Born in Moscow on December 4, 1886 to a family of rich tea traders, already as a child assimilates the first impressions received by colors: the white of a branch barked in Russia and the black of the gondolas seen in Italy during a trip with the family they indelibly imprint in their memory.
After the separation of his parents in 1871, little Vasily moved to an aunt's house in Odessa. It will be the woman, Elizabeth Ticheeva, who will take care of her grandson's education, starting him into piano and cello lessons and taking with a master painting lessons.
After completing high school studies and acquiring a good German mastery, Kandisnky returns to Moscow to undertake law studies. During a trip to Vologva, for studies on farmer's law, he is passionate about the local decorative arts. Specializing in political economics and earning her degree, she married her cousin Anja Čimiakin, met at Moscow University, to which a significant intellectual and spiritual understanding binds her. He visited Paris several times and in 1893 he received the legal assignment at the Moscovita University.
Monet's discovery, during the French impressionist exhibition in Moscow, leads him to make a decision to devote himself entirely to painting and, albeit late, he enrolls in the Akademie der Bildenden Künste in Monaco after having refused a professorship at Dorpat University (Estonia). Settling in the Schwabing neighborhood, mostly populated by intellectuals, revolutionaries and artists, knows Paul Klee and approaches Jugendstil's secessionist culture.
Before 1910 his paintings depict small-sized landscapes of clear impressionist influence and still symbolist taste, inspired by Germanic legends and the enchanted world of old Russia presented as a medieval fairy tale in which knights, ladies and gentlemen move countries in the distance. His brushstrokes are referring to the last stage of impressionism, that of Seurat and Signac's pointinism, to understand, a period that sees Kandinsky putting color points on the canvas as a mosaic tile. During the period of its debut the combination of bright colors with scenes immersed in a magical atmosphere. The color becomes the protagonist of his paintings whose contours of the portrayed figures are evoked by brushstrokes. Many trips to Europe made during this period and a short stay in Tunis. Between 1906 and 1907 he once again immersed in the Parisian atmosphere as the expressionist movement explodes and Picasso takes his first steps towards the Cubist Revolution. The Phalanx group, founded in 1901 together with some students and its future life partner Gabriele Münter, which proposes to spread French avant-garde in Monaco and where our artist gives painting lessons, will melt a few years later. In 1908, after other stays abroad, exhibitions of his debut paintings and the release of two woodwork albums, he bought a house in Murnau, in the Bavarian Alps. Named ′′ Russenhaus ′′ (′′ The House of the Russians ′′) will soon become a reference point for intellectuals, artists and musicians from around the world.In the same year he founded together with Gabriele Münter, Alexei Jawlenskij and Marianne von Werefkin the ′′ New Association of Monaco Artists ′′ and continues, for a short time, to create paintings in which he transfigures the naturalistic theme of the landscape in a visionary sense. Fauve and expressionist influence is still alive in a Kandinsky whose incessant quest for a painting that meets his philosophical and spiritual aspirations of abstraction from real finds careful reflection in the essay ′′ The Spiritual in Art ′′ (1911). The book will have a major influence in the cultural debate and artistic production of the twentieth century.
In the same year the said essay is published and the debate on synthesizing colors, lines and shapes opens, the artist starts to replace the colors and flat perspective of fauvism blurry lines and anti-naturalistic colors. The volume disappears and opens the way for an experimentation that will start the abstraction from real.
If almost all artistic movements maintain a relationship with the real world, even when they twist, modify or exasperate forms, this doesn't happen with Kandinsky's abstractism: images, no longer recognizable, turn into a mere composition of lines and colors and the picture becomes comparable to a musical symphony. Colors and lines have a psychological implication and, if the horizontal line becomes the symbol of coldness, it is contrasted with the vertical one to send back to the sense of heat. The broken line indicates nervousness and disquiet, that curve is index of calm and serenity. The circle, connected to the blue color, symbolizes spirituality and quiet, while the dynamic triangle, preferably yellow, contrasts the stability of the square, often exalted by red colors. The first abstract watercolor is performed by Kandinsky in 1910. In an undefined flow without real references, free combinations of lines, colors and shapes that float without weight, thus referring to a purely psychological space, to a sensation Inner.Color game travelled by dark lines, zig zag, acute angle or spiral, are introduced by an artist who internalizes and interprets Wihlem Worringer's lesson in the most abstract sense than with his essay ′′ Abstraction and empathy ′′ (1908 ) contrasts with a totally irrational approach of reality, an empathy able to actively adhere to the world, scandal the inner universe and walk the path, not easy, of escaping from reality and of refusing the abduction of contemporary society.
Kandinsky writes: ′′ The more horrendous this world, just like it is today, the more abstract art is ".
We observe in one of his most significant paintings the journey undertaken by the artist. In the work ′′ Impression V (Parco) ", composed between 1910 and 1911, the author's new non-figurative style, no longer based on the reproduction of real forms. The lines are blurring, the shapes are dissolving, and the colors are becoming more and more glittering. His conviction of painting is growing as ′′ a way to soul ′′ that is obliged to give an external face to inner expressions.
Maximus Roger
Club President for UNESCO in Genoa
President International Action Art ITALY
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