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The geometric point is an invisible thing. Therefore, it must be defined as an incorporeal thing. Considered in terms of substance, it equals zero.. … - Wassily Kandinsky
" "The geometric point is an invisible thing. Therefore, it must be defined as an incorporeal thing. Considered in terms of substance, it equals zero.. .Thus we look upon the geometric point as the ultimate and most singular union of silence and speech. The geometric point has, therefore, been given its material form, in the first instance, in writing. It belongs to language and signifies silence.
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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
In this painting ['Moscow'], I was in fact in quest for a certain hour, which was and which remains always the most beautiful hour of the day in Moscow. The sun is already low and has reached its highest force, which it has searched all the day, to which it has aspired all the day.. .The sun dissolves all Moscow in a spot, which as a frenzied tuba makes entered into vibration all the inner being, the whole soul.. .Rendering this hour seemed the biggest, the most impossible of the happiness for an artist. These impressions renewed every sunny day. They brought me a joy which shattered me until the bottom of the soul, and which reached until ecstasy.
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Nor, on the other hand, are there any masculine charms [in Gabriele Münter's work] either: no 'sinewy brushwork', no heaps of paint, 'hurled on to the canvas'. The pictures are painted throughout with a delicately and correctly sensed measure of external strength, with not a trace of feminine or masculine coquetry in the 'making'. We could almost say that they are painted modestly; i. e. that they were inspired, not by a desire for outward display, but by a purely inward compulsion.
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