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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, 2006Submitted by Natália Cristina Ramos dos Santos (nataliaguilera3@hotmail.com) on 2009-11-02T15:02:23Z No. of bitstreams: 1 dissertacao completa Denise T Bonato.pdf: 3367517 bytes, checksum: 8801f479cd40fb2568f52b60721d4406 (MD5)
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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, 2014Made 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 effectiveThe 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 langageThis 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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Ghazaoui, Youssef. "Essai d'analyse sémantique de trois peintures de Wassily Kandinsky." Paris 8, 1992. http://www.theses.fr/1992PA080659.
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Les moyens d'analyse classique pour l'interpretation de l'oeuvre picturale, et surtout de l'oeuvre abstraite, nous semblent insuffisants et necessitent une nouvelle methode de lecture. La semantique est la science qui pourrait nous livrer cette methode en penetrant le contenu de l'oeuvre pour aboutir a ses significations et a son sens latent. L'etude des trois oeuvres abordees de wassily kandinsky, qui sont nos instruments hypothetiques, nous permet d'acceder a cette analyse semantique et revele la relation entre les deux niveaux du tableau esthetique et semantiqueThe means of classical analyses for pictural interpretation, especially in abstracted works are apparently insufficients. It's needs a new methos of approching. The semantic is that science which could give us this method, which is capable to penetrate inside the work's content to out-come it's significations, and it's internal latent senses. The study of three works taken up by wassily kandinsky as hypothetic instruments could revelate to us the relationship between the two levels of picture : esthetic and semantic
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McKay, Caroline Mary. "Kandinsky : the sciences of man and the science of art." Thesis, University of Cambridge, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.241112.
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Ferrari, Gutiérrez Andrés Alvaro. "Kandinsky-game : el videojuego como marco para una instalación multimedia." Tesis, Universidad de Chile, 2014. http://repositorio.uchile.cl/handle/2250/133754.
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Magíster en artes con mención en composición musicalEl objetivo del presente texto es hacer una reflexión de la visión del entorno creativo al cual adhiero el cual se basa en la generación de discursos estéticos, enmarcados en la creación de una obra en particular, que se enmarcan en los fundamentos trans-disciplinares de autor, en los que el creador abandona su campo especializado de origen y conforma su trabajo en la confluencia de diversos entornos en el campo de la creación de producciones estéticas como son: las artes visuales, la multimedia, la programación digital, el arte sonoro, la semántica y expresión del videojuego y otras a las que haré referencia en el transcurso.
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Daftari, Fereshteh. "The influence of Persian art on Gauguin, Matisse, and Kandinsky /." New York ; London : Garland publ, 1991. http://catalogue.bnf.fr/ark:/12148/cb37423050q.
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Razem, Maiss Jebriel. "Painterly Conception of Architecture." Thesis, Virginia Tech, 2005. http://hdl.handle.net/10919/34755.
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The art of painting opens vast expressive possibilities for architecture, wherein architecture can produce a more conducive atmosphere for the contemplation of painting. The subtle affinities between the two fields stirred me to explore the individualistic expressiveness of the sensory realm in a painting and how it can inspire an architect.
My thesis starts from an interest in a painting of Kandinsky's. The painting "Yellow, Red, Blue" stirred my curiosity in the potency of its beauty and made me ask questions in regards to what I can capture, learn and express architecturally. The aim is to design a Contemporary Art Center to be situated within the fabric of Virginia Tech campus.
Throughout the various stages of design, the finality of the project resulted from dealing with the various inputs from: Kandinsky's painting as a catalyst and inspirer to the design, to the contextual issues and ways of urban integration and also dealing with the nature of the project's function and programmatic needs.Master of Architecture
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Haldemann, Matthias. "Kandinskys Abstraktion : Die Entstehung und Transformation seines Bildkonzepts /." München : Fink, 2000. http://catalogue.bnf.fr/ark:/12148/cb38940834c.
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Arcand, Nathalie. "Maurice Maeterlinck et Wassily Kandinsky : un langage esthétique fondé sur l'abstraction." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=67016.
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In On the Spiritual in Art, Wassily Kandinsky, one of the founders of abstract art, turns to the Symbolist playwright Maurice Maeterlinck in his quest for a new aesthetic language. Both the playwright and the painter, in breaking away from Naturalist aesthetics, seek to free the signifier and the signified, in literature and in painting, from their referential function. In particular, the painter considers Maeterlinck's treatment of a word: the components of a linguistic sign, that is, its acoustic imprint and its internalized visual image, conceived of and apprehended by a spectator's subjectivity, are now combined arbitrarily. As autonomous entities, they no longer refer to an external reality. The playwright and the painter aim to purify the signifiers, within their own oral and pictorial languages, to the point of dissolving the sound and the visual shape into silence and space. However, this process of purification does not lead to "nothingness", but rather to an "original plane", from which a new signifier, a primordial sound or internal visual image, is generated: at this point, this signifier serves to channel and transmit a true essence, emanating intuitively from man's inner life.Dans Du Spirituel dans l'art, Wassily Kandinsky, un des fondateurs de l'art abstrait, se tourne vers le dramaturge symboliste Maurice Maeterlinck afin de concevoir un nouveau langage esthétique. Le dramaturge et le peintre, en rompant avec la tradition naturaliste, cherchent à délivrer la forme et le contenu du signe langagier et pictural de leur fonction référentielle. En particulier, l'attention du peintre est portée au traitement du mot dans l'œuvre de Maeterlinck : il constate que les composantes du signe, c'est-à-dire l'image acoustique comme l'image psychique, conçues et perçues par la subjectivité de l'être, s'associent arbitrairement, valent pour elles-mêmes et, par là même, ne servent plus d'indices évoquant une réalité extérieure. Le peintre et le dramaturge préconisent une renaissance du langage esthétique : ce travail s'effectue grâce à l'épuration radicale du signe sonore et de la forme picturale, dissolvant ces derniers dans le silence et l'espace. Cependant, ceux-ci ne correspondent pas au « néant », mais à un « plan originel », à partir duquel se régénère la forme sonore et visuelle : désormais, elle sert à canaliser une essence pure, éprouvée intuitivement dans la réalité intérieure de l'être.
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Dias, Daniele Gugelmo. "São Jorge : espiritualidade e arte na amizade de Schoenberg e Kandinsky." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284283.
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Orientador: Silvio Ferraz Mello FilhoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Resumo: Este trabalho insere-se na área de « Processos Criativos » do Doutorado em Música do Instituto de Artes da Unicamp. Ele compreende dois volumes. O primeiro dedica-se à descrição e análise dos resultados da pesquisa. O segundo apresenta seu experimento prático na forma de 5 composições musicais. Na descrição de nossas experiências musicais começamos por contextualizá-las em nossa interpretação da história musical do século XX. A seguir, organizamos a reflexão sobre nossa criação em dois grandes arcos, que denominamos de força motora e força diretriz. Como principal força motora, apresentamos a amizade e a espiritualidade de Schoenberg e Kandinsky. Como principais forças diretrizes, destacamos os seguintes elementos musicais: atonalismo, aforisma, acaso/improvisação, colagem/citação. O experimento prático apresenta-se na forma de partituras e gravações. São elas : 1) Música para Schoenberg - piano solo, 2) Quadros de uma Improvisação : Ponto, Linha, Superfície - grupo de percussão e suporte eletrônico, 3) São Jorge - grupo de percussão, 4) Poesia sem palavras - piano solo e 5) Pequenos Mundos - suporte eletrônico
Abstract: Abstract: This thesis belongs to the research field "Creative Process" of the Music Department of the Art Institute of the State University of Campinas-Unicamp. It is organized in two volumes: the first volume is dedicated to the description and analysis of the research results; the second one presents the practical experiment in the form of 5 music compositions. We begin the description of our music experiences contextualizing them in our interpretation of the history of the music of the XX century. Then, we organize the reflections on our creation at two basic bows, named motor strength and guiding strength. As main motor strength we present the friendship and the spirituality of Schoenberg and Kandinsky. As main guiding strength we highlight the following music elements: atonalism, aphorism, chance/improvisation, quotation/citation. The practical experiment is presented in the form of sheet music and recorded music: 1) Music for Schoenberg -solo piano; 2) Pictures of an improvisation: Point, Line, Surface - percussion group and electronic support; 3) São Jorge - percussion group; 4) Poem without words - solo piano; and 5) Small Worlds - electronic support
Doutorado
Doutor em Música
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SCHMIDT, CHRISTIANE. "Vassili kandinsky : a la recherche d'une nouvelle dimension. vassili kandinsky et les sciences exactes. une lecture scientifique de ses ecrits et de son oeuvre pictural des annees 1920." Grenoble 2, 1997. http://www.theses.fr/1997GRE29044.
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La presente dissertation est le resultat de trois annees de recherche sur le peintre russe vassili kandinsky (1866-1944). Kandinsky peut etre rapproche d'intellectuels dont la recherche artistique a ete marquee par la volonte de deceler dans l'art et dans la nature des lois fondamentales communes. Issu de cette recherche, son oeuvre fait preuve a la fois d'un talent artistique intuistique et d'un esprit de recherche scientifique. L'objectif principal de cette etude est d'aborder les bases artistiques et philosophiques de sa recherche universelle pour demontrer dans quelle mesure l'oeuvre pictural de kandinsky refletait la conceptualisation du monde qui a connu au debut du 20eme siecle une modification decisive due aux resultats de la theorie de la relativite et de la theorie quantique. L'oeuvre abstrait de kandinsky des annees 1920 qui constitue l'objet d'etude de cette these est analyse en utilisant les resultats de la physique moderne. Le premier chapitre de la dissertation concerne le premier contact de l'artiste avec les sciences exactes. Il est consacre aux annees d'etudes de vassili kandinsky a l'universite de moscou. Le deuxieme chapitre familiarisera le lecteur avec l'ensemble de l'oeuvre de vassili kandinsky. Un expose critique du developpement de son oeuvre peinte est suivi d'une analyse de ses publications principales. Le troisieme chapitre livre un apercu historique des sciences exactes de la premiere moitie du 20eme siecle. En deuxieme partie, il est consacre a l'analyse des publications, de la correspondance avec les collegues et les amis de kandinsky, ainsi que des livres appartenant a sa bibliotheque privee. D'un interet particulier est l'analyse des livres scientifiques en langue allemande de sa bibliotheque. Le quatrieme chapitre represente une proposition de lecture de l'oeuvre peinte de l'artiste a travers les idees et les termes de la theorie de la relativite et de la theorie quantique. Il ne s'agit pas simplement d'evoquer l'interet de kandinsky pour les connaissances scientifiques de son epoque, mais il sera montre en prenant comme exemple des tableaux selectionnes dans quelle mesure ce pionnier de l'art abstrait exprimait au moyen de son espace pictural innovateur des connaissances sur la structure de l'univers qui ont ete formules au meme moment par les theories de la physique moderneAbstract : the present dissertation proposes a study of vassily kandinsky's (1866-1944) private collection of german scientific books, which was never studied before. That collection can in particular furnish some new aspects of kandinsky's relation to science. While the pioneer of abstract painting was often characterised by specialised literature - insisting on his interest in spiritualistic and religious ideas - as an adversary of science, it will be shown here that kandinsky reveals a blend of the intuitive talent of an artist and the scientific spirit of a researcher. The main concern of this study is to demonstrate in which way the artist dealt with the current physic theories of his time as for example with the theory of relativity and the quantum theory
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Guedes, Ângelo Dimitre Gomes. "Wassily Kandinsky: Do espiritual na arte e a proposta da sonoridade interior." Universidade Presbiteriana Mackenzie, 2011. http://tede.mackenzie.br/jspui/handle/tede/1814.
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The relationship between the visual, sonorous and verbal codes is a subject that has fascinated many artists and researchers. Wassily Kandinsky (1866-1944) has been responsible for one of the most respected works in this field. Poetry, synesthesia and sensitivity are hallmarks since his childhood. In the late nineteenth and early twentieth centuries, art showed signs of breaking with the representation of the outside world model. In this scenario, Kandinsky sought the inner/spiritual content of the art work: the inner sonority. Through inner sonority, different outward forms can achieve the same resonance in the soul of the viewer. In his book "Concerning the Spiritual in Art", published in 1914, Kandinsky set out the main concepts related to inner sonority. The author seemed to predict new directions for art, in which external values would be reduced and inner sonority amplified. This dissertation presents a reflection on this scenario. It points out the path traveled by Kandinsky in the development of his language, focusing on issues concerning relations between codes. It also sets out the main concepts presented in his book , presents the Monumental Art, concept created by Kandinsky, in which several codes are related, brings an analysis of parts of the scenic composition "The Yellow sound", that is an example of the Monumental Art. And finally, it presents an art essay written by the author of this dissertation, in which elements of visual, sonorous and verbal codes are related through inner sonority
A relação entre os códigos visual, sonoro e verbal é um tema que sempre fascinou diversos artistas e pesquisadores. Wassily Kandinsky (1866-1944) foi responsável por um dos mais conceituados trabalhos nesse campo. Poesia, sinestesia e sensibilidade são características marcantes desde a sua infância. No final do século XIX e início do século XX, a arte apresentava sinais de ruptura com o modelo de representação do mundo exterior. Em meio a esse cenário, Kandinsky buscou o conteúdo interior/espiritual de uma obra de arte: a sonoridade interior. Por meio dela, formas exteriores distintas podem atingir a mesma ressonância na alma do espectador. Em seu livro Do Espiritual na Arte , publicado em 1914, Kandinsky expôs os principais conceitos concernentes à sonoridade interior. O autor parecia profetizar novos rumos à Arte, nos quais os valores externos seriam reduzidos e a sonoridade interior amplificada. Esta dissertação apresenta uma reflexão sobre todo esse cenário. Aponta o trajeto percorrido por Kandinsky no desenvolvimento de sua linguagem, concentrando-se em assuntos concernentes a relações intercódigos. Expõe os principais conceitos apresentados no livro Do Espiritual na Arte . Apresenta a Arte Monumental, conceito criado por Kandinsky, no qual diversos códigos são relacionados. Analisa recortes da composição cênica A sonoridade amarela , exemplo de Arte Monumental. Apresenta um ensaio artístico criado pelo autor da presente dissertação, no qual são relacionados elementos dos códigos visual, sonoro e verbal, por meio da sonoridade interior
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Sers, Philippe. "Les renouvellements de la création artistique au vingtième siècle : Kandinsky et l'image métaphysique." Paris 1, 1995. http://www.theses.fr/1995PA010558.
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Parti de son expérience qu'il veut nous présenter comme vérifiable, Kandinsky propose un art dégagé de l'accident et du phénomène, apte à atteindre et à exprimer l'ultime réalité. La théorie des couleurs extrêmement rigoureuse qu'il développe et dont cette études présente une herméneutique approfondie, se déploie comme une manifestation de la structure de l'être, tandis que la théorie des formes, qui la complète, ouvre la voie à une maitrise de la création à partir de l'élément et renouvelle entièrement notre conception en nous permettant d'échapper aux limitations entrainées par la gestalttheorie dans ce domaine. L'art pour Kandinsky a une mission prophétique. Il est destiné à devenir le véhicule de la transmission du sens. La nouvelle interprétation qui se dégage ici de l'examen soigneux de l'ensemble des textes écarte définitivement les hypothèses jusqu'alors en cours d'un Kandinsky influencé par le symbolisme ou même l'ésotérisme, ou encore d'une peinture dont le contenu serait l'émotion. Une interprétation générale de l'œuvre graphico-pictural de Kandinsky se met en place. Les écrits poétique et scénographiques, considérés jusqu'à présent comme mineurs par les commentateurs, sont une des clefs de ce travail herméneutique. La dernière partie de l'étude concerne l'image métaphysique et les possibilités révolutionnaires qu'elle implique sur le plan épistémologique. Elle amène à une nouvelle approche de la question de l'image, établissant une filiation à travers le temps entre un certain nombre de sources de ce type d'image, pensée chinoise ou théologie byzantine et l'avant-garde du vingtième siècle, qui nous conduit à une nouvelle philosophie de l'image ouverte par la révolution de l'abstraction en peintureKandinsky's starting point is his actual experience, which he wishes to present to the viewer as verifiable. Thus he proposes an art devoid of the accidental or the phenomenal and so fit to reach and express an ultimate reality. Kandinsky's theory of colour, which is here the subject of a profound hermeneutic, was developed extremely rigorously, and should be seen as a manifestation of thestructure of being. His theory of forms, on the other hand, which completes his theoretical position, should be read as a way of mastering creativity from an elemental stand-point. This, as well shall see, is a completely new concept, which allows us to escape the limitations posed in this area by gestalt theory. For Kandinsky, art has a prophetic role to fulfil, as the destined vehicle for the transmission of meaning. This interpretation, here developed for the first time from a profound study of the artist's writings, overturns definitively the current hypotheses that Kandinsky was either influenced by theories of symbolism or esotericism, or that for him the sole content of painting was emotion. A general interpretation of Kandinsky's graphic and pictorial work is developed from this starting point. His poetry and theatre, considered by other commentators as marginal, are in fact among the keys to his work as an artist and creator of forms. This essay presents to the reader the development and internal coherence of his work. The final part deals with this metaphysical image and its revolutionary implications on an epistemological level. This leads to a new approach to the question of the image, linking together through time diverse sources of the metaphysical image. These include
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Bunge, Matthias. "Zwischen Intuition und Ratio : Pole des bildnerischen Denkens bei Kandinsky, Klee, und Beuys /." Stuttgart : F. Steiner Verl, 1996. http://catalogue.bnf.fr/ark:/12148/cb375122729.
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Johnson, Jewell Jan Marie. "After Kandinsky: Unholy Alliances in the Secular History of Ideas and Images as Modern and Contemporary Religious and Spiritual Art." Thesis, University of Sydney, 2018. https://hdl.handle.net/2123/23223.
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In 1912, a phenomenon appeared when Kandinsky’s abstraction and his text Concerning the Spiritual in Art was published. A paradox of the avant-garde and the Orthodox, Kandinsky exemplifies the Enlightenment freedom of subjective religious and spiritual expression. What does modern and contemporary religious or spiritual Art look like? Following the ‘separation of church and state’ artists created new expressions of traditional and new religions needing cohesive studies to locate, recognise and document these legacies; correct biased or inaccurate records; and identify these artworks’ secular disguises. This thesis considers religion and the spiritual in Art as traditional or new imagery and symbolism including agnostic and atheist impulses. Kandinsky’s abstraction as ‘Christian’ art acknowledges a collaboration of the avant-garde with the Russian Orthodox; his spiritual texts expressing the spiritual in art, universally, for the artist, he claimed, was part of a ‘spiritual revolution.’ This analysis of Kandinsky required I form the ‘immaterial frame’ methodology to map these historical renovations ideologically; culturally; socially; and politically as evidence of the freedoms of expression contextualising by religio-secular aesthetics. In order to uncover these aspects, the ‘immaterial frame’ methodology has been constructed to accommodate the process of recognising the non-physical ideas of spirituality and the religious in modern and contemporary Art using four intellectual ‘sides’ represented by the image: 1) The artist’s biographical experiences. 2) Individually defined ideas or ideologies, and the artist’s personal variations. 3) The global and cultural contextualisation of the time. 4) Correcting or revealing what was formerly unknown, to answer: What does modern and contemporary religious or spiritual Art look like?
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Leguizamón, Russi Juan Nicolás. "El concepto de Das Geistige en la obra da Vasili Kandinsky: Posmedievalismo como posmodernismo." Doctoral thesis, Universitat Pompeu Fabra, 2020. http://hdl.handle.net/10803/669992.
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Lo “espiritual” comparece hoy como concepto sobreentendido, lo cual conduce a una frecuente subutilización de la expresión. El equívoco se deriva a partir de la sistemática que planteó la metafísica del Idealismo alemán en la que lo espiritual convoca al perfeccionamiento humano como su contenido, y cuyo objeto axiológico se identifica con el modelo de razón como entelequia. En vista del aspecto determinante de ese modelo para la Filosofía posterior, la conceptualización de “espiritual” desconoce una parte de su historia, atravesada por tradiciones culturales y religiosas. El caso de Kandinsky funciona aquí como nodo que ata implicaciones filosóficas del Idealismo alemán y del Idealismo religioso ruso, de manera que lo estético post-kantiano se enmarca en el influjo de lo religioso cristiano en su personalidad. Un análisis fenomenológico-hermenéutico del caso resulta en la formación de un concepto de das Geistige que convoca la noción de espiritual relativa a lo numinoso.The “spiritual” appears today as a hypothecated concept leading to a frequent underuse of the expression. To an extent, the equivocal derives from the systematics granted by the German Idealism metaphysics, in which the spiritual calls for human perfecting as its own content, and of which the axiological object is identified as the model of Reason as entelechy. Observing at the determining aspect of such model for later Philosophy, the conceptualization of the “spiritual” disavows part of its history, which undergoes through the development of cultural and religious traditions. The case of Kandinsky works here as a node to which philosophical implications of both, German Idealism and Russian religious Idealism, arrive, therefore the post-kantian aesthetical gets framed by the Christian religious influence over his personality. A phaenomenological-hermeneutical analysis of the case succeeds informing a concept of das Geistige that calls that notion of “spiritual” which is relative to the numinous.
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Niemeyer-Wasserer, Natascha. "Wassily Kandinsky und die Malerei des russischen Symbolismus in den formativen Jahren 1896-1907." Diss., lmu, 2007. http://nbn-resolving.de/urn:nbn:de:bvb:19-79735.
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Bentabed, Leïla. "Chemins et langages de la peinture allemande de 1900 à 1945 : Klee et Kandinsky." Paris 4, 2008. http://www.theses.fr/2008PA040059.
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Klee et Kandinsky donnent à voir l’invisible dans leur art. Leur démarche créatrice repose sur le postulat de l’analogie de la genèse du monde et de l'œuvre. Dans cette double interprétation basée sur l'unicité de la vie, la pensée, l'enseignement et la peinture chez Klee et Kandinsky, la première partie est consacrée à l'étude contrastive de leurs écrits (autobiographiques, poétiques, théoriques et didactiques). Un corpus de textes fondamentaux de ces deux précurseurs de l'art abstrait dévoile une pensée métaphysique créant un lien original entre l'Occident et l'Orient. Les deux artistes parviennent ainsi à résoudre le paradoxe suprême de l'art moderne, à savoir la relation Visible/Invisible. Dans la deuxième partie, l'unité des deux œuvres peints de Klee et de Kandinsky est analysée selon notre propre méthode sémiologique : un système parallèle dynamique de lectures et de décodage des signes et archétypes kléens et kandinskiens démontrent ce passage du visible à l'invisible en tant qu'articulation esthétique spécifique de Klee et de Kandinsky. Notre méthodologie sémiologique basée sur le métissage des approches théoriques s'inscrit dans la problématique actuelle de la théorie de l’artThe artistic method of Klee and Kandinsky is based on the hypothesis that world and creative product emerge simultaneously. Founded on the unity of their life, thought, teaching, and painting, in the first part of my twofold study regarding both thes artist I am focussing on a constrastive analysis of their (autobiographical, poetical, theoretical and didactic) writings. This body of fundamental texts of these two predecessors of abstract art reveals a metaphysical thought, creating an original connection between occident and orient. Thereby, the two artists succeed in resolving the greatest paradox of modern art, namely the relationship between the visible and the invisible. The second part of my thesis is concerned with the analysis of the paintings of these two artists, using my own semiological method. A parallel, dynamic reading and decoding of Klee’s and Kandinsky's signs and archetypes demonstrates that their specific aesthetic expression is the passage from visible to invisible. My semiological method, based on a combination of a variety of theotical approaches, thereby joins the current challenges posed by modern theories of art
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House, Jeremy Michael. "COMPOSITION VII." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1586111221681235.
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Kim, Sohee. "The Study of the Relationship between Arnold Schoenberg and Wassily Kandinsky During Schoenberg's Expressionist Period." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1269203770.
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Serodes-Mirabel, Françoise. "Modernité et synthèse des arts. Le mot, le son et la couleur : autour de Kandinsky." Paris 8, 1995. http://www.theses.fr/1995PA081045.
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Entre 1905 et 1914, en allemagne et en autriche, les peintres, les musiciens et les poetes explorent et experimentent dans le domaine de la couleur. La couleur se revele comme un chainon decisif dans la formation de l'art moderne et de l'oeuvre d'art totale. Sur scene kokoschka (avec "meurtrier, espoir des femmes", schoenberg (avec " la main heureuse") et kandinsky dans ses operas de couleur ("sonorite jaune", "sonorite verte", "noir et blanc" "violet"), font retrouver a la couleur son energie, sa force creatrice, en la liberant de toute fonction utilitaire, narrative, en la considerant comme un etre vivant, autonome. Capable de traduire l'interiorite la couleur depasse le pouvoir des mots, elle metamorphose, reunit, reconcilie, transcende, eleve et kandinsky fonde l'interaction des differents moyens artistiques sur la sonorite, la vibration. Synthese ouverte, sans point d'equilibre, en metamorphose continuelle, elle ouvre de nouveaux espaces et kandinsky procede a la reduction aux elements de base puis apres simplification a la complexification. Il fait jouer la polarite, les extremes. En poesie, kandinsky procede a la transposition des techniques picturales afin de liberer la sonorite des mots ou il a recours a la repetition qui fait perdre au mot sa significationBetween 1905 and 1914, both german and austrian artists experimented in the field of color. Color came to be the decisive link in the development of modern art and of the complete work of art. Thus on the stage kokoschka with "morder, hoffnung der frauen", schoenberg with "die gluckliche hand" and kandinsky with his "color" operas, "der gelbe klang" "der grune klang" "schwarz und weib" "violett", found a new energy and creativity in color, liberating it from a mere utilitarian role and considering it as an autonomous living thing. Color was stronger than words in its ability to translate inner feelings and the senses. It could metamorphose, reunite, reconcile and transcend and kandinsky founded the interaction of these different artistic means through sound and vibration. It was a new synthesis in continual flux opening up a new space and kandinsky proceded first to simplify the basic elements, then became more complex by putting into play their polarity, their extremes. In poetry kandinsky transposes pictural techniques in order to liberate sound through repetition, reducing the word to its proper sonority
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Reynolds, D. A. "Imagination and the aesthetic function of signification in the works of Rimbaud, Mallarme, Kandinsky and Mondrian." Thesis, University of East Anglia, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.376063.
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Conquer, Grace Beatrice Rey Lawson. "The poetics of colour in Stefan George, Rainer Maria Rilke, Wassily Kandinsky and Else Lasker-Schüler." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:de16361d-e146-494f-beb4-15703c880e9d.
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This thesis looks at the poetics of colour in Stefan George, Rainer Maria Rilke, Wassily Kandinsky and Else Lasker-Schüler. It argues that focusing on colour words allows us to think more carefully about the sort of making that poetry, around the turn of the twentieth century, was seen to be, its purpose and effects. In doing so it thinks also about this making-about the ways that words can be seen as the material of poetry, the ways poems relate to objects, and are objects, the ways poets negotiate semantic space and communicability. While other accounts argue for the specificity of a particular period, author, or hue, I argue for the specificity of the medium, a conclusion which seems necessary when considering how these particular poets thought about and through colour. While the poets' projects differ, colour can be used in each case like a prism, to separate out their attitudes and commitments towards their medium and its place in the world. The combination of these four poets, which is, to the best of my knowledge, unique, also allows new connections to be seen, whether, facing inward, in terms of colour itself, or outward towards the commitments regarding the poem that an approach via colour exposes. The four poets share an interest in the involvement, and in some cases, aesthetic education, of readers, and in how and what we can learn through reading, and particularly reading colour. What we learn has less to do with colours and how they are experienced than to do with the constructed world of the poem and its mechanisms, and of the role we have to play in animating this world.
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Zullo, Douglas Richard. "Getting off the ground : Wassily Kandinsky, John Cage, and the otherworldly qualities of the everyday world." Connect to resource, 1997. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1261325517.
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Maltas, i. Mercader Antoni. "Wassily kandinsky y la evolución de la forma: fundamentos teóricos para presenciar el espacio y el tiempo." Doctoral thesis, Universitat Politècnica de Catalunya, 2009. http://hdl.handle.net/10803/6565.
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¿Es posible abordar cuestiones pictóricas en Kandinsky en función del tiempo más bien que del espacio?, ¿cómo puede el tiempo ser la medida de un trabajo de Kandinsky cuando lo pictórico se manifiesta básicamente por una extensión sobre un soporte material?En Cours du Bauhaus, una recopilación de anotaciones de Kandinsky, aparecen términos como origen, transformación, adaptación, movimiento, evolución, etc. Son conceptos extraídos de estudios y experimentos vinculados con las ciencias de la naturaleza. Kandinsky traslada los resultados de la experimentación sobre las transformaciones que se dan en los organismos vivos al trabajo pictórico. Manuscritos de Kandinsky publicados recientemente confirman su interés por las teorías evolucionistas. Kandinsky conocía los principios postulados por Darwin. Si bien parece que acepta la idea darwiniana de un antepasado común, en un texto de Punkt und Linie afirmará que las leyes que rigen las semejanzas formales en los seres vivos no son directamente aplicables al trabajo artístico.
En una anotación de Cours du Bauhaus destaca la importancia del vitalismo, una doctrina que sostiene que los fenómenos vitales poseen un carácter singular y específico que les aleja de toda concepción que los reduce a fenómenos mecánicos o físico-químicos. La referencia bibliográfica de este apunte es Die Kultur der Gegenwart, la misma publicación de la que extrae algunos de los esquemas que aparecen en Punkt und Linie. Es la única vez que aparece el nombre de Henri Bergson en un texto de Kandinsky.
Kandinsky elabora un sistema de representación a partir de unos escritos teóricos que ven en el cambio la realidad más profunda de las cosas, una gramática formal en la que la evolución de la forma sustituya a cada una de las formas realizadas una a continuación de otra, y en la que en el movimiento haya más que en las sucesivas posiciones de un móvil. La teoría darwiniana de la selección natural intentaba explicar la adaptación de las especies al medio. Kandinsky definirá unas leyes que regulen la adaptación de los elementos formales entre sí. Una forma es el resultado de una mutua adaptación entre lo material y lo psicológico. Kandinsky introduce en algunos de sus trabajos un artificio que suscita movimiento: el péndulo, un aparato que se adapta perfectamente a los mecanismos que nuestro intelecto usa para reproducir el movimiento. El péndulo se adecua al yo interior del observador, lugar donde se da el tiempo verdadero, nunca fuera de éste. El péndulo es, en el sistema kandinskyano, el elemento formal paradigmático del movimiento.
La gramática kandinskyana no se basa en unas leyes que requieran un conocimiento previo. Los contornos de los elementos formales son lo suficientemente permeables para que nuestro yo inserte su acción y los modifique según sus necesidades. Kandinsky no pretende mostrarnos unos acontecimientos, sino que asistamos a ellos; no debemos observar algo que acontece delante nuestro, porque lo que acontece ante nosotros somos nosotros mismos. Presenciamos un balanceo entre dos extremos aparentemente opuestos; a continuación presenciamos el cambio, nos instalamos en el movimiento. Es el momento de la adaptación recíproca entre nuestro tiempo y el de la composición. El lenguaje kandinskyano, basado en la acción, se conjuga en presente.
Concluiremos que dibujo de Kandinsky no es la representación de algo estable, sino una sucesión de vistas: el resultado de un esfuerzo para situarse en el devenir. Aunque estamos sobre un soporte material, las formas todavía no han perdido su contacto con el movimiento. Los elementos formales que percibimos se dan en el devenir. Son dibujos que se hunden más en una dimensión temporal que espacial: duran porque los hacemos durar en nuestra duración. Concluiremos, también, que Essai sur les données immédiates de la conscience, "Introduction à la métaphysique" y L'Évolution créatrice, escritos de Bergson, son fuentes primarias que configuran el trabajo de Kandinsky.
It is possible to raise pictorial questions in Kandinsky depending on the time rather than the space? How can time be the measure of a Kandinsky work when the pictorial becomes basically apparent by an extension on a material support?
In Cours du Bauhaus, a compilation of Kandinsky notes, appear terms such origin, transformation, adaptation, movement, evolution, etc. There are concepts extracted from studies and experiments linked with natural sciences. Kandisnky transfers the results of the experimentation about transformations that arise in alive organisms in pictorial work. Kandinsky manuscripts recently published, confirm his interest about evolutionist theories. Kandinsky knew the principles proposed by Darwin. Although seems that he accepts the Darwinian idea of a common ancestor, in a text of Punkt und Linie will assert that laws that govern the formal similarities between living beings, are not directly applicable in artistic work.
In a Cours du Bauhaus note emphasizes the importance of the vitalism, a doctrine that supports that vital phenomenons have a singular and specific character that moves away every conception that reduces to mechanical or physic-chemical phenomenons. The bibliographic reference of this note is Die Kultur der Gegenwart, the same publication of which he extracts some of the outlines that appear in Punkt und Linie. It is the only time that appears the name of Herni Bergson in a Kandinsky text.
Kandinsky develops a representation system from a theoretical writings that see in the change the deeper reality of things, a formal grammar in which evolution form will substitute each forms made one following the other, and in which the movement has more than in the successive positions of a mobile. Darwinian natural selection theory, tried to explain species adaptation to environment. Kandisnky will define laws which will regulate adaptation between formal elements. One shape is the result of a mutual adaptation between the material and the psychological. Kandinsky introduces in some of his works a device that causes movement: the pendulum, a device that fits perfectly to the mechanisms that our intellect uses to reproduce movement. The pendulum is adapted to the observer's interior self, a place where the given time is true, never outside this one. The pendulum is in the Kandinskyan system, the paradigmatic formal element of the movement.
Kandinskyan grammar is not based in laws that require a previous knowledge. The outlines of the formal elements are enough permeable to make one self insert its action and modify it according to his needs. Kandinsky does not pretend to show us some events but to attend them; we do not have to observe something that happens in front of us, because what happens in front of us is ourselves. We witness a swing between two ends apparently opposites, then we witness the change, we are in the movement. Is the moment of the reciprocal adaptation between our and the composition time. Kandinskyan language, based on the action, combines in present.
We will conclude saying that a Kandinsky drawing is not a representation of something steady but a views succession: the result of an effort placed in the future. Although we are on a material support, the shapes had not lost their contact with movement yet. The formal elements we perceive are given in the future. Are drawings that sink in a temporal dimension rather than a space dimension: they last because we make them last in our duration. We will end also saying: Essai sur les données immédiates de la conscience, "Introduction à la métaphysisque" and L'Évolution créatice, Bergson documents, are primary sources that configure Kandinsky work.
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Sarkisian, Åkerman Ellen. "Konst i ruinerna av en utopi : en analys av nominerade bidrag till Kandinsky- och Innovatsijapriserna 2019/2020." Thesis, Uppsala universitet, Institutionen för moderna språk, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-437133.
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This thesis examines contemporary Russian art in selected works by nominees to the latest editions of the Kandinsky- and Innovation Prize. The analysis applies the concepts of dissensus, mimetic mourning and Soviet Antiquity. It is found that there is a tendency among the nominees to address the Soviet legacy in their art, in which some of them aim to preserve some aspect of it from being erased from memory and history. Art with elements of dissensus are also found among the nominees, and in some cases these two categories coincide.В рамках дипломной работы «Искусство на руинах утопии» рассматривается современное искусство в России на примерах лауреатов премий и номинаций на премии конкурсов Кандинского и фонда Инновация за последние два года (2019–2020). Анализ работы строится на комплексной методологической основе, исходящей из концепций диссенсус, миметическая скорбь и советская античность. В ходе исследования выявлена явная тенденция в среде нового поколения российских художников, впрочем возможно, связанная с приоритетами жюри, производящих отбор номинантов, к ретроспекции, обращения к советскому наследию. На этом фоне некоторые аспекты этого наследия, связанные с потерей или удалением из памяти как индивидуальной, так и коллективной истории, оказались важными для некоторых из рассмотренных авторов. В работе отмечено также, что части произведений номинантов присущи элементы диссенсуса, тогда как в других работах оба эти явления могут присутствовать одновременно.
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Roussel, Stéphane. "La main heureuse : symbole d'une époque et emblème de la rencontre entre Wassily Kandinsky et Arnold Schoenberg /." [Paris] : [Conservatoire supérieur de Paris], 2000. http://catalogue.bnf.fr/ark:/12148/cb41457249x.
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Mémoire--Histoire de la musique--CNR-Conservatoire supérieur de Paris, 2000.Conrient en annexe le livret de l'oeuvre d'Arnold Schoenberg, ainsi que des extraits de la partition. Bibliogr. f. 99-104.
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Faxedas, M. Lluïsa (Maria Lluïsa). "Del Simbolisme a l'abstracció: l'ideal de la unitat de les arts en l'obra de Kandinsky i Mondrian, 1886-1936." Doctoral thesis, Universitat de Girona, 2007. http://hdl.handle.net/10803/7848.
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Aquesta tesi explora els orígens de la pintura abstracta des d'un punt de vista eminentment conceptual. Parteix de la hipòtesi que l'abstracció es pot considerar la culminació dels ideals estètics del Simbolisme finisecular; i considera que un dels elements de continuïtat entre Simbolisme i abstracció fou l'ideal de l'obra d'art total o Gesamtkunstwerk. La tesi estudia els pintors Vassily Kandinsky i Piet Mondrian per mostrar, a través de l'anàlisi de les seves obres i textos, que aquest ideal d'obra total fou per ambdós un leit-motiv fonamental en la seva evolució vers l'abstracció. En el cas de Kandinsky s'estudien especialment les seves composicions escèniques, i en el cas de Mondrian, l'arranjament del seu estudi, projectes en el marc dels quals es va desenvolupar la seva pintura. En ambdós casos, com també en el Simbolisme, el projecte de l'obra d'art total es considera tant des de la vessant artística, com en relació al seu valor utòpic.This thesis explores the origins of abstract painting from a predominantly conceptual point of view. It begins with the hypothesis that abstraction may be considered as the culmination of the aesthetic ideals of turn of the century Symbolism, and considers that one of the elements of continuity between Symbolism and abstraction was the ideal of the total work of art, or Gesamtkunstwerk. The thesis studies the painters Wassily Kandinsky and Piet Mondrian to show, through analysis of their works and texts, that this idea of the complete artwork was a fundamental leitmotif for both artists in their evolution towards abstraction. In the case of Kandinsky, it studies in particular his scenic compositions and, in the case of Mondrian, the layout of his studio, the framework within which their painting was developed. In both cases, as in Symbolism, the project of the total work of art is considered as much from the artistic viewpoint as in relation to its utopian value.
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Borkhardt, Sebastian [Verfasser]. ""Der Russe Kandinsky" : Zur Bedeutung der russischen Herkunft Vasilij Kandinskijs für seine Rezeption in Deutschland, 1912-1945 / Sebastian Borkhardt." Göttingen : Böhlau Verlag Köln, 2021. http://www.v-r.de/.
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Garelli, Céline. "L’oeuvre d’art comme expression et comme langage dans l'Esthétique de Benedetto Croce." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040092/document.
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L’objectif principal de ce travail est d’établir le sens attribué à la science de l’expression et de préciser comment elle est identifiée à la linguistique générale, dans l’Esthétique de Benedetto Croce. Adversaire de l’intellectualisme et du rationalisme, Croce a éprouvé au plus profond de lui-même les questions que l’homme se pose. C’est dans l’expérience du langage que l’homme expérimente la profondeur de son existence au monde. Il s’agit de l’essence du langage comprise comme expression dans laquelle l’intuition se réalise intégralement. D’où, le langage est le résultat de la création irremplaçable de chaque expression singulière. C’est le langage non répétitif et intraduisible de l’œuvre d’art. Le langage est un art, il prend son sens dans l’art et se comprend par rapport à l’art. Philosophie du langage et philosophie de l’art sont la même chose. C’est selon cette perspective que l’art pour Croce est expression. C’est l’expression de l’intuition comme faculté de la transposition esthétique qui occupe la première position de la vie de l’esprit. Il en sera différemment pour la place de l’oeuvre d’art. Débat qui se prolongera sur la question de l’art abstrait, contemporain de l’Esthétique de CroceThe goal of my research is to establish the meaning given to the science of expression and specialy how it is identified to general linguistic, in Benedetto Croce’s Aesthetics. Against Intelectualism and rationalism, Croce felt deep inside him, the questioning of Man. It is in the experience of language that Man experiments the depth of his being to the world. The essence of language, understood as expression, is in which intuition realises itself, totaly. Therefore, language is the result of an irreplaceable creation of each single expression. It is a non repetitive and untranslatable language of the work of art. Language is art, it takes its meaning in art and is understood in regard to art. Philosophy of language and philosophy of art are alike. It is in this perspective that art for Croce is expression. It is the intuition’s expression as the faculty of aesthetic transposition that is in first position of the mind. It will be different for the work of art. This debate will continue on the question of abstract art, contemporary to the Aesthetics of Croce
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Draguet, Michel. "Genèse et naissance de l'abstraction de Kandinsky à Malevitch: essai de définition de la notion de Permière abstraction, 1911-1918." Doctoral thesis, Universite Libre de Bruxelles, 1990. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/213179.
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Potter, Julia Kathryn. "Geometry as space in art and architecture : the mediating role of geometry in the work of Kandinsky and Moholy-Nagy." Thesis, Georgia Institute of Technology, 1990. http://hdl.handle.net/1853/22383.
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Girard-Hamrouni, Micheline. "Pour une analyse créatrice du regard à l'oeuvre dans les démarches picturales de Kandinsky, Mondrian, Malevitch, Klee et Pignon Ernest." Paris 1, 2003. http://www.theses.fr/2003PA010688.
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Nous privilégions les disciplines qui pourraient se rapporter au concret de l' oeuvre comme I 'histoire de l'art, la phénoménologie, la sémiologie ou la poi͏̈étique. Nous leur empruntons quelques outils conceptuels que nous réinvestissons de l'expérience du regard - regard re-créateur, regard ré-créateur - et de l'expérience créatrice du faire, favorisant ainsi et multipliant la qualité à la fois objective et subjective de la corrélation artiste, oeuvre, spectateur dans le mouvement infini de leur entrecroisement. La dimension à la fois sensible et rationnelle qui se dégage de cette approche, fait de l' oeuvre un paradigme du réel dans sa totalité, où son effectivité constitutive s'avère propice à repenser la dimension sociale et politique de la réalité de la vie. L'analyse de quelques oeuvres de quatre peintres abstraits, (Kandinsky , Mondrian, Malevitch, Klee), démontre l'intérêt qu'il y a à favoriser le rapport à l' oeuvre dans sa subjectivité et son objectivité simultanément à partir de la lecture transversale des techniques, des cultures et des interférences, ce qui permet conséquemment d'investir d'un sens nouveau des concepts travaillant à la fois le champ de la création et celui du politique comme l'ouverture, la pluralité, l'identité, l'indétermination. A la lumière de cette circulation des concepts, nous abordons l' oeuvre du peintre Ernest Pignon-Ernest et nous tentons une pratique artistique multipliant objet, image et réversibilité.
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Cleave, J. L. "The significance of symbolism in the works of Wassily Kandinsky and Arnold Schoenberg (1908-1913) : a parallel study of style and aesthetics." Thesis, University of Bristol, 1987. http://hdl.handle.net/1983/7ee3ca0b-afd4-4c0a-bf72-96f93f20f175.
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Noirot, Julie. "La méthode Pierre Joly et Véra Cardot. Etudes et inventaire(s) des photographies du fonds Cardot-Joly de la Bibliothèque Kandinsky du Centre Pompidou." Paris 10, 2009. http://www.theses.fr/2009PA100127.
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L'histoire de l'art ne saurait se réduire à celle de quelques grands noms. De nombreux intervenants méconnus ont joué un rôle décisif dans la diffusion et la réception de la production artistique de leur époque. Parmi ces acteurs discrets, les deux photographes français Pierre Joly (1925-1992) et Véra Cardot (1920-2003), associés en 1959, ont accompagné, durant plus de trente ans, les œuvres d'environ cinq-cents architectes et artistes plasticiens contemporains. Acquis en 1997 par le Centre Pompidou, le fonds réunissant l'ensemble de leurs archives offre un témoignage exceptionnel sur l'art et l'architecture du XXe siècle. Cette thèse se propose d'étudier cet ensemble, en grande partie inédit, à travers une approche historique et poïétique, en mettant au jour moins un style qu'une méthode. Elle aborde l'itinéraire des deux photographes en le replaçant dans son contexte artistique, culturel et politique, puis met en évidence les principales caractéristiques de cette méthode (travail en duo, compagnonnage artistique, technique du reportage, stratégie du retrait, pratique séquentielle) par l'analyse détaillée du corpus. La portée critique et engagée de ces photographies est ensuite analysée, à travers l'étude de leur exploitation éditoriale, en particulier dans les publications consacrées au mouvement de l'« architecture-sculpture ». C'est finalement leurs photographies « abstraites et expérimentales » qui révèlent un aspect essentiel de la méthode : une utilisation autonome et personnelle du médium, située dès le départ entre l'art et le document. De simples archives, leurs photographies se font œuvres, d'allographe, le regard se fait autographeArt history is not only the fact of famous artists, but largely relies on a lot of discrete actors who contribute to art diffusion and reception. Among them, the two french photographers Pierre Joly (1925-1992) and Véra Cardot (1920-2003), who associated themselves in 1959, have accompanied the work of more than five hundred architects and artists of the twentieth century. Far from being simple archives, their snapshots, acquired by the Centre Pompidou in 1997, offer a precious lighting as well as an unique contribution to the study of contemporary art. This dissertation studies the whole collection from a historical and poietical point of vue, and show that this work must be seen as the result of a method. Firstly, the cultural, artistic and political influences of this atypical duo are detailled, and the main characteristics of their method (collective work, friendship with artists, journalistic format, sequential work) are precised with the study of the corpus. Then, the critical potential of their work is evidenced by the study of the publications, particularly those talking about the artists related to the « architecture-sculpture » movement. Last but not least, the examination of the « experimental and abstract » part of the Fonds Cardot-Joly demonstrates the creative part of their work, oscillating from the beginning between art and document. Being initially seen as allographic, their look becomes autographic
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Balas, Ronald J. "Designing the Airstream: The Cultural History of Compact Space, ca. 1920 to the 1960s." Kent State University Honors College / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1408097844.
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Hervé, Raymonde. "Mythe et représentations du char ailé,de Platon à Kandinsky : l’attelage de l’âme et le char céleste : interprétations épistémologique et herméneutique des images platoniciennes, pour une contribution à une topologie des images." Paris, EHESS, 2003. http://www.theses.fr/2003EHES0055.
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Les images platoniciennes et présocratiques de l’attelage de l’âme ailée et du char du démiurge ont fait l’objet de très nombreuses exégèses de la part de Plotin et de Proclus à qui l’on doit la théologie triadique ; de la part de Philon d’Alexandrie, Pic de la Mirandole ; et également des kabbalistes juifs qui leur adjoindront les représentations de l’Arche d’Alliance et du Trône de gloire. Chagall et Kandinsky peindront, quant à eux, le char de feu d’Elie mis en concordance chez ce dernier avec la figuration de l’envol de l’âme de l’artiste. Les poètes comme Dante, Hugo, Lamartine, Vigny mettront en vers tour à tour le mythe homérique, l’allégorie platonicienne ou la parabole religieuse dans une poésie humaniste. Ainsi l’exégèse a-t-elle assuré aux images platoniciennes plus qu’une survivance, mais une véritable évolution intellective au profit d’un renouvellement constant de la pensée. Mis en mouvement par Platon, le mythe homérique et les images des Présocratiques sont devenus des “ mythes philosophiques ”, à la fois spéculatifs, théorétiques et englobants puisqu’ils rassemblent les deux parties du discours : le muthos et le logos, comme ils réunissent les deux natures de l’âme : l’imagination et la raison. Par conséquent, l’analyse d’un mythe décliné en une multitude de représentations allégorisées exige une étude anhistorique et un rapprochement disciplinaire des sciences humaines par le rassemblement de différentes écoles de pensée : des Présocratiques aux Néoplatoniciens, des mystiques chrétiens aux mystiques juifs, des scolastiques aux humanistes, des Anciens aux Modernes, par la voie des deux approches épistémologique et herméneutiqueThe Platonic and preSocratic allegories of the winged vehicle are the object of very numerous examinations, from Plotin and Proclus by means of the triadic theology. Philon d’Alexandrie, Pic de la Mirandole and the haggadic and cabalistic texts gave them the Alliance Arche representation. Kandinsky and Chagall painted the inflamed vehicle of Elie, in accordance with the symbol of takeoff. Dante, Hugo, Lamartine, Vigny, like poets, sang in humanist way the Homeric myth, the Platonic allegory or the religious parable. Hence the human gesture assures to it much more than a survival, but a real intellectual evolution for the benefit of a constant renewal of the understanding and the thought. Put in movement by Plato, the Homeric myth became a ‘‘logioned’’ myth by means of the speculative speech, but also a containing sign which collected the halves of the speech : belief and reason, through the nave unifying. In the run-up towards the One, the harness of the soul becomes a clearly circular symbol. Consequently, the analysis of a myth declined in an allegorical multitude of representations requires an analogical study and an interdisciplinary link between the human sciences by the coming together of various schools of thought : from preSocratics to neoPlatonics, from mystic Christian to mystic Jewish, from Scholasticism to Humanism, by the way of two important disciplines. A philological approach puts texts in competition, and hermeneutic adapts the currents of thoughts to an ideal of wisdom. They have a direct relationship to the universal and structural alternative of the pratice and the theoretical, like the moving image of eternity
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Cléren, Marie. "Entre figuration et abstraction, danse et poésie plastiques : échanges et influences entre les peintres, les chorégraphes et les librettistes entre 1909 et 1933, en France, Allemagne, Italie et Suisse." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040133.
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Phénomène protéiforme, l’abstraction picturale a bouleversé le monde des arts à l’aube du XXᵉ siècle. En Europe, de la Belle époque aux Années folles, les peintres d’avant-garde ont croisé le chemin de poètes et de chorégraphes avec lesquels ils partageaient le même désir de changement. Sous l’égide de mécènes ou d’amateurs éclairés, leurs collaborations ont donné naissance à des spectacles d’un genre nouveau où les frontières entre les différentes disciplines se trouvent abolies. Associer la peinture, art de l'espace, à la danse, qui y introduit le temps, soulève quelques questions qui ont fait émerger l’idée d’un « ballet plastique » se substituant au « ballet dramatique » théorisé par Noverre. L’art chorégraphique et l’art pictural ont exercé l’un sur l’autre une influence réciproque dont la recherche commence seulement à mesurer l’importance. Cependant, peut-on parler d’abstraction totale dans un domaine où rien n’est plus concret qu’un corps qui danse ? S’il n’y a pas une évolution linéaire alliant la figuration à l’abstraction entre 1909 à 1933, certains principes mis en œuvre sur les toiles ont été appliqués à la fois sur la scène et dans les coulisses du ballet. Les peintres vont-ils réussir à rompre l’illusion en sortant de la cage de scène ? En agrandissant leurs toiles, vont-ils réussir autre chose qu’un tableau animé ? Que devient le livret dans un ballet où la lettre s’efface devant les couleurs et les formes ? Poser la question de l’abstraction en littérature revient à remettre en cause l’existence même d’un texte comme support du ballet. Or, le livret, loin de disparaître, se métamorphose et occupe aussi une place de choix dans cette composition abstraiteIn the run-up to the 20th century, a multifaceted phenomenon called pictorial abstraction has turned the art community upside down. In Europe, from the “Belle Epoque” to the Roaring Twenties, avant-garde painters have crossed paths with poets and choreographers with whom they shared their desire for change. Their collaborations with donors and enlightened amateurs gave rise to a new kind of shows in which the boundaries between the various artistic disciplines have been abolished. The association of painting to spatial art and dance that also brought in time, raised questions that led to an idea of a “plastic ballet” as a substitute for “dramatic ballet”; an idea put forward by Noverre. The choreographic and pictorial worlds have had a reciprocal influence on one another; however, the research world is only now starting to consider the significance of these interactions. Anyhow, is it possible to talk about a total abstraction within this particular field, knowing that nothing can be more concrete than a dancing body? This trend is not a linear evolution from figuration towards abstraction between 1909 and 1933 but some principles used on canvases were applied in the ballet world, both on stage and backstage. Will painters manage to break the illusion by breaking out of the cage-like stage? By expanding the sizes of their paintings, will they have anything else to show than animated tableaux? What happens to the libretto in a ballet where letters are outweighed by colours and shapes? Questioning abstraction in literature involves questioning the mere existence of texts as the underpinning of ballets. Yet, the libretto is far from disappearing ; it transforms itself and is thus at the forefront of this abstract composition
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Lewis, Ryan D. "An ontology of images and painterly subjectivity : towards a Bergsonian philosophy of art." Thesis, University of Dundee, 2013. https://discovery.dundee.ac.uk/en/studentTheses/2ebece1a-39f7-49ae-a282-88a8ac095b21.
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This investigation attempts to consider the identity of the contemporary Bergsonian philosophy of immanence by reflection on key conceptualisations from the work of Henri Bergson. From the view that thinking Bergsonian is an attitude of philosophy that anticipates the metaphysics of a philosophy of process, the demands of the emergence of thinking in art plays a role the directions of philosophical development. It is by this concern that key Bergsonian concepts serve as grounding of philosophical reflections of the related themes of time, images, and movement, and the change of thinking, towards an encounter of the practice of philosophy through the process of painting. Under the rubric of contemporary process metaphysics in art, we will attempt to establish a conceptual framework from principle Bergsonian conceptualizations, to acknowledge the process of painting as a different methodology of philosophy. This study of philosophy through painting then becomes a corresponding philosophy of the difference of thinking and the challenges to go beyond its identity. Proceeding by Bergsonian conceptualisations, to frame the context for a philosophy of painting, the question of the identity of painting is situated according to the didactic philosophies of Wassily Kandinsky. The comparisons and philosophical engagement between Bergsonian thinking and Kandinskian painting will be mediated by the counter interpretations of the philosophy of Michel Henry. The motivation to return to Bergsonian, exercised by a synthesis of Bergson’s concepts and Kandinsky’s theoretical practice, is situated according to an understanding of the identity of painting according to the terms of an ontology of images. In terms of a Bergsonian account of image, supported by a Kandinskian perspective, the focus will be towards the possibilities of philosophy and the metaphysics of becoming through the process of painting.
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Devito, Simona. "Kandinskij fra VChUTEMAS e Bauhaus." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2019. http://amslaurea.unibo.it/18885/.
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Questo elaborato tratta il tema dell’esperienza artistica di Vasilij Vasil’evič Kandinskij all’interno del VChUTEMAS a Mosca e in seguito in Germania presso il Bauhaus. La tesina si divide in due parti: nella prima viene descritto il VChUTEMAS, l’istituto con cui Kandinskij collabora a Mosca e successivamente viene delineata l’esperienza di Kandinskij al VChUTEMAS. Nella seconda parte viene affrontata la descrizione del movimento Bauhaus e la collaborazione di Kandinskij con quest’ultimo.
Uno degli obiettivi di quest’elaborato consta nel cercare analogie tra VChUTEMAS e Bauhaus, per questo il mio lavoro affronta su due binari paralleli l’evoluzione delle due scuole e la collaborazione di Kandinskij con esse e dopo, brevemente, anche gli elementi in comune tra VChUTEMAS e Bauhaus.
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Annis, Shannon M. "Kandinsky's dissonance and a Schoenbergian view of Composition VI." [Tampa, Fla.] : University of South Florida, 2008. http://purl.fcla.edu/usf/dc/et/SFE0002543.
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Schio, Sônia Maria. "Hannah Arendt : a estética e a política (do juízo estético ao juízo político)." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2008. http://hdl.handle.net/10183/14684.
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