De fato agora é a penúltima obra a ser composta, penúltima tanto do ciclo de Kandinksy, quanto meu.
Temos as famosas 4 listas diagonais e no centro algo que se assemelha a um feto e um coração. Mas há vida marinha e microscópica orando em volta. É de fato um quadro mais aquático, esse mundo interno ao mundo.
"As formas, semelhantes a decalques flutuando na superfície, contrastam com essa afirmação ousada de diagonais coloridas. Estes são cartuchos sobrecarregados, detalhes refinados."Christian Derouet
Temos as famosas 4 listas diagonais e no centro algo que se assemelha a um feto e um coração. Mas há vida marinha e microscópica orando em volta. É de fato um quadro mais aquático, esse mundo interno ao mundo.
"As formas, semelhantes a decalques flutuando na superfície, contrastam com essa afirmação ousada de diagonais coloridas. Estes são cartuchos sobrecarregados, detalhes refinados."Christian Derouet
"
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 Composition 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 overlapping 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 tension 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 something 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 Cahiersd'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 an unlimited quantity of inexhaustible tonalities —each time in harmony with the aim of the given image." Dabrowski, 50-51.
As faixas diagonais são acordes sucessivos. 4. Uma progressão.
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 Composition 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 overlapping 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 tension 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 something 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 Cahiersd'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 an unlimited quantity of inexhaustible tonalities —each time in harmony with the aim of the given image." Dabrowski, 50-51.
As faixas diagonais são acordes sucessivos. 4. Uma progressão.
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