Relevant bibliographies by topics / Kandinsky

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Academic literature on the topic 'Kandinsky'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Kandinsky"

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Ni, Nan. "The Dynamics and Dialectics in Kandinskys Non-representational Art." Communications in Humanities Research 3, no. 1 (May 17, 2023): 1075–86. http://dx.doi.org/10.54254/2753-7064/3/2022851.

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Wassily Kandinsky (1866-1944) has been regarded as one of the pioneers and founders of abstract art. Kandinsky held inspiring and progressive thoughts and largely influenced the artistic movements over the 20th Century. Still, his aesthetics were not delivered clearly, such that it caused criticisms of his intentions and debates over different interpretations. While Kandinsky seems to present a series of dualistic distinctions of concepts, this paper argues that he is ultimately pursuing a dialectical unity and artistic creation of another world through a dynamic relationship and movement between the artist, the artwork, and the spectator. The paper analyzes primarily Kandinsky's published collected writings and letters and relates them to theories of German Idealism to demonstrate how the dilemma of dichotomies could be solved from Kandinskys standpoint.
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Romo, Juan Carlos. "Estética de la resonancia. (una mirada a la obra de vassily kandinski desde una óptica deleuzeana)." CALLE14: revista de investigación en el campo del arte 11, no. 18 (October 4, 2016): 148. http://dx.doi.org/10.14483/udistrital.jour.c14.2016.1.a11.

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ESTÉTICA DE LA RESONANCIA (UNA MIRADA A LA OBRA DE VASILY KANDINSKI DESDE UNA ÓPTICA DELEUZEANA)RESUMEN El presente texto aborda la obra pictórica de Vasily Kandinski y la estrecha relación que esta tiene con la música. El análisis que se hace de la obra de Kandinski tiene como punto de referencia la reflexión estética de la filosofía de Gilles Deleuze. Figuras conceptuales como devenir, inmanencia y acontecimiento son la base de este estudio; con ellas se pretende un acercamiento crítico a la obra del pintor ruso con miras a su interpretación.PALABRAS CLAVES Pintura, música, color, sonido, sensación, percepto, afecto, bloque de sensaciones, vacío, devenir, acontecimiento.KAWAI SUG RURAITA VASILI KANDISKI DELEUZEANASUGLLAPIKai kilkapi munanakume parlangapa sug runa suti Vasily Kandisky ruraskata kawachingapa manema allila wawankuna tunaita chasallata munakume llullachingapa chasata kawachinpaga sug rurai Gilles Deleuze. Paikuna munanakume kai mailla parlukunawa sug rurai sug runa, ruso ruraskata kawaspa llachachispaIMA SUTI RIMAI SIMI:Kakui, tunai, ullaii, chasa rurai, rurangapa achka llullakuna.AESTHETICS OF RESONANCE (A LOOK AT THE WORK OF VASSILY KANDINSKY FROM A DELEUZIAN PERSPECTIVE)ABSTRACT This paper attempts an approach to the paintings of Vassily Kandinsky and their close relationship with music. The analysis of Kandinsky’s work has as a point of origin the aesthetic reflections found in Gilles Deleuze’s philosophy. Conceptual figures such as becoming, immanence and event, are the basis of this study, which seeks an approach to a critical interpretation of the Russian painter’s work.KEYWORDS Painting, music, color, sound, sensation, percept,ESTHÉTIQUE DE LA RÉSONANCE (UN REGARD SUR LE TRAVAIL DE VASSILY KANDINSKY À PARTIR D’UNE PERSPECTIVE DELEUZIENNE)RÉSUMÉ Cet article tente une approche des peintures de Vassily Kandinsky et de la relation étroite de son travail avec la musique. L’analyse de l’œuvre de Kandinsky a comme point d’origine la réflexion esthétique de la philosophie de Gilles Deleuze. Des figures conceptuelles telles que le devenir, l’immanence et l’événement sont à la base de cette étude, qui vise une approche à une interprétation critique du travail du peintre russe.MOTS-CLEFS Peinture, musique, couleur, son, sensation, percept, affection, bloc de sensations, vide, devenir, événementESTÉTICA DA RESSONÂNCIA UM OLHAR À OBRA DE VASILY KANDINSKI DESDE UMA ÓTICA “DELEUZEANA” RESUMOO presente texto aborda a obra pictórica de Vasily Kandinski e a estreita relação que esta tem com a música. A análise que se faz da obra de Kandinski tem como ponto de referência a reflexão estética da filosofia de Gilles Deleuze. Figuras conceituais como devir, imanência e acontecimento são à base deste estudo; com elas se pretende uma aproximação crítica à obra do pintor russo com miras a sua interpretaçãoPALAVRAS CHAVES Pintura, música, cor, som, sensação, preceito, afeto, bloco de sensações, vazio, devir, acontecimento
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Monteira, David, and Mariana Past. "Kandinsky / Kandinsky." Sirena: poesia, arte y critica 2008, no. 1 (2008): 48–49. http://dx.doi.org/10.1353/sir.2008.0025.

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White, Richard J. "Kandinsky." Religion and the Arts 23, no. 1-2 (March 25, 2019): 26–49. http://dx.doi.org/10.1163/15685292-02301002.

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Abstract In Concerning the Spiritual in Art (1911) and other writings, the artist Wassily Kandinsky (1866–1944) pursues several guiding questions concerning the spiritual aspects of art. For example: What is the relationship between art and spirituality? How does a work of art express spiritual ideas and themes? And would it be helpful to think of the artist as a kind of visionary or a spiritual seer? In this article, I reconstruct Kandinsky’s theory of art and I clarify his understanding of what spirituality is. Then I return to the three guiding questions listed above to consider the relationship between art and spirituality in the light of Kandinsky’s views. I argue that both Kandinsky’s writings and his paintings help to illuminate the spiritual dimension of art, and his pioneering text, Concerning the Spiritual in Art, remains an important starting-point for reflections on this theme.
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Just, Dyedra K. C. "Was Kandinsky a Synaesthete? Examining His Writings and Other Evidence." Multisensory Research 30, no. 3-5 (2017): 447–60. http://dx.doi.org/10.1163/22134808-00002547.

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Wassily Kandinsky is widely regarded as one of the most prominent examples of a synaesthetic artist. However, in the scientific literature there is disagreement on the genuineness of his synaesthesia. This paper investigates whether Kandinsky had inborn synaesthesia, while acknowledging that there are also types of induced synaesthesia which he may have cultivated. As these two types of synaesthesia are seen to work additively in some synaesthetes and not to be mutually exclusive, this is not seen as an argument against the view that he was a true inborn synaesthete. Whether Kandinsky was a synaesthete is examined through a detailed study of his primary writings (e.g., On the Spiritual in Art, Point and Line to Plane, and Reminiscences), in light of the modern diagnostic criteria. The experiences described in those writings indicate that his synaesthetic perceptions were genuine and inborn and not just a theoretical endeavour. Given the genetic dimension of synaesthesia, this view is further supported by the fact that Kandinsky’s uncle Victor Kandinsky also described having synaesthetic experiences.
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Matyunina, Daria Stanislavovna, Maria Aleksandrovna Semyonova, and Alevtina Sakmarovna Habibova. "Between Kochel and Kalmunz. Early plein airs by Gabriele Munter at the school "Phalanx" by Vasily Kandinsky." Культура и искусство, no. 4 (April 2024): 14–29. http://dx.doi.org/10.7256/2454-0625.2024.4.70387.

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The subject of the study of the proposed article is the early plein-air works of the German expressionist artist Gabriele Munter, later a member of the Blue Horseman art association, a student and friend of Vasily Kandinsky. The authors of the article aim to review and introduce into scientific circulation a number of Munter's sketches created by her during summer trips to the plein air in 1902-1903 to the Alpine towns of Kochel and Kalmunz with the Munich art school "Phalanx", headed by Kandinsky. The article also examines the picturesque plein-air works by Kandinsky, created by him in the same years there, in Bavaria - mainly landscapes and sketches of figures in the landscape. The authors of the study see as their task to trace the influence of Kandinsky's artistic manner and his role as a teacher on the formation of a Munter painter. The research methodology includes formal stylistic, comparative methods of art criticism analysis, as well as a comprehensive historical and biographical approach. The relevance of the study is due to its scientific novelty: the authors of the article for the first time in Russian-language art history literature describe the pre-expressionist works of Munter during the period of joint plein-airs with Kandinsky, trace the formation of her artistic vision and picturesque manner, the influence of Kandinsky on her formation. The development of the impressionistic technique common to Munter and Kandinsky in the early 1900s, according to the authors of the article, is combined with individual searches for expressiveness of form and color. The first experiments of plein-air oil painting in a special "spatula technique" under the guidance of Kandinsky were accompanied by the successful search for Munter in the field of graphics, mastering the technique of printing color woodcuts. The authors of the article come to the conclusion that the formation of the original manner of Munter was equally influenced by both pictorial emancipation through sketching practice in oil, as well as their own experiences in drawing and engraving.
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Dias Carvalho, Jairo. "A teoria das cores e das formas gráficas de Wassily Kandinsky." Educação e Filosofia 38 (July 19, 2024): 1–22. http://dx.doi.org/10.14393/revedfil.v38a2024-67731.

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Resumo: O artigo pretender elucidar a teoria das cores e das formas Gráficas de Wassily Kandinsky. Nossa interpretação é que esta teoria é uma lógica das relações entre os elementos da pintura, formas coloridas e formas gráficas. Esta lógica se baseia em uma concepção tensional da composição a partir da noção de contrariedade e de oposição. A obra de arte abstrata se apresenta como uma série de tensões internas e contrastes entre cores e formas gráficas permitindo a quem a compreende estabelecer um significado à composição. Pretendemos analisar esta lógica da composição entre as formas gráficas e coloridas permitindo que possamos discernir uma cerda ordenação destes elementos em um quadro. Palavras-chave: Elementos da Pintura; Kandinsky; Cores; Formas Gráficas Wassily Kandinsky's Theory of Colors and Graphic Forms Abstract: The article intends to elucidate Wassily Kandinsky's theory of colors and graphic forms. Our interpretation is that this theory is a logic of the relationships between the elements of painting, colored forms and graphic forms. This logic is based on a tensional conception of composition based on the notion of contrariety and opposition. The abstract work of art presents itself as a series of internal tensions and contrasts between colors and graphic forms, allowing those who understand it to establish a meaning to the composition. We intend to analyze this logic of composition between graphic and colored forms, allowing us to discern a bristle ordering of these elements in a painting. Key-words: Elements of Painting; Kandinsky; Colors; Graphic Forms La Théorie des Couleurs et des Formes Graphiques de Wassily Kandinsky Résumé: L'article vise à élucider la théorie des couleurs et des formes graphiques de Wassily Kandinsky. Notre interprétation est que cette théorie est une logique des relations entre les éléments de la peinture, les formes colorées et les formes graphiques. Cette logique repose sur une conception tensionnelle de la composition fondée sur la notion de contrariété et d'opposition. L'œuvre d'art abstraite se présente comme une série de tensions internes et de contrastes entre les couleurs et les formes graphiques, permettant à ceux qui la comprennent d'établir un sens à la composition. Nous nous proposons d'analyser cette logique de composition entre formes graphiques et colorées, permettant de discerner un ordre hérissé de ces éléments dans un tableau. Mots-clés: Éléments de Peinture; Kandinsky; Couleurs; Formes Graphiques Data de registro: 11/12/2022 Data de aceite: 18/10/2023
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Coase, Hal. "Delimit / De-limit: Barbara Guest at Kandinsky’s Window." Text Matters: A Journal of Literature, Theory and Culture, no. 13 (November 27, 2023): 127–42. http://dx.doi.org/10.18778/2083-2931.13.07.

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This essay reads Barbara Guest’s poem “The View from Kandinsky’s Window” from her 1989 collection Fair Realism alongside Wassily Kandinsky’s own theories of form and abstraction. It argues that Guest’s poetic reinvention of historic avant-garde aesthetics on the page can be taken as an exemplary case for new feminist theorizing of the avant-garde as a set of decentered, provisional, and heterogenous practices. Guest’s engagement with Kandinsky is initially situated in the context of Clement Greenberg’s criticisms of the painter throughout the 1940s. According to Greenberg’s formalism, Kandinsky is shown to have “failed” due to his provincialism, eclecticism, and disharmonizing of scale. Guest’s poem can be seen as valuing and accentuating each of these qualities and in so doing it presents a subtle defence of Kandinsky’s aesthetics and becomes an example of the kind of intermedia contamination which Greenberg’s theorizing on “pure” modernist painting had attempted to delimit. Guest’s counter interest in “de-limiting” the work of art—removing boundaries imposed by period, style, and media—is contextualized within debates on the “limit” within avant-garde aesthetics.
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Khan, Humda, and Junaid Ahmad. "Reshaping Textiles: An Inspiration from Wassily Kandinsky." Journal of Design and Textiles 1, no. 2 (December 23, 2022): 1–18. http://dx.doi.org/10.32350/jdt.12.01.

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There will be several elements discussed in this article regarding my design inspiration from a renowned painter Wassily Kandinsky. Wassily was an eminent Russian painter and art theorist who is considered as the father of the abstract art. In this research, I endeavored to introduce alien elements in the domain of textiles by merging abstract concepts of Kandinsky’s painting with my textile products. Keeping in view the modern art, I have created my designs that could reshape the concept of textile décor regarding wall panels, setae and side-panels. In later sections, we will transit towards our design compositions, techniques and other mediums that have been incorporated within. The aim of this report article is concluded by my endeavor to justify as to how I came up with the innovative textiles ideas by extracting an inspiration from Kandinsky’s work which in the end is left up to the critiques and readers to decide as to how much I have succeeded. Index Terms: Abstract art, Compositions and Impressions, Expressionism, Spirituality, Textiles, Wassily Kandinsky.
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KOCH, JELENA HAHL, and THAMES HUDSON. "KANDINSKY." Art Book 1, no. 2 (March 1994): 37. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00051.x.

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Dissertations / Theses on the topic "Kandinsky"

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Bonato, Denise Teixeira. "Kandinsky e o cavaleiro." reponame:Repositório Institucional da UnB, 2006. http://repositorio.unb.br/handle/10482/5672.

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Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Programa de Pós-Graduação em Arte, 2006
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Made available in DSpace on 2010-10-14T15:14:29Z (GMT). No. of bitstreams: 1 dissertacao completa Denise T Bonato.pdf: 3367517 bytes, checksum: 8801f479cd40fb2568f52b60721d4406 (MD5) Previous issue date: 2006
A presente dissertação aborda a obra de Wassily Kandinsky (1866-1944), partindo da identificação da presença do cavaleiro em seus trabalhos, na busca por compreender a motivação e a constância da exploração do tema, por meio da conexão entre as reflexões teóricas e a produção plástica do artista. Propõe-se apontar, nas reflexões do artista, elementos que aportem a hipótese de que a recorrência ao tema do cavaleiro é resultante de rememorações do grupo ao qual pertencia, fundamentada no conceito de memória coletiva de Maurice Halbwachs. Visa-se, ainda, a estabelecer um diálogo entre a obra de Kandinsky e a de artistas contemporâneos a ele, que em determinado momento comungaram de ideais comuns, expressados pelo instrumento que os congregava – a arte. ____________________________________________________________________________ ABSTRACT
This thesis approaches the work of Wassily Kandinsky (1866-1944), starting from the identification of the rider in his works, seeking to understand the motivation and constancy of the exploitation of the theme, by means of the connection between the theoretical reflections and plastic production of the artist. It aims to point out, in the reflections of the artist, elements that support the hypothesis that the recurrence to the rider theme is a result of recollections to the group he belonged to, substantiated in the concept of collective memory, from Maurice Halbwachs. It also aims to establish a connection between the work of Kandinsky and artists contemporary to him that at a given time shared common ideals, expressed by the instrument that congregated them – the art.
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Besch, Ingeborg. "Wassily Kandinsky : Bildwerdung : das Prinzip der inneren Notwendigkeit : ausgewählte Werke von 1911-1944 /." Saarbrücken : Staden-Verlag, 2004. http://www.loc.gov/catdir/toc/fy0710/2006502028.html.

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Graeff, Alexander [Verfasser]. "Kandinsky als Pädagoge / Alexander Graeff." Aachen : Shaker, 2013. http://d-nb.info/1051572177/34.

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Moraes, João Carlos Pereira de. "Experiências de um corpo em Kandinsky." reponame:Repositório Institucional da UFSC, 2014. https://repositorio.ufsc.br/xmlui/handle/123456789/130964.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Ciências da Educação, Programa de Pós-Graduação em Educação Científica e Tecnológica, Florianópolis, 2014
Made available in DSpace on 2015-03-18T21:02:11Z (GMT). No. of bitstreams: 1 332274.pdf: 4392606 bytes, checksum: dbbebd97d4af081d78d0505e550de67d (MD5) Previous issue date: 2014
Esta dissertação apresenta as experiências vividas ao longo da construção da pesquisa de mestrado, fazendo uma cartografia sobre como alunos de uma sala de quinto ano do Ensino Fundamental experimentam saberes matemáticos a partir de pinturas de Kandinsky. O trabalho é escrito em capítulos-movimentos, para sugerir os modos como a pesquisa nos tomou ao longo do processo de estudo. Alguns conceitos-ferramenta foram mobilizados, são eles: visualidade, historicidade, transdisciplinaridade, dispositivo, experiência, cartografia. Para problematizar um ensino de matemática por meio da arte considerou-se o tema corpo humano e as pinturas de corpo de Kandinsky. Procurou-se compreender o momento de produção artística do pintor, bem como sua Teoria da Forma, e a relação por ele constituída com os movimentos corporais da bailarina expressionista Gret Palucca. Foram criadas quatro oficinas com a função de dispositivo para provocar visualidades, saberes e experiências em torno da imagem artística do corpo e da naturalização matemática na representação dos mesmos. As oficinas foram desenvolvidas numa sala de quinto ano do Ensino Fundamental do Colégio Aplicação de Universidade Federal de Santa Catarina. A cartografia, como método de intervenção, estabeleceu-se como um acompanhar os processos mais do que representar resultados. Da experiência consideramos que alguns saberes matemáticos em relação ao corpo entraram em evidência, tais como: a geometrização do espaço, o espaço aristotélico, a matematização dos movimentos, a proporção, o volume, as medidas de beleza.

Abstract: This dissertation presents the experiences lived throughout the building of the Master of Science research, carrying out a cartography about how students of a fifth grade class experience mathematical knowledge from Kandinsky's works. This text is made up of movement-chapters, suggesting the ways the research took along the study process. Some tool-concepts were mobilized, such as: visuality, historicity, transdisciplinarity, device, experience, cartography. In order to problematize a Mathematic teaching by means of art, the human body and the Kandinsky's paintings were considered. It sought to comprehend the time of artistic production of the painter, as well as his Form Theory, and the relation constructed by him with the body movements of the expressionist dancer Gret Palucca. We created four workshops functioning as devices to provoke visualities, knowledge and experiences around the artistic image of the body and the mathematical naturalization in their representation. The workshops were developed with class of fifth grade students in the Colégio de Aplicação (Application School) of the Universidade Federal de Santa Catarina. The cartography, as a means of intervention, was established as a accompanying of the process instead of representing results. From the experience, we consider that some mathematical knowledge related to body was highlighted, such as: the geometrization of the space, the Aristotelian space, the mathematization of movement, the proportion, the volume, the measures of beauty.
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Lee, Ying-jui. "L’Idée de la « composition » picturale chez Kandinsky." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040211.

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La recherche présente s’intéresse à l’idée de « composition » chez Kandinsky, au sens à la fois théorique et artistique qui inspire son art dit « peinture compositionnelle ». La composition, élément technique dans la peinture traditionnelle, acquiert un sens créateur avec Kandinsky. Sur son idée novatrice qui reflète la mutation de la pensée moderne et l’exigence singulière du spirituel propre à l’artiste, converge, tout en se dépassant, toute la tradition méthodologique de la peinture figurative. Nous avons ainsi abordé ce sujet selon trois approches : l’étude de l’héritage conceptuel et méthodologique de théories traditionnelles en peinture pour comprendre et mesurer la métamorphose que lui impose la composition selon Kandinsky ; puis l’étude de la motivation personnelle de Kandinsky gravitant autour de l’idée du spirituel et de l’intériorité, pour en dégager la logique interne qui préside à sa création picturale ; enfin, nous nous sommes attachée à la théorie même de la composition qui s’exprime à travers deux sous-théories, celles de la couleur et de la forme graphique, en les confrontant aux deux styles principaux relativement opposés et liés à deux périodes, celles de Munich et du Bauhaus, ce qui nous a permis de saisir l’idée de composition dans sa réalisation effective
The present research investigates the idea of "composition" in Kandinsky’s art in both senses of theoretical and artistic activity. With Kandinsky, the composition, which is only a technical element in traditional painting, gains a creative meaning. The whole methodological tradition converges on his innovative idea that reflects the mutation of modern thinking as well as the exigency for the spiritual peculiar to the artiste, and, doing so, surpasses itself. We have adopted three different approaches to this question. First of all, we study the conceptual and methodological legacy of the traditional theories in painting in order to understand – and weigh up – the metamorphosis induced by the composition according to Kandinsky. Then, we study Kandinsky’s personal motivation, which revolves around the idea of the spiritual and the one of interiority, in order to draw from it the very theory of composition expressing itself through two sub-theories, color’s theory and graphic form’s theory, which we compare with both of his main styles, connected to two periods, Munich period and Bauhaus period, and quite different. It is this comparison in particular that allows us to grasp Kandinsky’s idea in its effective achievement
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Schmidt, Christiane. "Kandinskys physikalische Kreise : Kunst als Medium naturwissenschaftlicher Erkenntnis : Untersuchung der Schriften des Künstlers und seiner abstrakten Bildwelt der zwanziger Jahre unter Heranziehung von Gesichtspunkten moderner Physik /." Weimar : VDG, 2002. http://catalogue.bnf.fr/ark:/12148/cb399891457.

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Chadwick, Catherine Mary. "Wassily Kandinsky and the Gesamtkunstwerk tradition : the role of south German baroque architecture in Kandinsky's move to abstraction." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65454.

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Barros, Manuela de. "Art et théories du langage : Kandinsky, Malévitch, Duchamp." Paris 8, 1998. http://www.theses.fr/1998PA081517.

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Cette these a pour point de depart l'idee que, dans l'art du xxe siecle, l'influence des theories du langage provoque une modification interne en art, amenant la destructuration de l'image. En effet, l'insertion de mots dans la peinture est une constante temporelle, et l'on peut meme constater regulierement l'influence de theories de type litteraire sur les formes de l'art cependant, avec le xxe siecle, en particulier dans le cubisme, cette influence amene le demantelement graduel de ce qu'avait ete la representation jusqu'alors. L'image devient elliptique dans ses contours. La mimesis s'eloigne au profit d'un nouvel espace, lui-meme combinaison d'espaces, dont l'espace semantique. Ainsi, l'emergence du modernisme va de pair avec l'envahissement progressif mais neanmoins eclatant de la sphere de l'image par le langage. De plus, le questionnement de l'art sur le << tissu semantique >> accompagne, et puise parfois ses sources, dans l'interrogation meme de la semiologie et de la philosophie du langage ou dans les experiences poetiques. En effet, la mise a plat des modes de passage du sens se fait parallelement dans les deux domaines et se rejoignent souvent, sans intentionnalite picasso, braque et le signe de saussure -, ou de propos delibere - l'art conceptuel et les jeux de langage de wittgenstein. Ces recherches d'artistes de ce siecle sur le langage ou a partir de modeles langagiers ont donc pu servir de fil conducteur a une reflexion sur la modification profonde de la facon d'apprehender l'art, dans ses buts et dans ses moyens. Elles ont pu rendre compte de la metamorphoseplastique et conceptuelle, du remodelage des codes de representation. Le texte analyse donc les interactions, melanges et contaminations de l'art et du langage a travers trois artistes : kandinsky, malevitch et duchamp, l'uvre de chacun d'eux etant paradigmatique d'une interrogation specifique dans son lien avec la theorie du langage
This phd thesis starts with the idea that, in xxth century art, the influence of language theories induces internal changes in art, bringing the decomposition of the image. The use of written words in painting is a long lasting tradition, and theories exported from literature relatively commonly influenced the way art was considered to be done. Nevertheless, with our century, and particularly with cubism, this influence leads up to gradual dislocation of the representation as it was since then. The image becomes elliptic, losing its shape. Mimesis gives place to another space, which is already a combination of many spaces, and among them semantic space. Then the emergence of modernism comes with the invasion of the image with language, progressively but also very strongly. Furthermore, this questioning of art about the "semantic sphere" goes with the beginning of semiotics, philosophy of language and sometimes uses them. It also uses experiences in poetics. The researches are done in parallel and often go in the same direction. Sometimes the artists don't know about them (picasso, braque), or they intentionally use the theories (conceptual art). Those researches of artists of the century on language or about models issued of language were useful to analyse the profound modification of art, in its aims and formal achievements. The study of these interactions between art and language theories brought comprehension of the plastic and conceptual metamorphosis of the codes of representation. This study analyses this subject through three artists : kandinsky, malevitch, duchamp, the work of each of them being the paradigm for one interaction between art and language theories
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Behr, Shulamith. "Wassily Kandinsky as playwright : the stage - compositions 1909-1914." Thesis, University of Essex, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.292267.

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Kryvozub, Pavlo. "Architectural implications of the formal grammar of Vassily Kandinsky." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337887118.

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Books on the topic "Kandinsky"

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1866-1944, Kandinsky Wassily, and Museum Villa Stuck, eds. Gegen Kandinsky =: Against Kandinsky. Ostfildern: Hatje Cantz, 2006.

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1866-1944, Kandinsky Wassily, ed. Vasiliĭ Kandinskiĭ: Wassily Kandinsky / Boris Groys. Moskva: Ad marginem press, 2015.

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Hahl-Koch, Jelena. Kandinsky. London: Thames & Hudson, 1993.

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1866-1944, Kandinsky Wassily, ed. Kandinsky. London: Academy Editions, 1988.

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Roberta, Kedzieski, ed. Kandinsky. London: Park Lane, 1993.

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Hahl-Fontaine, Jelena. Kandinsky. London: Thames and Hudson, 1993.

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Kandinsky, Wassily. Kandinsky. Edited by Faerna José María. New York: Cameo/Abrams, 1996.

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Volboudt, Pierre. Kandinsky. London: Art Data, 1986.

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Targat, François Le. Kandinsky. Paris: Albin Michel, 1986.

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Hahl-Fontaine, Jelena. Kandinsky. Stuttgart: Gerd Hatje, 1993.

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Book chapters on the topic "Kandinsky"

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Zimmermann, Reinhard. "Kandinsky, Wassily." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_11002-1.

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Bolondi, Giorgio. "Point, Line and Surface, Following Hilbert and Kandinsky." In Applications of Mathematics in Models, Artificial Neural Networks and Arts, 485–89. Dordrecht: Springer Netherlands, 2010. http://dx.doi.org/10.1007/978-90-481-8581-8_19.

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Holzinger, Andreas, Michael Kickmeier-Rust, and Heimo Müller. "KANDINSKY Patterns as IQ-Test for Machine Learning." In Lecture Notes in Computer Science, 1–14. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-29726-8_1.

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Borkhardt, Sebastian. "17 Wassily Kandinsky and the Soviet Avant-garde." In 100 Years On: Revisiting the First Russian Art Exhibition of 1922, 113–16. Köln: Böhlau Verlag, 2022. http://dx.doi.org/10.7788/9783412525668.113.

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Huxley, Michael. "Wassily Kandinsky, dance, and interdisciplinary modernism 1908–1914." In Dance, Modernism, and Modernity, 73–93. New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429457845-5.

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Lin, Yu-Hsuan, Chad Lin, Chia-Wei Chang, and Hao-Chiang Koong Lin. "The Creation of Interactive Visual Music with Kandinsky Abstract Arts." In Lecture Notes in Computer Science, 518–27. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-99737-7_55.

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Bekos, Michael A., Michael Kaufmann, Robert Krug, and Martin Siebenhaller. "The Effect of Almost-Empty Faces on Planar Kandinsky Drawings." In Experimental Algorithms, 352–64. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-20086-6_27.

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Murata, Junichi. "Seeing the Invisible: Kandinsky and the Multi-dimensionality of Colors." In Contributions to Phenomenology, 87–98. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-30866-7_6.

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Zabieglińska, Sylwia. "Schönberg and Kandinsky: Artistic Ideals and the Question of Identity." In Musik in der Moderne, 145–60. Wien: Böhlau Verlag, 2011. http://dx.doi.org/10.7767/boehlau.9783205791621.145.

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Bläsius, Thomas, Guido Brückner, and Ignaz Rutter. "Complexity of Higher-Degree Orthogonal Graph Embedding in the Kandinsky Model." In Algorithms - ESA 2014, 161–72. Berlin, Heidelberg: Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-662-44777-2_14.

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Conference papers on the topic "Kandinsky"

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Lui, Christina, Sourav S. Bhowmick, and Adam Jatowt. "KANDINSKY." In SIGIR '19: The 42nd International ACM SIGIR Conference on Research and Development in Information Retrieval. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3331184.3331411.

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Fitzgerald Gumtang, Castillo Clarence, and Sourav S. Bhowmick. "Kandinsky Mobile." In MM '21: ACM Multimedia Conference. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3474085.3478542.

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Zhou, Aven-Le, Yu-Ao Wang, Wei Wu, and Kang Zhang. "Kandinsky As You Preferred." In SIGGRAPH '24: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2024. http://dx.doi.org/10.1145/3641234.3671061.

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Dimkov, Petar. "Kandinsky-Clérambault syndrome: Narration and psychosis." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.18207d.

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Interpretation by means of retelling a story is an ordinary event in human life. However, under abnormal circumstances, e. g. delusions of the narrator, this process is altered and even distorted to various degrees in both qualitative and quantitative aspects. In such cases, the assumption of misrepresentation of the actual story emerges as most striking as it is in contradiction with the objective reality. In the current paper, I will focus on the discourse features in the narratives of patients with the Kandinsky-Clérambault syndrome since it provides some of the best cases that serve to support the main focus of my search, i.e. establishing to what degree we can believe the subjective interpretative narratives of mentally ill patients. This perspective, on its own, has given rise to some doubts in psychiatry as objective science. Our hypothesis is that there are clear-cut features of delusion, which can be outlined by linguistic analysis irrespective of the cultural belonging of the patient and described following the method of the omnipotence of language as a tool of semiotics. For our purpose, additional aspects of the problem will be developed in detail, such as the semantic levels in narration in general and outlined concepts of schizophrenia and delusion transparent in discourse carried out in any language.
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Dimkov, Petar. "Kandinsky-Clérambault syndrome: Narration and psychosis." In 6th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2020. http://dx.doi.org/10.32591/coas.e-conf.06.18207d.

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Abstract:
Interpretation by means of retelling a story is an ordinary event in human life. However, under abnormal circumstances, e. g. delusions of the narrator, this process is altered and even distorted to various degrees in both qualitative and quantitative aspects. In such cases, the assumption of misrepresentation of the actual story emerges as most striking as it is in contradiction with the objective reality. In the current paper, I will focus on the discourse features in the narratives of patients with the Kandinsky-Clérambault syndrome since it provides some of the best cases that serve to support the main focus of my search, i.e. establishing to what degree we can believe the subjective interpretative narratives of mentally ill patients. This perspective, on its own, has given rise to some doubts in psychiatry as objective science. Our hypothesis is that there are clear-cut features of delusion, which can be outlined by linguistic analysis irrespective of the cultural belonging of the patient and described following the method of the omnipotence of language as a tool of semiotics. For our purpose, additional aspects of the problem will be developed in detail, such as the semantic levels in narration in general and outlined concepts of schizophrenia and delusion transparent in discourse carried out in any language.
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Zhang, Kang, and Jinhui Yu. "Generating abstract paintings in Kandinsky style." In SIGGRAPH Asia 2013 Art Gallery. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2542256.2542257.

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Brombal Visnadi, Debora, and MARIA DE FATIMA MORETHY COUTO. "Kandinsky, Malevich e Mondrian: experiências com a abstração." In XXV Congresso de Iniciação Cientifica da Unicamp. Campinas - SP, Brazil: Galoa, 2017. http://dx.doi.org/10.19146/pibic-2017-78201.

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Abraços, Gabriela Borges. "Ponto, linha, olho e plano: a aproximação de Mário Pedrosa à Gestalt." In Encontro da História da Arte. Universidade Estadual de Campinas, 2014. http://dx.doi.org/10.20396/eha.10.2014.4155.

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O objetivo deste artigo é traçar um panorama de contato de Mário Pedrosa com a psicologia da forma e ressaltar a importância dos estudos levantados por Wassily Kandinsky para a constituição da teoria da abstração. Enunciada pelo trocadilho do título propõe-se uma relação entre as pesquisas da forma na obra de arte levantadas por Kandinsky, e seu aproveitamento das teses das gestálticas como esforços de compreensão do fenômeno óptico e da percepção visual. O interesse de Pedrosa em compreender estes mecanismos direciona-se no sentido de instrumentalizar-se teoricamente, a fim de constituir um discurso crítico coerente, capaz de elucidar e evidenciar ao público as competências e atribuições estéticas da arte abstrata.
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Belloli, Sara, Sara Porro, Vikram Singh, Roberta Etzi, Alberto Gallace, Monica Bordegoni, and Marina Carulli. "The Kandinsky Experience: A Multisensory AR Application for Cultural Heritage." In CAD'20. CAD Solutions LLC, 2020. http://dx.doi.org/10.14733/cadconfp.2020.268-272.

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Brombal Visnadi, Debora, and MARIA DE FATIMA MORETHY COUTO. "Intuição e intelecto na pintura de Wassily Kandinsky: os anos da Bauhaus." In XXIV Congresso de Iniciação Científica da UNICAMP - 2016. Campinas - SP, Brazil: Galoa, 2016. http://dx.doi.org/10.19146/pibic-2016-51491.

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Reports on the topic "Kandinsky"

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Galenson, David. Two Paths to Abstract Art: Kandinsky and Malevich. Cambridge, MA: National Bureau of Economic Research, August 2006. http://dx.doi.org/10.3386/w12403.

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