Período em paris. Chega em fins de 1933.
COmposição IX é de 1936.
Composição X, é de 1939.
aproximação com o surrealismo, Miró
V. livro Kandinsky in Paris, 1934-1944. que é fruto de uma exposição no Guggenheim Museum, em 1985.
Artigo
Vivian Endicott Barnett
"Moreover, it is generally agreed that during the Paris period Kandinsky's colors changed: he selected new hues, favored pastels rather than primaries and achieved original and intricate color harmonies. In the summer of 1934, at the time of Kandinsky's first exhibition at the Galerie des "Cahiers d'Art" in Paris, Christian Zervos wrote: "The influence of nature on his work has never been so perceptible as in the canvases painted in Paris. The atmosphere, light, airiness and sky of the Ile-de-France completely transforms the expressiveness of his work."p. 61.
"In 1934 there is a remarkable incidence in his painting of images of amoebas, embryos, larvae and marine invertebrates, as well as leaf forms and punctuation marks. By focusing on the period from 1934 through 1937" p.63.
"In Kandinsky's major canvas Composition IX (cat. no. 7), which was com-
pleted by February 1936, an obviously embryonic shape at the upper left is
represented together with a yolk sac. Even the pink and white vertical zones
can be read as the placental barrier that separates the fetal side from the
maternal side. In the central portion of Composition IX there is ambiguity in
the form that resembles both an embryo and a brine shrimp or crayfish (fig.
34
Elsewhere in the painting embryonic images also merge with allusions to brine shrimp and plankton (see fig. 2.x). An exactly coeval picture. Multiple Forms (cat. no. 60), manifests similar embryonic and crustacean images." P. 74.
Kandinsky's images of amoebas, embryos and marine invertebrates convey a spiritual meaning of beginning, regeneration and a common origin of all life. Because of his spiritual beliefs and his ideas on abstract art, Kandinsky would have responded to the meanings of rebirth and renewal inherent in the new imagery of his Paris pictures.p.87.
COmpositions
Dabrovski
"Unquestionably, the picture shows a complex organization, and certainly it is unique in its use of the wide diagonal stripes as a background against which are superimposed shapes that are both geometric and amorphous, biological and abstract. The diagonal stripes bring to mind symbols of the successive chords in a musical piece. Some of the floating geometric forms — the squares, rectangles, and narrow parallel planes — recall the configurations of Suprematism, but the rigid geometric structure is counteracted by the floating amorphous elements that create a compositional tension. An almost pastel color scheme adds to the work a sense of playfulness, making a special universe of forms in flux.
For Kandinsky, the ultimate goal of the artist is, through this harmonious arrangement of colors and
forms, to arouse emotions and to bring out the inner sound and the long-developing feeling. These are the indispensable elements of the works that he called "Compositions." p. 50- 51.
Carnaval do Arlequim (1922-1924), Miró.
COmposição IX é de 1936.
Composição X, é de 1939.
aproximação com o surrealismo, Miró
V. livro Kandinsky in Paris, 1934-1944. que é fruto de uma exposição no Guggenheim Museum, em 1985.
Artigo
KANDINSKYAND SCIENCE:
THE INTRODUCTION OF BIOLOGICAL IMAGES IN THE PARIS PERIOD
THE INTRODUCTION OF BIOLOGICAL IMAGES IN THE PARIS PERIOD
"In 1934 there is a remarkable incidence in his painting of images of amoebas, embryos, larvae and marine invertebrates, as well as leaf forms and punctuation marks. By focusing on the period from 1934 through 1937" p.63.
"In Kandinsky's major canvas Composition IX (cat. no. 7), which was com-
pleted by February 1936, an obviously embryonic shape at the upper left is
represented together with a yolk sac. Even the pink and white vertical zones
can be read as the placental barrier that separates the fetal side from the
maternal side. In the central portion of Composition IX there is ambiguity in
the form that resembles both an embryo and a brine shrimp or crayfish (fig.
34
Elsewhere in the painting embryonic images also merge with allusions to brine shrimp and plankton (see fig. 2.x). An exactly coeval picture. Multiple Forms (cat. no. 60), manifests similar embryonic and crustacean images." P. 74.
Kandinsky's images of amoebas, embryos and marine invertebrates convey a spiritual meaning of beginning, regeneration and a common origin of all life. Because of his spiritual beliefs and his ideas on abstract art, Kandinsky would have responded to the meanings of rebirth and renewal inherent in the new imagery of his Paris pictures.p.87.
COmpositions
Dabrovski
"Unquestionably, the picture shows a complex organization, and certainly it is unique in its use of the wide diagonal stripes as a background against which are superimposed shapes that are both geometric and amorphous, biological and abstract. The diagonal stripes bring to mind symbols of the successive chords in a musical piece. Some of the floating geometric forms — the squares, rectangles, and narrow parallel planes — recall the configurations of Suprematism, but the rigid geometric structure is counteracted by the floating amorphous elements that create a compositional tension. An almost pastel color scheme adds to the work a sense of playfulness, making a special universe of forms in flux.
The complexity of spatial organization in Com position IX is quite different than that of Composition
VIII, where the pale, almost white background creates a sense of infinite space. Here the space is blocked off by the solid diagonal stripes of color and diverse overlap ping shapes that float in front of the pictorial plane, creating a horizontally layered and ambiguous space. Forms and colors play equal roles in ambiguities of ten sion and space. The precision, clear graphic form, and the light hues of color contribute to the controlled expressive energy of Composition IX. But there is some thing soft and ornamental about this canvas, which, no matter how attractive its formal arrangement and stylistic change, does not equal the explosive strength of the early pre-war Compositions.
The picture seems to respond to Kandinsky's ideas about the merits of abstract painting, expressed in his "Reflections on Abstract Art," published in Cahiers d'Art in Paris in 193 1 and written while he was at the Bauhaus in Dessau (1925-33): "Abstract painting can, of course, in addition to the so-called strict geometrical forms, make use of an unlimited number of so-called free forms, and besides primary colors can make use of unlimited quantity of inexhaustible tonalities —each part,time in harmony with the aim of the given image."
VIII, where the pale, almost white background creates a sense of infinite space. Here the space is blocked off by the solid diagonal stripes of color and diverse overlap ping shapes that float in front of the pictorial plane, creating a horizontally layered and ambiguous space. Forms and colors play equal roles in ambiguities of ten sion and space. The precision, clear graphic form, and the light hues of color contribute to the controlled expressive energy of Composition IX. But there is some thing soft and ornamental about this canvas, which, no matter how attractive its formal arrangement and stylistic change, does not equal the explosive strength of the early pre-war Compositions.
The picture seems to respond to Kandinsky's ideas about the merits of abstract painting, expressed in his "Reflections on Abstract Art," published in Cahiers d'Art in Paris in 193 1 and written while he was at the Bauhaus in Dessau (1925-33): "Abstract painting can, of course, in addition to the so-called strict geometrical forms, make use of an unlimited number of so-called free forms, and besides primary colors can make use of unlimited quantity of inexhaustible tonalities —each part,time in harmony with the aim of the given image."
For Kandinsky, the ultimate goal of the artist is, through this harmonious arrangement of colors and
forms, to arouse emotions and to bring out the inner sound and the long-developing feeling. These are the indispensable elements of the works that he called "Compositions." p. 50- 51.
Carnaval do Arlequim (1922-1924), Miró.
