Upon his return to Germany in 1921, Kandinsky developed his theory of the Science of Art in his book Concerning the Spiritual in Art in Weimar. The Bauhaus Period is the time of Kandinsky’s most intense production when his genius would become better known to the world. This book allows us to discern the richness of Kandinsky’s work through numerous canvases that have contributed to his international prestige as a painter.
Stedelijk Museum, Amsterdam. Page 41: The Soldier Drinks, 1912. Oil on canvas, 110.3 x 95 cm. Guggenheim Museum, New York. realities he had known since childhood coming closer to eternal and absolute themes. Nonetheless this is not the case. The objects in the Still Life, resounding with painful European syncopes, are objects from Vitebsk. Behind the universal suffering is the pain of the small town living under the yoke of poverty and in fear of pogroms. These realities, however, were not.
Composition, plasticity and colour the portrait of the poet Mazin (1911–1912) is undoubtedly connected both with the work of Cézanne and with Picasso (it suffices to recall Cézanne’s Smoker, Picasso’s Portrait of Jaime Sabartés, The Absinthe Drinker or Saltimbanques). One can even detect impressions from the early works of Chaim Soutine, who in 1911 had just arrived in Paris and also settled in La Ruche. But, despite all this seemingly 67 beneficial ocean washing at the stronghold of Chagall’s.
And more intently at the canvas, the spectator tracks down those plastic and spatial paradoxes, those fascinating pictorial surprises which, it turns out, create that “artificial” background which makes the figure of the old sage, with his beard of unprecedented colour, so real, so penetratingly authentic and sorrowful. In point of fact Chagall created the type of a man who had touched immortality, perhaps some sort of pagan deity, an idol of age-old wisdom. Both in this picture and in the Jew in.
Which unite and transform people. His Lovers and his Promenades, in short his pictures of the 1910s, are connected with love and marriage – this is a whole poetical encyclopaedia of feelings, not merely a visual “grammar” but a visual philosophy of love. In this powerful pictorial suite colour reflects that very thing which Alexander Blok defined with the word “unsaid”. An emotional world, valid in its own right, is created by these contrasts of colour and their extremely fine gradations of.
Be somewhat funny, like a jolly tale for grown-up children. Thus we have the famous Promenade (1917) – a large canvas, almost square (rare for 109 Chagall), in which two basic colours – green and violet-pink – are boldly combined, in which old Vitebsk, emerald-green, magical, is barely recognizable in the refined build up of Cubist syncopated volumes in which Bella, wearing a lilac dress, hovers in the air, holding her husband by the hand so as not to fly away into the heavens, and the artist.