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But let us not speak anymore of books and theories on paper. Now then, did you see my exhibition? As you may remember, 1 gathered in 'Cahiers d'Art' … - Wassily Kandinsky
" "But let us not speak anymore of books and theories on paper. Now then, did you see my exhibition? As you may remember, 1 gathered in 'Cahiers d'Art' ten very recent paintings, twenty-five gouaches and watercolors, also recent, and twenty-eight drawings that span the period from 1910-1934. In the majority of the compositions on canvas I used a sand technique more or less consistently.. ..but I usually don't distinguish between traditional oil painting, gouache, tempera and watercolor, and I even simultaneously use the various techniques in the same work. What is essential for me is to be able to clearly convey what I want, to recount my dream. / consider both technique and form to be mere instruments of expression, and my stories, furthermore, are not narrative or historical in character, but purely pictorial.
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About Wassily Kandinsky
Wassily Wassilyevich Kandinsky (December 4 or 16, 1866 - December 13, 1944) — was a Russian painter and art theorist and one of the leading figures in Blaue Reiter. One of the most important 20th-century artists, he is credited with painting the first modern abstract art works.
Also Known As
Alternative Names:
Wassily Wassiljewitsch Kandinsky
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Vasili Vasilevich Kandinsky
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Vasilii Vasilevich Kandinskii
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Vasily Vasil'yevich Kandinsky
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Vasilij Kandinski
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Vasilij Vasil'evic Kandinskij
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Vasily Kandinsky
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Vasilij Kandinskij
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Vasily. Kandinsky
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Vasilij Vasil'evič Kandinskij
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Wassili Kandinsky
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Wassily Wassilyevich Kandinsky
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Vasili Vasileevich Kandinsky
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Vasilĭi Vasilʹevich Kandinskĭi
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Vasilij Vasilijevitch Kandynski
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Wassily Kandinski
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Basile W. Kandinsky
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Wahsili Kang-ting-ssu-chi
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Vassily Kandinsky
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Kandinsky
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w. kandinsky
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Vasili Vasil'evich Kandinski
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Additional quotes by Wassily Kandinsky
The geometric line is an invisible thing. It is the track made by the moving point; that is, its product. It is created by movement – specifically through the destruction of the intense self-contained repose of the point. Here, the leap out of the static to the dynamic occurs. […] The forces coming from without which transform the point into a line, can be very diverse. The variation in lines depends upon the number of these forces and upon their combinations.
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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.
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