Wassily Kandinsky Quotes

..emotion that I experienced on first seeing the fresh paint come out of the tube.. ..the impression of colours strewn over the palette: of colours – alive, waiting, as yet unseen and hidden in their little tubes..

The first colours which made a strong impression on me were light juice green, white, crimson red, black and yellow ocher. These memories go back to the third year of my life. I saw these colours on various objects [houses and roofs, in Russia] which are not as clear in my mind as the colours themselves.

Since the form is only an expression of the content and the content is different with different artists, it is then clear that there can be many different forms at the same time which are equally good. Necessity creates the form. Fish which live at great depths have no eyes. The elephant has a trunk. The chameleon changes its color, and so forth.

At the appointed time, necessities become ripe. That is the time when the Creative Spirit (which one can also designate as the Abstract Spirit) finds an avenue to the soul, later to other souls, and causes a yearning, an inner urge.

All means are sacred when they are dictated by inner necessity. All means are reprehensible when they do not spring from the fountain of inner necessity... The artist must be blind to 'recognized' and 'unrecognized' form, deaf to the teachings and desires of his time. His open eyes must be directed to his inner life and his ears must be constantly attuned to the voice of inner necessity.

The work of art is born of the artist in a mysterious and secret way. From him it gains life and being. Nor is its existence casual and inconsequent, but it has a definite and purposeful strength, alike in its material and spiritual life.

It is never literally true that any form is meaningless and "says nothing." Every form in the world says something. But its message often fails to reach us, and even if it does, full understanding is often withheld from us.] and, properly speaking, FORM IS THE OUTWARD EXPRESSION OF THIS INNER MEANING.

The more abstract is form, the more clear and direct is its appeal. In any composition the material side may be more or less omitted in proportion as the forms used are more or less material, and for them substituted pure abstractions, or largely dematerialized objects. The more an artist uses these abstracted forms, the deeper and more confidently will he advance into the kingdom of the abstract. And after him will follow the gazer at his pictures, who also will have gradually acquired a greater familiarity with the language of that kingdom. Must we then abandon utterly all material objects and paint solely in abstractions? The problem of harmonizing the appeal of the material and the non-material shows us the answer to this question. As every word spoken rouses an inner vibration, so likewise does every object represented. To deprive oneself of this possibility is to limit one's powers of expression. That is at any rate the case at present. But besides this answer to the question, there is another, and one which art can always employ to any question beginning with "must": There is no "must" in art, because art is free.

Generally speaking, colour is a power which directly influences the soul. Colour is the keyboard, the eyes are the hammer, the soul is the strings.The artist is the hand that plays, touching one key or another, to cause vibrations in the soul.

The life of the spirit may be fairly represented in diagram as a large acute-angled triangle divided horizontally into unequal parts with the narrowest segment uppermost. The lower the segment the greater it is in breadth, depth, and area.

There is, however, in art another kind of external similarity which is founded on a fundamental truth. When there is a similarity of inner tendency in the whole moral and spiritual atmosphere, a similarity of ideals, at first closely pursued but later lost to sight, a similarity in the inner feeling of any one period to that of another, the logical result will be a revival of the external forms which served to express those inner feelings in an earlier age.

Every work of art is the child of its age and, in many cases, the mother of our emotions. It follows that each period of culture produces an art of its own which can never be repeated. Efforts to revive the art-principles of the past will at best produce an art that is still-born. It is impossible for us to live and feel, as did the ancient Greeks. In the same way those who strive to follow the Greek methods in sculpture achieve only a similarity of form, the work remaining soulless for all time. Such imitation is mere aping. Externally the monkey completely resembles a human being; he will sit holding a book in front of his nose, and turn over the pages with a thoughtful aspect, but his actions have for him no real meaning.

Kandinsky, Wassily – painter, printmaker and author – the first painter to base painting on purely pictorial means of expression and abandon objects in his pictures.

I am working again on my painting 'Moscow' ['Moscow I' ('Москва I'), 1916]. It is slowly taking shape in my imagination. And what was in the realm of wishing is now assuming real forms. What I have been lacking with this idea was depth and richness of sound, very earnest, complex, and easy at the same time.

I would love to paint a large landscape of Moscow — taking elements from everywhere and combining them into a single picture—weak and strong parts, mixing everything together in the same way as the world is mixed of different elements. It must be like an orchestra.. .Suddenly I felt that my old dream was closer to coming true. You know that I dreamed of painting a big picture expressing joy, the happiness of life and the universe. Suddenly I feel the harmony of colors and forms that come from this world of joy.