No. No. 28. ART CREAM-Vasily Kandinsky the MISTAKE KAVALIER (Part 28.).
The colors of master Kandinsky's expressive lyric that represent a journey of the soul in the abstraction of his extraordinary artistic models. I would like to tell you why the great Russian artist is to be considered the creator of lyric abstractism. Vasily Kandinsky has often been dubbed ′′ the wandering knight ′′ to underline his metaphorical journey through a long pictorial quest that will result in a unique expressive power of the colors associated with abstract forms, and thus rediscovering, in an era dominated by materialism, a forgotten spiritual dimension.
His painting is therefore arose from an expressive need for a purely spiritualistic footprint that induces him to an incessant quest for scheme of colors, lines and forms as an external manifestation of internal content.
Fascinating and complex painter, Vasily Kandinsky believes that only when a work ′′ comes from an inner psychic necessity ", thus expressing the individuality of the person who creates it, can it really be considered ′′ beautiful ". But a work of art is not one He just needs to limit himself to this. ′′ Daughter of her time ", introduces herself into the unstoppable flow of history and must also manifest those universal values that evade the fugacity of time. Every work, in addition to keeping those elements of individuality, historical and universality, must stand out for the deep harmony of shapes and colors. A wonderful fusion that Kandinsky realizes through a seemingly messy new artistic language in which instead expertly combines shapes and colors following a musical rhythm. Many will be his works whose title refers to musical songs; the artist believes that the harmonization of shapes and colors arouse in our soul the same emotion perceived while listening to a musical song. Kandinsky claims that painting has a close relationship with other arts, and not just music. Poetry, dance, theatre and other arts are also extremely related to painting. One of Kandinsky's dreams was to get the observer to move inside his paintings, as if he lived inside it. Desire expressed in the following words: ′′ For years I tried to get viewers to stroll in my paintings: I wanted to force them to forget, to even disappear in there ".The painter expresses his emotions, not telling what he saw but what he felt, releasing himself from the need to reproduce objective reality, looking at the world with different eyes. The same palette is seen by Kandinsky as a work of art, a suggestion that takes shape on the canvas and gives life to an alchemy between colors that the painter compares to a high-sounding encounter between different universes. Color becomes a real living creature, resulting in a spiritual experience that addresses the emotion of each of us.
Knowing the meaning of his paintings is not easy, Kandinsky is unfathomable, mysterious.
Formal and chromatic relationships, so free to the point that they appear random, make it difficult to read a picture of them and, although there is a ′′ grammar ′′ of the lines and colors and detailed laws on their perception, when we are faced with one of them picture formal knowledge volatilizes and we get overwhelmed by rain of colors that remember music songs and seem to dance in unison with our emotions.
We can say with certainty that in those compositions of clouds, circles, squares, castles, small animals and knights the dream of a painter who managed to create true works of art capable of communicating with the secret world of each of us .... A dream born while staying in Vologda, northeast of Moscow, in which Kandinsky is lost in the enchanted world of Russian folk art and the vision of ′′ big wooden houses covered in engraving ′′ is shared thanks to his passion for art , which even induces him to abandon his career as a college professor.
Club President for UNESCO in Genoa
President International Action Art ITALY
“Improvvisazione 33” (Oriente), 1913. Stedelijk Museum, Amsterdam.
“Giallo, rosso, blu”, 1925. Centre Pompidou, Parigi.
“Il cavaliere azzurro” (1903). Collezione privata.
“La montagna blu” (1908-1909), Solomon Guggenheim Museum, New York.
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