-sustaining hot song of praise, like the anthem of a new creation that follows the catastrophe,” Kandinsky explained. As a result, the painter decided to assign a numbered name to the canvas, since any other could cause unnecessary associations among art connoisseurs that would spoil the emotions that the picture should evoke.

Painting "Composition VII"
Year: 1913

"Composition VII" is called the pinnacle of Kandinsky's artistic work in the period before the First World War. Since the painting was created very painstakingly (it was preceded by more than thirty sketches, watercolors and oil paintings), the final composition is a combination of several biblical themes: the resurrection from the dead, Judgment Day, the Flood and the Garden of Eden.

The idea of ​​the human soul is displayed in the semantic center of the canvas, the cycle marked with a purple spot and black lines and strokes next to it. He inevitably draws in himself, like a funnel, spewing out some rudiments of forms, spreading in countless metamorphoses throughout the canvas. Colliding, they merge or, on the contrary, break against each other, setting the neighboring ones in motion... It is like the very element of Life arising from Chaos.

Painting "Composition VIII"
Year: 1923
Museum exhibited: Solomon R. Guggenheim Museum, New York

"Composition VIII" is fundamentally different from the previous work in this series, because instead of blurry outlines, for the first time there are clear geometric shapes. The main idea as such is absent in this work; instead, the artist himself gives a specific description of the figures and colors of the picture. So, according to Kandinsky, the horizontals sound “cold and minor”, ​​and the verticals sound “warm and high”. Sharp angles are "warm, sharp, active and yellow", while straight ones are "cold, restrained and red". The green is "balanced and matches the subtle sounds of the violin", the red "may give the impression of a strong drumming", and the blue is present "deep in the organ". Yellow "has the ability to rise higher and higher, reaching heights unbearable to the eye and spirit." Blue "descends into the bottomless depths." Blue "develops the sound of the flute."

Painting "Troubled"
Year: 1917
Exhibited in the museum: State Tretyakov Gallery, Moscow

The name "Troubled" was chosen for the picture not by chance. Obscurity and "disturbance" are displayed in the work of Kandinsky by a dramatic clash of centripetal and centrifugal forces, as if breaking against each other in the center of the canvas. This causes a feeling of anxiety, which grows as you “get used to” the work. The mass of additional colors provides a kind of orchestration of the main struggle, now pacifying, now exacerbating the turmoil.

Painting "Improvisation 20"
Year: 1911
Exhibited in the museum: State Museum of Fine Arts. A. S. Pushkin, Moscow

In his works of the "Improvisation" series, Kandinsky sought to show the unconscious processes of an internal nature that arise suddenly. And the twentieth work of this category, the artist depicted the impression of his "inner nature" from the running of two horses under the midday sun.

Collection. Wassily Kandinsky

An artist of new art, an abstract artist who survived wars and revolutions. The Bolsheviks called his painting "degenerate". In the work - "On the Spiritual in Art" - Kandinsky reveals the psychological impact of pure color on a person, finds a connection between painting and music. Kandinsky is a master of "compositions", "improvisations" and "impressions".

A wealthy, prosperous family supported Wassily Kandinsky's aspirations for art from an early age. However, in the future he was to become a lawyer. The young man brilliantly graduated from Moscow University, after which he taught.

The fate of Wassily Kandinsky again returned him to art, when in 1895 an exhibition of French impressionists was held. Wassily Kandinsky was amazed by the work of Monet - "Hacks". Leaving the University, he went to Munich to study painting. In those days, Munich was considered the center of European art, in 1892 a modernist association of artists, the Secession, was organized.

For two years the Russian artist studied with the Yugoslav painter Anton Ashbe, becoming more and more interested in creativity, and not in technique. The first impressionist works were distinguished by a special color scheme, Kandinsky attached great importance not to the form, but to the color of the picture. So later, when Kandinsky took lessons from the famous Franz von Stuck (artist of the Secession), he had to leave his bright palette and paint in black and white, studying the form. These requirements were set by the teacher, who considered Kandinsky a good student, but who had the unfortunate ability of bright colors.

Kandinsky spent four years in Munich, but no works from that time remain. It remains a mystery what their fate is, whether they were destroyed by the artist or lost.

After graduating at the age of 35, Wassily Kandinsky created his own movement of abstract artists called the Phalanx, which made him the leader of the Munich fraternity of artists. In 1901, the first exhibition of the association took place in Berlin, which presented the works of the Impressionists and the revelations of the German Art Nouveau. At this time, the artist met the young artist Gabriela Münter, and divorced his wife. For 5 years he traveled with Gabriela throughout Europe, painting and participating in exhibitions.

In 1908, Kandinsky and Gabriela returned to Munich, it so happened that they settled near the studio of the artist Paul Klee. Ten years later, they worked together at the Bauhaus, becoming like-minded people. Gabriela bought a house, they lived in it for 6 years. The house was located in Marnau, not far from the foothills of the Bavarian Alps. This period was the most productive in the life of the artist. The artist moved more and more from a concrete image to abstraction.

In 1911, together with his friend, the artist Franz Marc, Kandinsky organized the Blue Rider group. The artists were able to organize only two exhibitions.

In 1912, the first solo exhibition took place. The viewer did not accept the paintings of Kandinsky, which plunged him into deep despondency.

The World War began and Kandinsky moved from Germany to Switzerland. Here he began work on the book "Point and Line". By November 1914, he parted ways with Gabriela and went to Moscow, for almost two years the artist did not paint.

In 1916, Kandinsky met Nina Andreevskaya, the daughter of a Russian general, and a year later he married her. Having received an inheritance after the death of his father, the artist immediately lost his livelihood, the Bolsheviks confiscated all his property. Caught below the poverty line, Kandinsky fell into despair. The enthusiasm of his wife saved Kandinsky. He begins to work in the People's Commissariat of Education, becoming the head of the cinema and theater section. Then he was invited to Moscow University for the post of professor, organizing at the same time the Institute of Artistic Culture. Thanks to Kandinsky, about 22 art galleries were opened in Russia. But, unfortunately, all the efforts of Kandinsky to find himself in his country were unsuccessful, abstractionism was declared "decadent", and Kandinsky was called "a henchman of the bourgeoisie." And in 1921, having received an offer to teach at the Bauhaus in Weimar, Kandinsky left the country.

The fate of the Bauhaus was difficult. In 1924, for political reasons, the school was attacked and had to be transferred to Dessau, where it existed until 1932. Under pressure from local Nazis, the school was transferred to Berlin. In April 1833, it was finally closed. Kandinsky and his wife leave Germany for security reasons, they settle in the suburbs of Paris.

Wassily Kandinsky heard a lot of criticism in his address, the galleries did not take the artist's works. But, despite everything, the artist worked until the end of his life, remaining devoted to creativity.

Famous works of Wassily Vasilyevich Kandinsky

The painting "Improvisation 21A" was painted by a Russian artist in 1911, is in the State Gallery Lenbachhaus, in Munich. The picture was painted during the period of approval of Kandinsky - an abstractionist. In essence, this is the reaction of the artist to the world around him, based on impressions and intuition.

At first glance, it seems that the picture is completely abstracted from real objects, but if you look closely, images begin to emerge. For example, a mountain is visible in the center. Bright color spots are outlined by a black outline - a characteristic feature of Kandinsky's painting in all subsequent work. Another particular image is a stylized human figure in an unnatural position.

The painting "In Gray" was made in 1919, is in the National Museum of Modern Art, in the Center. J. Pompidou, in Paris. It can be ranked among the paintings of the "Russian period" (1915-21). This picture marked the end of the period of study of the interaction of forms by Kandinsky. The artist conceived a "composition" consisting of images - mountains, figures of people, boats. Upon completion of the work, the picture turned into an abstraction with a softer color compared to previous works.

In the picture, strict geometric figures are replaced by biomorphic forms, which is typical for the artist's painting in the Parisian years. Color sounds in muted grays, browns and blues. The composition is replaced by chaos.

The painting "Vibration" was made in 1925, is in the Tate Gallery, London. The painting depicts geometric figures, which the artist writes about in Point and Line.

The contact between the sharp triangle and the circle produces no less effect than the finger of God extended to Adam in Michelangelo's painting.

V. Kandinsky

The brightest object is a chessboard. The complex structure is achieved by the unity of form and color. The painting itself is done in muted colors. Tension is conveyed by juxtaposing shapes and colors. Circles dominate like inexhaustible hidden possibilities (Kandinsky).

The painting "Up" was written in 1929, from the collection of Peggy Guggenheim, in Venice. In the "Bauhaus" period, the artist mainly painted paintings consisting of geometric shapes. “Up” is an image of a person, formed from geometric shapes. Here you can see the influence of the painting of Paul Klee. The theory "Points and lines on a plane" is traced. When Kandinsky portrayed the background, he sought to break out of the tight framework into which he had driven himself into the Bauhaus. What he succeeded later in Paris.

Masterpiece of Kandinsky V.V. – painting “Detail for Composition IV”

The painting was executed in 1910 and is in the Tate Gallery, London. The second name is "Cossacks". The artist himself said that the plot of this painting was taken from the events of the 1905 revolution, when the Cossacks galloped through the streets of Moscow. In front of the viewer are two fighting Cossacks, below them is a rainbow that forms a road leading to a palace on a blue hill. To the right are three more Cossacks. Two of them have spades. The elements of the picture are difficult to recognize, which makes the viewer stare at the images for a long time, gradually plunging into the plot. Abstraction involves abstraction from real forms and creative expression in geometric elements.