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3.78 AVERAGE
challenging
informative
inspiring
reflective
slow-paced
the spiritual triangle moves slowly onwards and upwards!!!!
reflective
medium-paced
The Inner Life
Though Kandinsky's Concerning the Spiritual in Art it is a well known text, often talked about in art school circles, it is, in reality, all too rarely read in class. This begs the question, should it be viewed or understood as essential reading? And, if so, what is it actually trying to do?
To begin, read the translator's introduction in the dover edition. It is well worth your time and it does a great job of summarily explaining the historical context of the work and its intent.
As for the book itself, divided into nine parts, it is an artist's attempts to explore the means and methods of expressing one's inner life in art. Do not be misled into assuming it is purely about mark making. It is about expression. It is in no way 'simply' concerned with the painterly or the materialist aspects or even the physical appearance of art. Throughout the text, Kandinsky seeks to decompress the 'Arts/Aesthetic's' ability to impart various impressions and sensations onto its viewers.
In the translator's introduction, Kandinsky is quoted as saying: 'the relationships in art are not necessarily ones of outward form, but are founded on inner sympathy of meaning'. He continues, 'Simplicity... is the trademark of the true Post-Impressionist. He observes and then selects what is essential'. Combined, these two quotations are the core of what is to follow. Kandinsky holds these views as self-evident and consequently explores, without necessarily summarizing, the human & spiritual potential of art. He feels, we as humans, are in need of a call to arms. That we have lost our way in the art making process. That, we (artists), have been led astray in our search for and focus on material things and thus alienated our audiences. As a consequence, rather than making them feel, we hope they understand 'what we are trying to do or achieve'. Rather than attempt and capture a personal Truth, we create systems and patterns that obfuscate.
Kandinsky then clarifies. He makes a connection to the 'primitive' artists, stating: 'these artists sought to express in their work only internal truths, renouncing in consequence all consideration of external form'(1). What does this actually mean? Consider the sensations you are bound to feel watching Herzog's Cave of Forgotten Dreams. The sense of awe doesn't come from the technical aspects of the cave paintings but rather an essential, almost indescribable, feeling of 'True Essence' being captured... Kandinsky would have loved the work and surely noted the near otherworldly, yet earthly sensations they create. The internal truth captured on these various walls is the artisan or artist's ability to express a reality in a 'filtered' but 'pure' way. Yes these are simplified forms. Yes they are rather disproportionate in scale and yet....there is a bridging of sorts between representation and understanding. A trust in the spectator. A belief that shape, colour and form is a means to an end rather than The End of means
Kandinsky continues: ''What is the message of the competent artist? He quotes Schumann:''To send light into the darkness of men's hearts-such is the duty of the artist'' (3). He quotes Tolstoi: ''An artist is a man who can draw and paint everything'(3)...Given our current state of political unrest, race riots, global warming, is this call to arms any less relevant than it was years ago? He continues: 'the man who does not strive tirelessly, who does not fight continually against sinking, will mentally and morally go under' (7)... Now think of the menial jobs and social roles current 'bottom line' business thinking imparts on the vase majority of its employees. Think of these repetitive factory jobs, the ones William Morris warned us of years ago. The ones that no longer inherently reward the worker's hands with a finished product. Those Henry Ford Codified-Factory line jobs where no sense of ownership or pride can ever exist...Where efficiency is the necessity... Where consistency is key... Where man is made machine. Kandinsky's answer: 'The question ''what?'' disappears from art; only the question ''how?'' remains... art has lost her soul'' (8)
But how so? Kandinsky proposes 'that the most extreme principle of aesthetic can never be of value to the future, but only to the past' (12)...That 'Theory is the lamp which sheds light on the petrified ideas of yesterday and of the more distant past' (12). Bogged down by the serious financial possibilities of art, artists are accused of seeking 'in house' glory rather intimate connection...
This reflects on the rare individual whose plight is to capture the soul. He marks 'the dark picture of the present time and show(s) the importance of what at first was only a little point of light noticed by few and for the great majority non-existent...[To those who] turn away from the soulless life of the present towards those substances and ideas which give free scope to the non-material strivings of the soul.'' (14)... In essence, art must seek to express what can be felt in nature but not necessarily seen. What can be transmitted but does not necessarily exist...
He expands: 'On the average man only the impressions caused by very familiar objects, will be purely superficial...As the man develops, the circle of these experiences caused by different being and objects, grows ever wider. they acquire an inner meaning and eventually a spiritual harmony. It is the same with colour, which makes only a momentary and superficial impression on a soul but slightly developed in sensitiveness.' (23-24) He goes on to explain colours have a 'psychic effect' (24) which produce a 'spiritual vibration' (24). Take that as you may but try and stare are Newman's Voice of Fire in order to get 'The soul being one with the body, the former may well experience a psychic shock' (24). Essentially all colours project and make an impression.
Accepting this, He suggests 'Painting has two weapons at her disposal: 1. Colour 2. Form' (28)
First, 'Form can stand alone as representing an object (either real or otherwise) or as a purely abstract limit to a space or a surface.' (28). Secondly, Colour cannot stand alone; it cannot dispense with boundaries of some kind.' (28). He then clarifies that: 'Form, in the narrow sense, is nothing but the separating line between surfaces of colour' (29).
And so it goes.... I will add to this later
'There is no must in art because art is free' (32)
Why? Why try and imitate? Why try to capture physical truths when we can attempt to express a core, an inner truth?
Though Kandinsky's Concerning the Spiritual in Art it is a well known text, often talked about in art school circles, it is, in reality, all too rarely read in class. This begs the question, should it be viewed or understood as essential reading? And, if so, what is it actually trying to do?
To begin, read the translator's introduction in the dover edition. It is well worth your time and it does a great job of summarily explaining the historical context of the work and its intent.
As for the book itself, divided into nine parts, it is an artist's attempts to explore the means and methods of expressing one's inner life in art. Do not be misled into assuming it is purely about mark making. It is about expression. It is in no way 'simply' concerned with the painterly or the materialist aspects or even the physical appearance of art. Throughout the text, Kandinsky seeks to decompress the 'Arts/Aesthetic's' ability to impart various impressions and sensations onto its viewers.
In the translator's introduction, Kandinsky is quoted as saying: 'the relationships in art are not necessarily ones of outward form, but are founded on inner sympathy of meaning'. He continues, 'Simplicity... is the trademark of the true Post-Impressionist. He observes and then selects what is essential'. Combined, these two quotations are the core of what is to follow. Kandinsky holds these views as self-evident and consequently explores, without necessarily summarizing, the human & spiritual potential of art. He feels, we as humans, are in need of a call to arms. That we have lost our way in the art making process. That, we (artists), have been led astray in our search for and focus on material things and thus alienated our audiences. As a consequence, rather than making them feel, we hope they understand 'what we are trying to do or achieve'. Rather than attempt and capture a personal Truth, we create systems and patterns that obfuscate.
Kandinsky then clarifies. He makes a connection to the 'primitive' artists, stating: 'these artists sought to express in their work only internal truths, renouncing in consequence all consideration of external form'(1). What does this actually mean? Consider the sensations you are bound to feel watching Herzog's Cave of Forgotten Dreams. The sense of awe doesn't come from the technical aspects of the cave paintings but rather an essential, almost indescribable, feeling of 'True Essence' being captured... Kandinsky would have loved the work and surely noted the near otherworldly, yet earthly sensations they create. The internal truth captured on these various walls is the artisan or artist's ability to express a reality in a 'filtered' but 'pure' way. Yes these are simplified forms. Yes they are rather disproportionate in scale and yet....there is a bridging of sorts between representation and understanding. A trust in the spectator. A belief that shape, colour and form is a means to an end rather than The End of means
Kandinsky continues: ''What is the message of the competent artist? He quotes Schumann:''To send light into the darkness of men's hearts-such is the duty of the artist'' (3). He quotes Tolstoi: ''An artist is a man who can draw and paint everything'(3)...Given our current state of political unrest, race riots, global warming, is this call to arms any less relevant than it was years ago? He continues: 'the man who does not strive tirelessly, who does not fight continually against sinking, will mentally and morally go under' (7)... Now think of the menial jobs and social roles current 'bottom line' business thinking imparts on the vase majority of its employees. Think of these repetitive factory jobs, the ones William Morris warned us of years ago. The ones that no longer inherently reward the worker's hands with a finished product. Those Henry Ford Codified-Factory line jobs where no sense of ownership or pride can ever exist...Where efficiency is the necessity... Where consistency is key... Where man is made machine. Kandinsky's answer: 'The question ''what?'' disappears from art; only the question ''how?'' remains... art has lost her soul'' (8)
But how so? Kandinsky proposes 'that the most extreme principle of aesthetic can never be of value to the future, but only to the past' (12)...That 'Theory is the lamp which sheds light on the petrified ideas of yesterday and of the more distant past' (12). Bogged down by the serious financial possibilities of art, artists are accused of seeking 'in house' glory rather intimate connection...
This reflects on the rare individual whose plight is to capture the soul. He marks 'the dark picture of the present time and show(s) the importance of what at first was only a little point of light noticed by few and for the great majority non-existent...[To those who] turn away from the soulless life of the present towards those substances and ideas which give free scope to the non-material strivings of the soul.'' (14)... In essence, art must seek to express what can be felt in nature but not necessarily seen. What can be transmitted but does not necessarily exist...
He expands: 'On the average man only the impressions caused by very familiar objects, will be purely superficial...As the man develops, the circle of these experiences caused by different being and objects, grows ever wider. they acquire an inner meaning and eventually a spiritual harmony. It is the same with colour, which makes only a momentary and superficial impression on a soul but slightly developed in sensitiveness.' (23-24) He goes on to explain colours have a 'psychic effect' (24) which produce a 'spiritual vibration' (24). Take that as you may but try and stare are Newman's Voice of Fire in order to get 'The soul being one with the body, the former may well experience a psychic shock' (24). Essentially all colours project and make an impression.
Accepting this, He suggests 'Painting has two weapons at her disposal: 1. Colour 2. Form' (28)
First, 'Form can stand alone as representing an object (either real or otherwise) or as a purely abstract limit to a space or a surface.' (28). Secondly, Colour cannot stand alone; it cannot dispense with boundaries of some kind.' (28). He then clarifies that: 'Form, in the narrow sense, is nothing but the separating line between surfaces of colour' (29).
And so it goes.... I will add to this later
'There is no must in art because art is free' (32)
Why? Why try and imitate? Why try to capture physical truths when we can attempt to express a core, an inner truth?
challenging
hopeful
informative
inspiring
reflective
medium-paced
This text changed my life. Kandinsky has a very unique mind and perspective. I love in particular his ideas that artists have a responsibility to steer culture on a path towards light & truth, instead of darkness. It’s dense in places but very worth the read.
This book is interesting for everybody interested in culture in general. Not only does it give insight in the development of abstract art, or of Kandinsky's art, but it will also inspire your thinking on the relation between culture and humanity. I like the idea of a 'spiritual triangle', not because I agree with it 100 %, but because it proposes an interesting perspective to look at cultural development. I would recommend this book to everyone, it's just one of those books that belong to our intellectual heritage.
informative
reflective
slow-paced
very nice. I feel very enlightened, but also very confused. he has very passionate feelings towards absolutely everything, most of which I disagree with.
I was so excited to read this book and it was more ethereal than I was hoping. There is about a 6-7 page stretch where Kandinsky really lays out his color theory (which is why I read the book) and the rest is really high level philosophizing that oscillates between tidbits of brilliance and purple prose of pure nothing.