To see the other types of publications on this topic, follow the link: Kandinsky.
Journal articles on the topic 'Kandinsky'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Kandinsky.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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.
2
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.
Full textAbstract:
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
3
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.
Full text
4
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.
Full textAbstract:
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.
5
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.
Full textAbstract:
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.
6
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.
Full textAbstract:
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.
7
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.
Full textAbstract:
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
8
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.
Full textAbstract:
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.
9
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.
Full textAbstract:
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.
10
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.
Full text
11
Christensen, Emily. "Wassily Kandinsky at the Exhibition "Meisterwerke muhammedanischer Kunst" in Munich, 1910." Manazir Journal 3 (March 7, 2022): 165–73. http://dx.doi.org/10.36950/manazir.2021.3.11.
Full textAbstract:
In 1910, Wassily Kandinsky attended the Munich exhibition Meisterwerke muhammedanischer Kunst and subsequently wrote a review of it for the Russian literary journal Apollon. His review, which almost exclusively discussed the Persian paintings on display, provides insights into Kandinsky’s way of seeing and understanding these objects at a significant moment in his artistic development. The most compelling aspect of his review is his repeated articulation of the sense of revelation that he experienced in front of these works. Conveying a sense of revelation through his own paintings was Kandinsky’s primary goal in this period, and was a concept he struggled to formulate in his art. I argue that Kandinsky developed one of his primary artistic strategies in response to a specific practice that he had first encountered at the Meisterwerke exhibition: the Persian artist’s practice of painting hidden forms within a composition. This article looks closely at a work from the exhibition, Sleeping Rustam (attributed to Sultan Muhammad, 1515-1522), which incorporates hidden figures in its rock formations, a practice described as demanding careful and sustained scrutiny by the viewer before the faces and forms reveal themselves. Kandinsky himself wrote later that his works from 1910, “dissolved objects to a greater or lesser extent within the same picture, so that they might not all be recognized at once and so that these emotional overtones might thus be experienced gradually by the spectator, one after another”; a process that the author believes he may have adapted from Persian paintings.
12
Zhang, Kang, and Jinhui Yu. "Generation of Kandinsky Art." Leonardo 49, no. 1 (February 2016): 48–54. http://dx.doi.org/10.1162/leon_a_00908.
Full textAbstract:
The authors present a programmed experiment to automatically generate art in the style of Kandinsky during his Bauhaus years. The program the authors developed analyzes the artist’s paintings based on his art theories and the authors’ own understanding and observations of his artworks. The authors describe the generation process in detail and share and discuss sample generated images styled according to four of Kandinsky’s paintings. By pseudorandomizing various parameters, the program is able to make each styled image it generates unique. The authors’ approach is highly scalable, limited only by the memory space set in the programming language Processing, which is used for the generation. Potential impacts of the authors’ approach are also discussed.
13
Kharitonova, Natalya S. "Synthesis of Arts in Vasily Kandinsky's Creative Work." Journal of Flm Arts and Film Studies 9, no. 4 (December 15, 2017): 96–104. http://dx.doi.org/10.17816/vgik9496-104.
Full textAbstract:
The author analyzes the processes associated with synthesis of arts at the turn of the 19-20th centuries basing on Russian artist Vasily V. Kandinskys creation. He felt a certain relationship between different kinds of art and the need for combining them to create something special, new and unique. For the first time, the artist wrote about this in his book Concerning The spiritual in art, where he articulated the idea of affinity of all kinds of art, especially music and painting. Defining pictorial art as a part of spiritual life that promotes the movement forward and upward, Kandinsky develops not only the theory of the influence of color and color combinations on the viewer, but argues that the form (abstract or geometric) has an inner sounding in turn. Thus, straight lines are youthful, the curves convey maturity, the point is a small world, the horizons sound cold and flat, the verticals are warm and sublime, sharp corners are warm, while straight lines are cold and austere. Vasily Kandinsky believed that the composition was a chord of colorful and picturesque forms that exist independently as such, which are caused by inner necessity and constitute the whole, called a painting. The artist claimed that our harmony is based mainly on the principle of color and sound contrast. Not accidentally, Vasily Kandinsky, noting a strong impression in his youth from Wagners operas, entered the Monogram signature on his works in the triangle, and used musical terms for titles of his works: improvisation, composition, Fugue, Concerto, Suite, and others. Defining the scenic arts as part of spiritual life, which contributes to moving forward and upward, Kandinsky developed not only the theory of color effects and color combinations on the viewer, but argued that the form (abstract or geometrical) has inner sound in turn.
14
Severin, Constantin. "Wassily Kandinsky." World Literature Today 96, no. 3 (May 2022): 42–43. http://dx.doi.org/10.1353/wlt.2022.0117.
Full text
15
Müller, Heimo, and Andreas Holzinger. "Kandinsky Patterns." Artificial Intelligence 300 (November 2021): 103546. http://dx.doi.org/10.1016/j.artint.2021.103546.
Full text
16
Weiss, Peg, and Vivian Endicott Barnett. "Kandinsky Watercolors." Art Journal 53, no. 4 (1994): 96. http://dx.doi.org/10.2307/777571.
Full text
17
Bischin, Maria-Roxana. "Choreographing Kandinsky’s ‘Spiritual’ in Sergei Diaghilev’s Ballets Russes." Sæculum 47, no. 1 (July 1, 2019): 153–67. http://dx.doi.org/10.2478/saec-2019-0015.
Full textAbstract:
AbstractThe purpose of this article is to demonstrate that Wassily Kandinsky’s geometrical paintings were inspired by the ballet world, and by the body movements of the ballerina. Moreover, painting and ballet communicate with each other. And geometry has helped that. Then, the idea of this article starts with the necessity in relating Kandinsky’s Spiritual theory on non-materiality exposed in Über das Geistige in der Kunst with Sergei Diaghilev’s Ballets Russes brought on Parisian scene between 1909s and 1929s. Ballets Russes is the term which names all the ballet representations thought and designed by Sergei Diaghilev after his musical-cultural conflict with Nikolai Rimski Korsakov. Starting with 1907s, Kandinsky had initiated Der Blaue Reiter group and he starts with various drawing techniques. Were favourable years in which Kandinsky’s evolution from simple drawings to sophisticated Compositions got up. We are witnessing a cultural increasement. So, the ballet, the music, the theatre and the painting can not be separated any more or, at least, or, at least, cannot be thought of separately as systems of aesthetic theory. The aesthetic evolution from ballet and theatre had influenced the evolution in painting. What we will try to show as novelty in our investigation, is the kinetic and spiritual relation between Kandinsky’s Compositions and some representations from Ballets Russes by Sergei Diaghilev, especially with the «L’Oiseau de feu». In conclusion, we want to show how the lines designed by Wassily Kandinsky are describing ballet’s movements. The methods used in our research have consisted in the inter-artistic comparison between Wassily Kandinsky’s theory of painting and the ballets designed by Sergei Diaghilev. We also brought a philosophical and personal perspective on both worlds.
18
Kerimova, Marijam M. "NIKOLAJ HARUZIN IN VASILIJ KANDINSKIN. N. KHARUZIN AND W. KANDINSKY." Traditiones 36, no. 1 (October 12, 2007): 229. http://dx.doi.org/10.3986/traditio2007360116.
Full text
19
Tang, Haitian. "Comparative analysis of musicality in the works of Kandinsky and Zhu Dequn." Человек и культура, no. 4 (April 2024): 1–9. http://dx.doi.org/10.25136/2409-8744.2024.4.70558.
Full textAbstract:
The object of the study is the works of the founder of abstract expressionism, Vasily Kandinsky, and the Chinese artist Zhu Dequn. The subject of the study is musicality in the works of Vasily Kandinsky and Zhu Dequn. The author conducts a detailed comparative analysis of abstract ideas and works of two artists in order to study their emotions and sources of inspiration. Special attention is paid to the influence of V. Kandinsky's works on Zhu Dequn's work, as a result of which the Chinese artist tried to combine Western music with the rhythms of Chinese calligraphy, giving his works a deeper meaning. In addition, from the standpoint of a sense of musicality, Zhu Dequn's works such as "The Rhythm of Rebirth" and "Pacification" are considered in the article. It is noted that Zhu Dequn's work is focused on reflecting the spirit, culture and emotions. To achieve the goal set in the research process, approaches and methods of modern philosophy, cultural studies, and art criticism were used. The main conclusions of the study are that under the influence of V. Kandinsky's theory, Zhu Dequn became more musical in his abstract paintings. Despite the fact that Zhu Dequn was not very experienced in music theory and performance, he could accurately capture the melody and rhythm of instruments such as traditional Chinese guzheng, as well as feel the light and color created by a musical composition. The author's main contribution to the study is to demonstrate the influence of V. Kandinsky on the works of Zhu Dequn, who managed to incorporate philosophical ideas and elements of local culture into his works under the influence of music, thereby creating a unique Chinese abstract art. The novelty of the study lies in the fact that the author described how Zhu Dequn's paintings reflected a combination of Chinese and Western painting, which is a valuable example for the exchange and development of Chinese and Western culture and art.
20
Shevchuk, Veronika Gennadiyevna. "Dialogicity and Textuality as Features of the Cultural Space of V. Kandinsky and D. Burliuk." Философия и культура, no. 3 (March 2023): 9–27. http://dx.doi.org/10.7256/2454-0757.2023.3.39706.
Full textAbstract:
The appeal to the cultural space of the Silver Age and the Russian avant-garde allows us to judge the diversity of manifestations of the cultural text, the uniqueness of the dialogue between the cultural worlds of Russia and Europe, East and West. The cultural space of prominent representatives of the Russian avant-garde, including V. Kandinsky and D. Burliuk, was distinguished by a combination of artistic creativity and theoretical views, that is, a variety of synthesis of visual, verbal, auditory and other texts. Accordingly, the object of the study is the creative and theoretical heritage of V. Kandinsky and D. Burliuk, consisting of many texts, the subject is the identification of characteristic features of their cultural worlds, such as dialogicity and textuality. The scientific novelty and purpose of our research consists in the culturol analysis and method of comparing the artistic and theoretical views of the artists-thinkers V. Kandinsky and D. Burliuk, in identifying the inseparable connection of their various texts: artistic, visual, verbal, auditory and others. It is established that the originality of the national culture is due to the history of Russia and its location between Europe and Asia. The simultaneous coexistence of cultural phenomena of the past, present and future, their continuity and competition among themselves is a non-linear process, which happens in the era of the Silver Age. This "transitional" period at the junction of the XIX-XX centuries is characterized as an "explosion" situation. The embodiment of the unity of the traditions of Russian and European arts, the interweaving of their artistic achievements and theoretical attitudes in V. Kandinsky's worldview, as well as theoretical views on art problems and the originality of D. Burliuk's artistic text with his passion for Oriental art – all this confirms the similarity of the creative attitudes of artists-thinkers. A comparison of their verbal and artistic texts leads to the conclusion that the features of the cultural worlds of V. Kandinsky and D. Burliuk are dialogic, textual and synthetic.
21
Snedkov, E. V., A. E. Veraksa, and P. Y. Muchnik. "Clinic and pathophysiology of false sensory perceptions in the scientific views of Viktor Kandinsky." V.M. BEKHTEREV REVIEW OF PSYCHIATRY AND MEDICAL PSYCHOLOGY 57, no. 1 (April 9, 2023): 96–108. http://dx.doi.org/10.31363/2313-7053-2023-679.
Full textAbstract:
In the monograph «Kritische und klinische Betrachtungen im Gebiete der Sinnestäuschungen» (1885) and in its Russian version «On pseudohallucinations» (1890) V.Kh. Kandinsky was the first in the world to present a detailed differentiation of clinical forms of false sensory perceptions, specificating simple hallucinations, dream-like hallucinations and two varieties of pseudohallucinations. He set out descriptions of phenomena that resemble false perceptions, but are not them: unvoluntary speech, some forms of pathology of the ideation sphere, and pathology of the imaginary sphere. Several mental states described by the author later entered the psychiatric lexicon under new names: «speech-motor hallucinations» (Séglas), «delusion of the imagination» (Dupré and Logre), «autistic thinking» (Bleuler), «hypotonia of consciousness» (Berze), «oneiroid form of experience» (Mayer-Gross). Kandinsky supplemented clinical descriptions with an original pathophysiological hypothesis. The author believed that the thalamus, specific to each modality and multimodal cell groups of the sensory cortex, centers of abstract (symbolized) representations, and Broca’s center are involved in various configurations in the acts of sensory perception and the origin of the forms of his deceptions; the state of the frontal functions and the nature of the reflection of images of perception in consciousness are of paramount importance.The author illustrated his hypothesis with schemes of differentiated involvement of thalamocortical and transcortical networks. This article analyzes the reasons why Kandinsky’s hypothesis remained unknown to specialists until recently, and his descriptions of the forms of false sensory perceptions were taught in a distorted or simplified form. Despite the target testing of the hypothesis having never been carried out, all its main provisions are confirmed by the results of modern research. Russian psychiatrists successfully apply the systematics of hallucinations developed by Kandinsky in clinical practice. Remaining to this day the only clinical and pathophysiological hypothesis, Kandinsky´s clinical and pathophysiological hypothesis is extremely promising for studying the etiopathogenesis of mental illness and developing effective means of treating them.
22
Sutil, Nicolas Salazar. "Mathematics in Motion: A Comparative Analysis of the Stage Works of Schlemmer and Kandinsky at the Bauhaus." Dance Research 32, no. 1 (May 2014): 23–42. http://dx.doi.org/10.3366/drs.2014.0085.
Full textAbstract:
This essay looks at the seminal work of Bauhaus practitioners Wassily Kandinksy and Oskar Schlemmer in terms of their multidisciplinary approach to the performing arts, and the dance in particular. Whilst their contribution has been widely recognized in terms of a cross-pollination of ideas from the fine arts to the performing arts, this essay also addresses the influence that compositional methods, based on techniques derived from figural drawing, as well as the study of form and geometry, might have had in their choreographic practice. I argue that despite stylistic similarities, these works present a divergent approach to the question of a geometrized motion design, which Schlemmer called ‘mathematics in motion’. I discuss the concept of ‘abstract dance’ promoted by Kandinsky, in terms of a visualistic method, where movement is rendered both as a succession of still images and as an imaginary process. Schlemmer, on the other hand, promoted a synthesis of abstract and physical, as part of a model for live performance known as ‘balletic mathematics’. I expand on this distinction in terms of a differential sense schematic approach to movement, one being visual, the other proprioceptive. Landmark works produced by these artists during the Bauhaus years (1922–1933) are called upon as case studies, including Kandinsky's Dance Curves (after Gret Palucca), and Schlemmer's renowned Stäbetanz.
23
Dalvesco, Rebecca. "Kandinsky and Chernikhov." American Journal of Semiotics 31, no. 3 (2015): 397–416. http://dx.doi.org/10.5840/ajs20162510.
Full text
24
Lambert, Julie. "Kandinsky, passage obligé." Esprit Mai, no. 5 (2009): 202. http://dx.doi.org/10.3917/espri.0905.0202.
Full text
25
Vaisse, Pierre. "Kandinsky à Paris." Commentaire Numéro32, no. 4 (1985): 1197. http://dx.doi.org/10.3917/comm.032.1197.
Full text
26
Vanechkina, I. L., and B. M. Galeyev. ""Prometheus": Scriabin + Kandinsky." Leonardo 31, no. 3 (1998): 183. http://dx.doi.org/10.2307/1576568.
Full text
27
Brandl, Mark Staff. "Re-reading Kandinsky." Art Book 5, no. 2 (March 1998): 13–15. http://dx.doi.org/10.1111/1467-8357.00084.
Full text
28
Long, Rose-Carol Washton, Annegret Hoberg, Gabriele Munter, Wassily Kandinsky, Jelena Hahl-Koch, Peg Weiss, Magdalena Dabrowski, Vivian Endicott Barnett, and Helmut Friedel. "Kandinsky Re-Visited." Art Journal 55, no. 3 (1996): 84. http://dx.doi.org/10.2307/777769.
Full text
29
VERGO, PETER. "KANDINSKY AND MUSIC*." Experiment 9, no. 1 (2003): 49–56. http://dx.doi.org/10.1163/2211730x03x00047.
Full text
30
Khrol, Natalia. "Science way through the prism of illness: Victor Khrisanfovich Kandinsky (dedicated to 170 th anniversary)." Ukrains'kyi Visnyk Psykhonevrolohii 27, no. 2 (99) (June 10, 2019): 78–81. http://dx.doi.org/10.36927/2079-0325-v27-is2-2019-17.
Full textAbstract:
The article is devoted to the analysis of the difficult life path of an outstanding domestic psychiatrist — V. Kh. Kandinsky, whose life was complicated by illness. His scientifi c path is highlighted, the essential contribution of V. Kh. Kandinsky in modern psychiatry were identify. It allowed to enrich by necessary data of psychopathological phenomena, to expand the concept of insanity and to improve the classifi cation of mental diseases. Key words: Kandinsky V. Kh., life path, psychopathology, insanity, pseudo hallucinations
31
Zavadska, Galina, and Ilona Bagele. "THE SYNTHESIS OF PAINTING AND MUSIC: WASSILY KANDINSKY – ALFRED SCHNITTKE." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 28, 2021): 727–34. http://dx.doi.org/10.17770/sie2021vol4.6190.
Full textAbstract:
The interaction between colors and sounds, music and painting has existed long since. Throughout the centuries these two kinds of art have been developing simultaneously and in close contact with each other, besides. Composers, especially those of the 20th century, find in the sphere of painting images for their musical compositions, without trying to depict definite plot lines or specific landscape sketches. The paper analyzes a specific composition by Alfred Schnittke – Wassily Kandinsky – The Yellow Sound. Research aim: to investigate the features of musical implementation of W. Kandinsky’s ideas by Alfred Schnittke on the basis of a comparative analysis of specific compositions of both authors. Research method: a comparative analysis
32
Mota, Marcus. "O MONSTRUOSO EM O OURO DO RENO." Revista de Estudos de Cultura 5, no. 16 (August 4, 2020): 113–24. http://dx.doi.org/10.32748/revec.v5i16.14167.
Full textAbstract:
Neste artigo, através do diálogo entre obras e idéias de Richard Wagner e Wassily Kandinsky, é discutida a produção de afetos extremos em obras multissensoriais.
Palavras-chave: Richard Wagner. Wassily Kandinsky. Pathos. Monstruoso. Das Rheingold
33
Wangermée, Robert. "Kandinsky et Schoenberg, Schoenberg et Kandinsky. Sur quelques conjonctions peinture-musique." Bulletin de la Classe des Beaux-Arts 69, no. 1 (1987): 113–37. http://dx.doi.org/10.3406/barb.1987.41120.
Full text
34
Renaud (Ed.), L. T. "Kandinsky Beyond Painting: New Perspectives." Dramaturgias, no. 9 (May 29, 2019): 91–177. http://dx.doi.org/10.26512/dramaturgias.v0i9.24910.
Full textAbstract:
This Special Issue on Kandinsky is dedicated to exchanges between Theatre and Music, artists and researchers, practitioners and close observers. The Contents were also selected to interest and surprise the general public’s multitudes of Kandinsky aficionados.
35
Listengarten, Julia. "Visual Aurality in Russian Modernist Experiments: Explorations in Synesthesia and Auditory Imagination." Recherches sémiotiques 35, no. 2-3 (August 31, 2018): 77–96. http://dx.doi.org/10.7202/1051069ar.
Full textAbstract:
Russian modernist experiments in sensory communication include the interplay of sound and light in Alexander Scriabin’s symphonic mysteries as well as colored sounds in Wassily Kandinsky’s stage compositions. Inspired by various philosophical principles and creative methodologies, these artists explored the dialogue between the aural and the visual and its potential to influence the creative process and impact audience perception. This article seeks to assess the role of music and sound in synesthetic experiments of Scriabin and Kandinsky and place their theory and practice within the larger philosophical, artistic, and scientific contexts of their period and beyond.
36
Mia Reich. "“Framing” Kandinsky’s Painting with Red Spot (1914)." Athanor 39 (November 22, 2022): 65–80. http://dx.doi.org/10.33009/fsu_athanor131134.
Full textAbstract:
In contemporary museum studies discourse, scholars have begun to reexamine both the role of the curator and exhibition space in their joint effect on visitor experience. Underpinning the relationship of these three parties is the element of language, or more commonly known within this discipline, the wall label. This label intrinsically “frames” its adjacent artwork as it proposes a certain narrative, one that is crafted by curators and communicates ideas and themes deemed important by its writers. However, what about art that eludes one singular interpretation, such as abstraction? Could proposing an exclusive narrative be detrimental to the multiplicity of meaning that abstract art promotes?
Considering these issues, this paper examines Painting with Red Spot (1914) by Wassily Kandinsky and its current “framing” at the Centre Pompidou in Paris to analyze both the relationship between language, abstraction and meaning making, and the complicated role of artist intent that accompanies exhibiting Kandinsky. This paper argues that “framing” Kandinsky’s P.W.R.S in relation to the artist’s contradictory embrace of kitsch in 1914 will provide a framework for his stylistic experiments at this time in his career, offering the proper stepping-stones to encourage contemplation while still leaving room for a multiplicity of meaning.
37
Vergo, Peter. "KANDINSKY CATALOGUED OR MEMORIALISED?" Art History 8, no. 4 (December 1985): 496–98. http://dx.doi.org/10.1111/j.1467-8365.1985.tb00188.x.
Full text
38
Buckley, Peter J. "Wassily Kandinsky, 1866–1944." American Journal of Psychiatry 171, no. 10 (October 2014): 1054–55. http://dx.doi.org/10.1176/appi.ajp.2014.14010053.
Full text
39
Ione, Amy, and Christopher Tyler. "Was Kandinsky a Synesthete?" Journal of the History of the Neurosciences 12, no. 2 (June 1, 2003): 223–26. http://dx.doi.org/10.1076/jhin.12.2.223.15540.
Full text
40
Kathrani, Paresh. "‘Kandinsky-fying’ the law." Translation and Translanguaging in Multilingual Contexts 3, no. 3 (October 16, 2017): 370–87. http://dx.doi.org/10.1075/ttmc.3.3.06kat.
Full textAbstract:
Abstract Sources of law are made up of terms that, amongst other things, mediate between facts and different results, and it is the role of lawyers to explain or justify why a particular interpretation or permutation of a given term should be taken in a given case. Such terms do not exist in isolation, but are hugely contextual and play an integral role in intermediating between different potential outcomes. Therefore, the skill of carefully applying and using legal terms is one of the primary focuses of legal education and calls for a consideration of the intricate role that legal terms play in legal argumentation. However, sometimes this endeavour in the law classroom is affected by the focus placed on the meaning of individual terms, as opposed to the broader role they have in legal reasoning and the analysis of legal outcomes. In considering this, this paper draws a contrast between the way in which students sometimes use different legal and moral terms in the various roles in their lives outside of the classrooms and within, and contends that one of the reasons for this is the greater liberty that they feel in using different terms outside of the classroom. This paper contends that, pedagogically, a similar level of independence can be achieved through the collaborative translation of legal concepts into abstract art, by enabling students to take greater co-ownership of legal language. Specifically, it argues that Wassily Kandinsky’s art theory, with its emphasis on the spirit and emotions, can provide an effective framework for this.
41
Abed, Murtadha Atewa. "THE INFLUENCE OF THEOSOPHY ON MODERN PAINTING." American Journal Of Social Sciences And Humanity Research 4, no. 4 (April 1, 2024): 42–48. http://dx.doi.org/10.37547/ajsshr/volume04issue04-07.
Full textAbstract:
An interesting subject that delves into the junction of spirituality, philosophy, and creative expression is the effect of Theosophy on contemporary painting. In the late 19th century, Helena Petrovna Blavatsky established the spiritual movement known as Theosophy. Theosophy is a belief system that seeks to discover the truth about the oneness of all faiths and delve further into the secrets of life, positing the existence of concealed realities beyond the material world. During the late 19th and early 20th centuries, Theosophy wielded a transformative influence on the field of contemporary art. Its principles were not just influential, but potent enough to reshape the work of even the most prominent painters. Russian artist Wassily Kandinsky is a testament to this; his journey was not just instrumental, but transformative in the ascent of abstract expressionism.Theosophical teachings resonated deeply with Kandinsky, echoing not just his profound spirituality, but his personal quest to uncover art's hidden significance. Theosophy posited the existence of concealed realities beyond the material world, placing not just a premium, but a profound importance on the spiritual facets of life. For Kandinsky, art was not just a portal, but a profound conduit for these higher realms, a conduit for the cosmic spirit to manifest. This profoundly impacted Kandinsky as he veered away from realistic imagery and delved into the realm of abstract painting. He aimed to articulate spiritual experiences and emotions through the medium of color and shape. For instance, in his painting 'Composition VII, 'Kandinsky used vibrant colors and dynamic shapes to convey a sense of spiritual energy and movement. Driven by the belief that art could convey profound, transcendent truths, his work progressively shed its symbolic nature. Famous for his geometric abstract paintings, Piet Mondrian was another artist impacted by Theosophy. Theosophy's principles of spiritual progress and cosmic oneness resonated with Mondrian's search for inner peace and a sense of cosmic order, which were crucial to his creative process. For instance, in his painting 'Composition with Red, Yellow, and Blue, 'Mondrian used primary colors and straight lines to represent the harmony and balance he believed existed in the universe, a concept aligned with philosophical ideas. Beyond specific artists, the influence of Theosophy on contemporary art might be seen in more systemic currents like Abstract Expressionism and Symbolism. Some artists, like the symbolists, drew inspiration from the theosophical tradition's emphasis on introspection and mystical themes. Theosophy had not just a significant but a lasting impact on contemporary painting. It inspired painters to seek not just new ways but innovative ways of expressing themselves that went beyond traditional depictions. Modern painting's enduring legacy is not just profoundly rooted but intricately intertwined with theosophical ideas of spirituality, oneness, and inner change, which fostered not just the emergence but the flourishing of abstract and emotionally charged art forms, such as Wassily Kandinsky's abstract expressionism and Piet Mondrian's geometric abstraction, which aimed not just to convey, but to evoke spiritual and emotional experiences through non-representational forms.
42
Gromek, Karol. "Kandinsky’s Figure R." Tekstualia 2, no. 49 (June 12, 2017): 177–85. http://dx.doi.org/10.5604/01.3001.0013.3108.
Full textAbstract:
The article focuses on the present status of interpretation in the humanities. After poststructuralism, whose proponents have undermined all major components of the humanistic discourse, the role of the researcher also appears to be problematic. The article therefore proposes a new category to defi ne the position of the reader in critical analysis. This has been done through a reference to Victor Kandinsky, a famous Russian pioneer of psychiatry. Selected events from Kandinsky’s life have been juxtaposed with the process of interpretation to produce a new defi nition of the interpreter based on four attributes: textual experience, the contestation of the fi elds of truth, the fear of over-interpretation and the lack of individuality.
43
Velilla, Carlos. "Tal Vez no Sepa Vd. que yo también Pinto. Arnold Schönberg." Barcelona Investigación Arte Creación 6, no. 3 (October 3, 2018): 235. http://dx.doi.org/10.17583/brac.2018.3364.
Full textAbstract:
This article is about the work of Arnold Schönberg1 (1874-1951) as a painter, a little-known facet, but a skill which has shown in excellent art expositions, both in life and posthumously. The last Arnold Schönberg. Peintre l’âme in the MahJ Museum (le musée d’art et d’histoire du Judaïsme) in París in 2016. In Barcelona in 1992: Arnold SchönbergPaintings and drawings. The collection of art work, an exhibition that came from Vienna, Cologne, Manchester, Berlin and Milan. Schönberg answers the first letter from Wassily Kandinsky (1866-1944), and tells him he was apainter, too, and wanted to speak to him about art. These works reveal the relationships that he established in his life: painting and music, idea and style, art and life, tonality and atonality, the established and the new. The doubts faced during some hard years due to the fall of an empire and theapparent peace. Pain in the vanguards at the beginning of the twentieth century. The importance of their meetings and the extensive correspondence with Kandinsky and other artists. The quest for total art. The relationship between Kandinsky’s book “The Spiritual in Art” (1912), which hedelivered to the printer at the same time as Schönberg published his “Treaty on harmony” (1911); despite their conceptual differences both have a common intention: to create from inside the individual’s interior. At the same time, atonal music and abstract art were born. Schönberg was spoken of as a musician, teacher, writer, inventor, scenographer, designer and painter.
44
Van de Casteele, Eric. "Le fil rouge de Kandinsky." Vingtième Siècle, revue d'histoire 6, no. 1 (1985): 145–50. http://dx.doi.org/10.3406/xxs.1985.1244.
Full text
45
de Casteele, Eric Van. "Le fil rouge de Kandinsky." Vingtième Siècle. Revue d'histoire, no. 6 (April 1985): 145. http://dx.doi.org/10.2307/3768847.
Full text
46
Jacobs, Isabel. "K. Kienzler, Cézanne, Klee, Kandinsky." Phenomenological Reviews 7 (2021): 48. http://dx.doi.org/10.19079/pr.7.48.
Full text
47
Covington, Kate R., Richard Rodney Bennett, and Emma Lou Diemer. "Kandinsky Variations; For Two Pianos." Notes 43, no. 1 (September 1986): 180. http://dx.doi.org/10.2307/897864.
Full text
48
Weiss, Peg. "Kandinsky and the Symbolist Heritage." Art Journal 45, no. 2 (1985): 137. http://dx.doi.org/10.2307/776791.
Full text
49
Lerner, Vladimir, and Eliezer Witztum. "Victor Kandinsky, M.D., 1849–1889." American Journal of Psychiatry 163, no. 2 (February 2006): 209. http://dx.doi.org/10.1176/appi.ajp.163.2.209.
Full text
50
McTague, Robert. "Modern Physics, Kandinsky, and Klee." European Legacy 2, no. 1 (March 1997): 68–73. http://dx.doi.org/10.1080/10848779708579693.
Full text