This is a complimentary copy of an article from the May issue.
From the nature of modern harmony, it results that never has there been a time when it was more difficult than it is today to formulate a complete theory, [Footnote: Attempts have been made. Once more emphasis must be laid on the parallel with music. All attempts to do so would have one result, namely, that already cited in the case of Leonardo and his system of little spoons.
It would, however, be precipitate to say that there are no basic principles nor firm rules in painting, or that a search for them leads inevitably to academism.
Even music has a grammar, which, although modified from time to time, is of continual help and value as a kind of dictionary. Painting is, however, in a different position. The revolt from dependence on nature is only just beginning. Any realization of the inner working of colour and form is so far unconscious.
The subjection of composition to some geometrical form is no new idea cf. Construction on a purely abstract basis is a slow business, and at first seemingly blind and aimless. The artist must train not only his eye but also his soul, so that he can test colours for themselves and not only by external impressions.
If we begin at once to break the bonds which bind us to nature, and devote ourselves purely to combination of pure colour and abstract form, we shall produce works which are mere decoration, which are suited to neckties or carpets.
Beauty of Form and Colour is no sufficient aim by itself, despite the assertions of pure aesthetes or even of naturalists, who are obsessed with the idea of "beauty.
The nerve vibrations are there, certainly, but they get no further than the nerves, because the corresponding vibrations of the spirit which they call forth are too weak.
When we remember, however, that spiritual experience is quickening, that positive science, the firmest basis of human thought, is tottering, that dissolution of matter is imminent, we have reason to hope that the hour of pure composition is not far away.
It must not be thought that pure decoration is lifeless. It has its inner being, but one which is either incomprehensible to us, as in the case of old decorative art, or which seems mere illogical confusion, as a world in which full-grown men and embryos play equal roles, in which beings deprived of limbs are on a level with noses and toes which live isolated and of their own vitality.
The confusion is like that of a kaleidoscope, which though possessing a life of its own, belongs to another sphere.
Nevertheless, decoration has its effect on us; oriental decoration quite differently to Swedish, savage, or ancient Greek. It is not for nothing that there is a general custom of describing samples of decoration as gay, serious, sad, etc.
Probably conventional decoration had its beginnings in nature. But when we would assert that external nature is the sole source of all art, we must remember that, in patterning, natural objects are used as symbols, almost as though they were mere hieroglyphics.
For this reason we cannot gauge their inner harmony. For instance, we can bear a design of Chinese dragons in our dining or bed rooms, and are no more disturbed by it than by a design of daisies.
It is possible that towards the close of our already dying epoch a new decorative art will develop, but it is not likely to be founded on geometrical form.
At the present time any attempt to define this new art would be as useless as pulling a small bud open so as to make a fully blown flower. Nowadays we are still bound to external nature and must find our means of expression in her.
But how are we to do it? In other words, how far may we go in altering the forms and colours of this nature? We may go as far as the artist is able to carry his emotion, and once more we see how immense is the need for true emotion.
A few examples will make the meaning of this clearer. A warm red tone will materially alter in inner value when it is no longer considered as an isolated colour, as something abstract, but is applied as an element of some other object, and combined with natural form. The variety of natural forms will create a variety of spiritual values, all of which will harmonize with that of the original isolated red.
Suppose we combine red with sky, flowers, a garment, a face, a horse, a tree. A red sky suggests to us sunset, or fire, and has a consequent effect upon us--either of splendour or menace. Much depends now on the way in which other objects are treated in connection with this red sky.
If the treatment is faithful to nature, but all the same harmonious, the "naturalistic" appeal of the sky is strengthened.
If, however, the other objects are treated in a way which is more abstract, they tend to lessen, if not to destroy, the naturalistic appeal of the sky.In , when he was thirty years old, Wassily Kandinsky gave up a promising career as a law professor to begin painting.
A native of Moscow, he moved to Munich and immersed himself in the city’s avant garde art iridis-photo-restoration.com /culture/art/forerunners-wassily-kandinsky. Kandinsky in Govan: Art, Spirituality, and the Future.
Kandinsky and the Spiritual Task of the Artist Today Rick Visser‘s Keynote Conference Addressiridis-photo-restoration.com /Rick-Visser-Kandinsky-in-Govan-Keynote.
Concerning the Spiritual in Art by Wassily Kandinsky Report this Page A pioneering work in the movement to free art from its traditional bonds to material reality, this book is one of the most important documents in the history of modern iridis-photo-restoration.come/book/iridis-photo-restoration.com · Kandinsky painted this work in his sixtieth year and it demonstrates his lifelong search for the ideal form of spiritual expression in art.
Created as part of his experimentation with a linear style of painting, this work shows his interest in the form of the iridis-photo-restoration.com://iridis-photo-restoration.com the way Kandinsky understood art.
What he was after was something that operates at a deeper more direct level. ―Any theoretical scheme, says Kandinsky, will be lacking in The spiritual process is (1) the moving through ego contrivances of all sorts, (2) trusting in creative mind, and (3) offering this to the world And offering.
1 This is the baseline for my discursive analysis of imagination and beauty in art as it relates to the work of Kant and Kandinsky. While both accepted the forward movement of cognition in art and aesthetics, my concern is that some cognitively minded individuals neglect the part played by imaginative intuition in the creative process iridis-photo-restoration.com