Vasily Kandinsky Research Articles

Between Kochel and Kalmunz. Early plein airs by Gabriele Munter at the school "Phalanx" by Vasily Kandinsky.

The subject of the study of the proposed article is the early plein-air works of the German expressionist artist Gabriele Munter, later a member of the Blue Horseman art association, a student and friend of Vasily Kandinsky. The authors of the article aim to review and introduce into scientific circulation a number of Munter's sketches created by her during summer trips to the plein air in 1902-1903 to the Alpine towns of Kochel and Kalmunz with the Munich art school "Phalanx", headed by Kandinsky. The article also examines the picturesque plein-air works by Kandinsky, created by him in the same years there, in Bavaria - mainly landscapes and sketches of figures in the landscape. The authors of the study see as their task to trace the influence of Kandinsky's artistic manner and his role as a teacher on the formation of a Munter painter. The research methodology includes formal stylistic, comparative methods of art criticism analysis, as well as a comprehensive historical and biographical approach. The relevance of the study is due to its scientific novelty: the authors of the article for the first time in Russian-language art history literature describe the pre-expressionist works of Munter during the period of joint plein-airs with Kandinsky, trace the formation of her artistic vision and picturesque manner, the influence of Kandinsky on her formation. The development of the impressionistic technique common to Munter and Kandinsky in the early 1900s, according to the authors of the article, is combined with individual searches for expressiveness of form and color. The first experiments of plein-air oil painting in a special "spatula technique" under the guidance of Kandinsky were accompanied by the successful search for Munter in the field of graphics, mastering the technique of printing color woodcuts. The authors of the article come to the conclusion that the formation of the original manner of Munter was equally influenced by both pictorial emancipation through sketching practice in oil, as well as their own experiences in drawing and engraving.

Comparative analysis of musicality in the works of Kandinsky and Zhu Dequn

The object of the study is the works of the founder of abstract expressionism, Vasily Kandinsky, and the Chinese artist Zhu Dequn. The subject of the study is musicality in the works of Vasily Kandinsky and Zhu Dequn. The author conducts a detailed comparative analysis of abstract ideas and works of two artists in order to study their emotions and sources of inspiration. Special attention is paid to the influence of V. Kandinsky's works on Zhu Dequn's work, as a result of which the Chinese artist tried to combine Western music with the rhythms of Chinese calligraphy, giving his works a deeper meaning. In addition, from the standpoint of a sense of musicality, Zhu Dequn's works such as "The Rhythm of Rebirth" and "Pacification" are considered in the article. It is noted that Zhu Dequn's work is focused on reflecting the spirit, culture and emotions. To achieve the goal set in the research process, approaches and methods of modern philosophy, cultural studies, and art criticism were used. The main conclusions of the study are that under the influence of V. Kandinsky's theory, Zhu Dequn became more musical in his abstract paintings. Despite the fact that Zhu Dequn was not very experienced in music theory and performance, he could accurately capture the melody and rhythm of instruments such as traditional Chinese guzheng, as well as feel the light and color created by a musical composition. The author's main contribution to the study is to demonstrate the influence of V. Kandinsky on the works of Zhu Dequn, who managed to incorporate philosophical ideas and elements of local culture into his works under the influence of music, thereby creating a unique Chinese abstract art. The novelty of the study lies in the fact that the author described how Zhu Dequn's paintings reflected a combination of Chinese and Western painting, which is a valuable example for the exchange and development of Chinese and Western culture and art.

Vitebsk as a local text

The paper is devoted to the analysis of the image of Vitebsk in the works of Russian-speaking poets of Belarus. The research material is poetic texts of Russian-speaking poets of Belarus, which touch upon the spiritual, natural, material, cultural, historical realities of Vitebsk. The main general scientific methods of observation, description, analysis and interpretation were used in the work. It is proved that the study of the concept of “city” is based, first of all, on the relationship of a particular person and social realities: the city as an extension of a person to the outside world - social, collective, cultural, the city as a “condensed” information and semantic space. Vitebsk is one of the oldest cities in Belarus. According to legend, the city was founded by the Kiev Princess Olga in 974. Dvina is often mentioned in poems. Vitebsk appeared at the confluence of two rivers - the Western Dvina and the Vitba, from which the name of the city came. The ancient name of the Dvina is Eridan, Homer, Hesiod, Nestor the chronicler wrote about it. In the poems of Belarusian poets, she appears in the image of a nurse, a protector, a wise and mysterious woman. The article says that Vitebsk is rightly called the cultural capital of Belarus. The works of Vitebsk poets reveal precedent names that are significant for the history and culture of Belarus, as well as for the world cultural space. Marc Chagall, Vasily Kandinsky, Mstislav Dobuzhinsky, El Lisitsky, Kazimir Malevich worked in Vitebsk. Not far from Vitebsk, the Russian painter Ilya Repin lived in the Zdravnevo estate. I.I. Sollertinsky created his musical masterpieces, M.M. Bakhtin lived and worked in Vitebsk in the thirties. Thus, in Russian-speaking Belarusian poetry, the image of Vitebsk appears as an ancient city, a native home, a spiritual place, a city of creativity, art and inspiration. The study of a local text is a topical interdisciplinary problem that allows not only to outline the conceptually significant features of the semantic complex of a particular locus, but also to establish its etiological and teleological significance for an ethnic group. After analyzing the corpus of texts of Belarusian poets, we came to the conclusion that the image of Vitebsk is attributed to such semantic characteristics as “nurse city”, “protector”, “wise woman”. The paradox lies in the fact that a city with a masculine toponym absorbs alternative gender parameters, which expands the previously explored virgin cities and harlot cities by introducing the features of a beloved city.

On the Issue of Non-Fatal Loss of Artistic Values on the Example of Nikolai Milioti’s Works

The article introduces one of the episodes in the life of Nikolai Dmitryevich Milioti (1874—1962), an artist and active participant in art exhibitions of the early 20th century. N.D. Milioti left Soviet Russia in 1921 and remained an emigrant until the end of his life. This circumstance largely explains the fact that his life and work are still poorly studied, including the episode described in this article. The study of Nikolai Milioti’s diary entries and correspondence, stored in different archives, allows us to reconstruct some stages of the artist’s life. Specifically, this publication highlights his participation in the Baltic Exhibition of 1914, after which some of his works “stuck” in the Art Museum of the city of Malmö. Usually, researchers who write on this topic are interested in the fate of that exhibition’s works by Valentin Serov, Alexander Golovin, Vasily Kandinsky, Pavel Kuznetsov, Konstantin Korovin, Kuzma Petrov-Vodkin, Nicholas Roerich, and others. Nevertheless, the name Milioti was then among the artists who would eventually be recognized as the luminaries of Russian art, for his role in the artistic life of that time was considerable as well. The article describes the problem of loss of the artistic values that have not been destroyed or stolen, are not completely disappeared, but are lost, most likely, irretrievably. This problem is still relevant today. As an example, there is offed the history of paintings by Nikolai Milioti, which, along with other Russian artists’ works, were sent to the international Baltic Exhibition in Malmö (Sweden) in 1914, but never returned to Russia. Over the years, attempts have been made to return the works to Russia, but even today, the circumstances indicate that the probability of their return is almost zero.

The Icon and the Square: Russian Modernism and the Russo-Byzantine Revival by Maria Taroutina

Reviewed by: The Icon and the Square: Russian Modernism and the Russo-Byzantine Revival by Maria Taroutina Sarah Warren The Icon and the Square: Russian Modernism and the Russo-Byzantine Revival. Maria Taroutina. University Park: Pennsylvania State University Press, 2018. Pp. 288. $89.95 (cloth). Maria Taroutina's The Icon and the Square: Russian Modernism and the Russo-Byzantine Revival is a sorely needed addition to the current scholarship on Russian art. It also offers a broader contribution to our understanding of the role of revival movements within modernism. Opening with the Enlightenment scorn for Byzantium in the eighteenth century, Taroutina offers a nuanced account of how the perception and valuation of Russia's affinities with Byzantine culture developed, often in relation to other intellectual and aesthetic movements. Certainly, the underlying premise of this book—that medieval Russian and Byzantine cultural traditions were important to the development of modernism in Russia—has been explored by several other [End Page 385] art historians, notably Wendy Salmond and Oleg Tarasov. The Icon and the Square, however, more fully excavates the texts that formed these notions of the Russo-Byzantine, explaining how the concept changed with new scholarly and cultural developments, and also how these new understandings were embodied in scholarly, pedagogical, and religious institutions. The author examines a number of scholarly and critical voices who shaped this literature, ranging from the art historian and archaeologist Nikodim Kondakov, to the religious philosopher Vladimir Soloviev, and even the revolutionary critics Pavel Florensky, Nikolai Punin, and Nikolai Tarabukin, who called for a rethinking of the role of art in the early Soviet period. As Taroutina explains, a kind of "Byzantine Revival" occurred throughout nineteenth-century Europe, but by juxtaposing Jean-Joseph Benjamin-Constant's The Empress Theodora at the Coliseum (1889) and Vasilii Smirnov's The Morning Visit of a Byzantine Empress to the Graves of Her Ancestors (1889), she deftly illustrates the gulf between Western and Russian perceptions of the Byzantine. Whereas Benjamin-Constant presented his Byzantine Empress as the apex of corruption, decadence, and sensual excess, Smirnov's Theodora is a model of enduring faith, humility, and tradition. This contrast is consistent with the particular uses to which the image of Byzantium was put in the later Russian Empire. An emphasis on the Byzantine roots of the Russian state was an important component of a broader critique of the Europeanization of Russia under Peter the Great and his eighteenth-century successors. Again, this is not a new argument, but what Taroutina provides is an exhaustive account of how the scholarly enthusiasm for the Russo-Byzantine period grew into a sophisticated historical literature on and aesthetic appreciation of icons. The Icon and the Square also demonstrates the concrete continuities between the philosophical and aesthetic understanding of Russo-Byzantine icons before and after the October Revolution. While Taroutina resists claims that the icon was a universally accepted model for the fundamental challenges posed by the early Soviet avant-garde, she describes this spiritual framework as a point of tension between the different avant-garde positions adopted in the wake of the Bolshevik revolution, tensions that were constitutive of the differences between, for example, Malevich, Tatlin, and the Constructivists. The structure of the book mostly serves this argument; chapter one builds the foundation of the intellectual history, with detailed descriptions of the historical narratives of the Russo-Byzantine by the scholars and critics noted above, among others. The second chapter surveys the history of collecting, preserving, and exhibiting medieval icons in imperial Russia. The last three chapters explore the uses of the icon by a number of important Russian modernists, with chapters devoted to Mikhail Vrubel, Vasily Kandinsky, and the last to the related but contrasting approaches of both Kazimir Malevich and Vladimir Tatlin. The chapter on Vrubel is an important addition to the scholarship on an artist whose work is underexamined in English. Contrasting Vrubel's work with his more conventional contemporaries, such as Victor Vasnetsov, Taroutina argues that Vrubel was a sophisticated interpreter of Byzantine notions of pictorial space. She also persuasively posits that Vrubel's signature block-like brushstrokes—which earlier critics likened to Cézanne—were developed out of his work restoring...

Fenomenología de la afectividad: forma, color e imagen en la pintura abstracta de Kandinsky

The present article analyzes the problem of affectivity in French philosopher Michel Henry's conception of Phenomenology of life, conceived of as the foundation of the subjectivity and the essence of the manifestation. Henry analyzes the work of the painter Vasily Kandinsky, showing how abstract and non-figurative painting expresses in colors and forms something invisible, which is the essence of the painting and coincides with the Life. Kandinsky's conception of abstraction refers to the invisible and the inner content, which expresses itself through colors and forms, being the life itself in its fundamental subjective pathos. In this way, the art becomes the only language capable to express the radicality of the affective life, because it does not represent anything exterior or foreign, being its content the life itself.

Vasily Kandinsky’s Versatile Art

This article describes how a second-grade teacher used Vasily Kandinsky’s Composition VIII as the springboard to a lesson in data creation and analysis, while also integrating geometry concepts, reading, and writing.

الابتکارية في تصميم أزياء الاطفال من خلال الفن التجريدي

الملخص : يهدف البحث الى توظيف مفردات مختارات من الأعمال الفنية لفناني المدرسة التجريدية لتصميم أزياء مبتکرة للأطفال، ويرجع أهمية ذلک الى توطيد العلاقة بين المدرسة التجريدية ومجال تصميم الازياء والقاء الضوء على منابع جديدة للرؤى الفنية في مجال تصميم أزياء الاطفال. وقد اتبع البحث المنهج الوصفي التحليلي لاستطلاع اراء کلا من في التصميمات المقترحة مع التطبيق من خلال تنفيذ مختارات منها والتي حصلت علي اعلي الدرجات . فقد تم تصميم 15 تصميم أزياء للاطفال مستلهمه من ثلاثة فنانين من المدرسة التجريدية (الفنان: موندريان تصميمات من 5:1، الفنان: تصميمات من 10:6 ، الفنان: کاندنسکى تصميات من 15:11) والمقارنة بينهم للوصول إلى معرفة أفضل تصميم من وجهه نظر الأساتذة في المجال ومدى تقبل المستهلکين لها. وتم تقييم التصميمات المنفذة باستمارة استبيان للمتخصصين والمستهلکين للحصول على أفضل تصميم، وأفضل المحاور في ضوء آراء المتخصصين( المحور الاول: الجانب الجمالي، المحور الثاني: الجانب الابتکاري والمحور الثالث: الجانب التسويقي). وقد توصلت الدراسة الى النتائج الاتية :- - أفضل التصميمات المقترحة في تحقيق جوانب التقييم (ککل) وفقا لأراء (رقم: 1 للفنان بيت موندريان، أرقام 6، 7، 8 للفنان کازمير ماليفيتش، رقم 11 للفنان فاسيلى کاندنسکى) وأقل التصميمات المنفذة (رقم: 4 للفنان بيت موندريان ، ورقم 13، 14 للفنان فاسيلى کاندنسکى ) وتم تنفيذ افضل التصميمات المقترحة التي حصلت على أعلى متوسط للدرجات من قبل فئات المتخصصين والمستهلکين . - ترتيب الفنانين وفقا لاعلى متوسط للدرجات من قبل للتصميمات المقترحة کما يلي: الفنان کازمير ماليفيتش يليه کلا من الفنان بيت موندريان و فاسيلى کاندنسکى. Abstract The research aims to innovate children’s fashion designs through abstract art. 15 children fashion designs has been designed and inspired from three artists from the abstract school (Piet Mondrian artist, designs No. from 1: 5, Kazimir Malevich artist, designs No. from 6: 10, Vasily Kandinsky artist designs No. from 11:15). The designs were evaluated from the point of view of professional professors in the field and consumers, by using a questionnaire for specialists and consumers to obtain the best design and the best axis in view of the opinions of specialists from the first axis (Aesthetic side) and Second axis (creative side) and the third axis (marketing side). The study reached the following results: The best designs in the achievement of aspects of evaluation (as a whole) according to the views of specialists (design No. 1 for Piet Mondrian artist, design No. 6, 7, 8 for Kazimir Malevich artist, design No. 11 for Vasily Kandinsky artist), The least designs (design No.4 for Piet Mondrian artist, No.13,14 for Vasily Kandinsky artist). The best designs in the achievement of the evaluation items (as a whole) according to consumers opinions (design No. 1 for Piet Mondrian artist, designs No. 6, 7, 8 for Kazimir Malevich artist, and No. 11 for Vasily Kandinsky). The least designs (design No.4 for Piet Mondrian artist, No.13,14 for Vasily Kandinsky artist). Based on the results, the best 5 children’s designs were implemented, and the artists can be arranged as follows: Kazimir Malevich artist represents the best in the light of the views of specialist and consumers, followed by Piet Mondrian and Vasily Kandinsky artist

Synthesis of Arts in Vasily Kandinsky's Creative Work

The author analyzes the processes associated with synthesis of arts at the turn of the 19-20th centuries basing on Russian artist Vasily V. Kandinskys creation. He felt a certain relationship between different kinds of art and the need for combining them to create something special, new and unique. For the first time, the artist wrote about this in his book Concerning The spiritual in art, where he articulated the idea of affinity of all kinds of art, especially music and painting. Defining pictorial art as a part of spiritual life that promotes the movement forward and upward, Kandinsky develops not only the theory of the influence of color and color combinations on the viewer, but argues that the form (abstract or geometric) has an inner sounding in turn. Thus, straight lines are youthful, the curves convey maturity, the point is a small world, the horizons sound cold and flat, the verticals are warm and sublime, sharp corners are warm, while straight lines are cold and austere. Vasily Kandinsky believed that the composition was a chord of colorful and picturesque forms that exist independently as such, which are caused by inner necessity and constitute the whole, called a painting. The artist claimed that our harmony is based mainly on the principle of color and sound contrast. Not accidentally, Vasily Kandinsky, noting a strong impression in his youth from Wagners operas, entered the Monogram signature on his works in the triangle, and used musical terms for titles of his works: improvisation, composition, Fugue, Concerto, Suite, and others. Defining the scenic arts as part of spiritual life, which contributes to moving forward and upward, Kandinsky developed not only the theory of color effects and color combinations on the viewer, but argued that the form (abstract or geometrical) has inner sound in turn.

Iconic Encounters: Vasily Kandinsky’s and Pavel Florensky’s ‘Mystic Productivism’

This essay examines the multiple discursive intersections between the theories of perception and representation articulated by Vasily Kandinsky (1866–1944) and Pavel Florensky (1882–1937) in the first two decades of the twentieth century. More specifically, it traces Kandinsky’s latent interest in medieval visuality and resituates his well-known formulation of a new spiritual art in the form of abstraction within the realm of Orthodox theology and aesthetics as theorized by Florensky. This article thus proposes an entirely novel set of as yet unexplored interpretative possibilities for understanding Kandinsky’s oeuvre on the one hand, and the broader dialectical relationship between medieval revivalism and avant-garde experimentation on the other.

Russian modernism: cross-currents of German and Russian art, 1907-1917

Russian Modernism is dedicated to the radical modernist movements in Russian and German art during the early years of the 20th century. Their development was parallel and often intertwined. Artists such as Vasily Kandinsky or Alexej von Jawlensky are claimed by the Germans but remain Russian artists for the Russians. The Burluk brothers, who became celebrities of the Russian radical art scene, participated in the first exhibition of the Blauer Reiter. Russian artists travelled to Germany and lived there, while their German counterparts were aware of what was shown in Moscow exhibition halls. The diverse art movement expressionism was formed in Germany at the beginning of the 1910s and was given the name by the critic Herwarth Walden. Members of groups such as Die Brucke and the Blauer Reiter were initially influenced by the French Fauves movement and their Russian contemporaries also tried to find new artistic truth in Paris, 'la Ville Lumiere'. However, both in Germany and Russia the new French influence underwent radical transformation. Beautifully illustrated and designed, this book provides an insight into the work of Russian and German artists in the early years of the 20th century.

Xудожественные транскрипции античной пасторали Дафнис и Хлоя

The article investigates some fragments of Vasily Kandinsky’s barely known stage composition Daphnis and Chloe in connection with Longus’s pastoral story which was highly popular in the time of the Silver Age. We emphasize the innovative character of the performance which reflected on the one hand Kandinsky’s aesthetic experiments and on the other hand the overall artistic tendencies in the 1910s-1930s (D. Merežkovskij, Ju. Verxovskij, L. Bakst, P. Muratov, K. Somov, M. Šagal and others).

Vasily Kandinsky: from Blaue Reiter to the Bauhaus, 1910-1925

This catalogue accompanies a major exhibition devoted to Vasily Kandinsky. It explores the evolution of his work from the Blaue Reiter to the Bauhaus years. During this period, Kandinsky developed his revolutionary abstract style and began to move beyond conventional easel painting. As master of the mural workshop at the Bauhaus, Kandinsky was able to put his ambition to create large-scale art environments into practice, particularly in his mural designs for the 1922 Juryfreie exhibition in Berlin and later in his decorations for the Salon de Musique in 1931. At this time, he developed a strong interest in the Wagnerian concept of the Gesamtkunstwerk, or total work of art. Embracing the principles of synesthesia, Kandinsky focused on the relationship between art and music, pushing the boundaries of the medium.Vasily Kandinsky (1866-1944) began painting at the age of 30, after putting aside a highly successful career in law. After studying at the Academy of Fine Arts in Munich, he returned to his native Moscow just after the outbreak of World War I. Uninspired by the prevalent Suprematist and Futurist art there, he returned to Germany in 1921, teaching at the Bauhaus until the school was closed by the Nazis. He then moved to France, where he lived until his death in 1944.

AN INVESTIGATION INTO KANDINSKY'S USE OF RIPOLIN IN HIS PAINTINGS AFTER 1930

Vasily Kandinsky worked in a variety of media throughout his long career, and it appears from technical examinations and from his writings that he experimented with and manipulated his materials and techniques. This article describes the scientific investigation of five paintings dated after 1930, four of which were recorded by the artist as containing “huile + rip” (“rip” being thought to refer to the renowned brand of oleoresinous enamel paint Ripolin or perhaps to another similar enamel type paint mixed with other media). Following a thorough non-invasive investigation of the paintings with XRF, selected paint samples were analyzed with FTIR spectroscopy, optical and polarized light microscopy, and SEM with energy dispersive x-ray spectroscopy. The results were compared to an extensive database of reference enamels and artist tube paints from the same era along with actual paints left by the artist in his studio. This study draws attention to the artist's complex use of mixed media, which if the artist's statements are accurate, may well have included mixtures of oleoresinous enamel paints and fine artist's tube paints, occasionally supplemented with dry pigments, used together with artists’ oils on the same painting.

Stieglitz and his artists: Matisse to O'Keeffe: the Alfred Stieglitz Collection in the Metropolitan Museum of Art

A master photographer, Alfred Stieglitz was also a visionary promoter and an avid collector of modern American and European art from the first half of the twentieth century. Operating a succession of influential Manhattan galleries from 1905 to 1946, he exhibited many of the most important artists of the era, including Constantin Brancusi, Charles Demuth, Arthur Dove, Marsden Hartley, Vasily Kandinsky, John Marin, Henri Matisse, Georgia O'Keeffe, Francis Picabia, and Pablo Picasso. The collection he assembled of their works-by purchase, gift, and happy accident-was of exceptional breadth and depth and has since become the cornerstone of the Metropolitan Museum's holdings of modern art since 1949. This volume is the first catalogue of the Metropolitan's unparalleled Alfred Stieglitz Collection: more than four hundred paintings, sculptures, drawings, and prints made between the 1880s and the 1940s. After an illuminating introduction that traces the collection's formation and surprising denouement, thirty-one short essays serve as focused biographies of the dealer and each of the artists he cultivated and collected, demonstrating the intense and often intimate relationships that affected artistic direction, financial well-being (or its opposite), and social and professional prestige. These discussions are enriched by new scholarship, technical analysis, and archival research, and many works in the colleciton are published here for teh first time. Seen together in splendid color reproductions, they present a portrait of a supreme connoisseur-a man who acted as midwife in the creation of twentieth-century art.

Review: Bauhaus 1919–1933: Workshops for Modernity

Review Article| September 01 2010 Review: Bauhaus 1919–1933: Workshops for Modernity Bauhaus 1919–1933: Workshops for Modernity; The Museum of Modern Art, New York; 8 November 2009–25 January 2010 Barbara Miller Lane Barbara Miller Lane Bryn Mawr College Search for other works by this author on: This Site PubMed Google Scholar Journal of the Society of Architectural Historians (2010) 69 (3): 430–434. https://doi.org/10.1525/jsah.2010.69.3.430 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Barbara Miller Lane; Review: Bauhaus 1919–1933: Workshops for Modernity. Journal of the Society of Architectural Historians 1 September 2010; 69 (3): 430–434. doi: https://doi.org/10.1525/jsah.2010.69.3.430 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentJournal of the Society of Architectural Historians Search Twenty-some Bauhaus exhibitions took place last year: in France, Italy, Poland, Israel, Germany, and the United States. Germany housed the largest number; there, 2009 was officially styled "the Bauhaus year," and German governments and Bauhaus-related museums and foundations subsidized celebrations of the ninetieth anniversary of the founding of the school. Some of these shows focused on individual teachers or students: the Kunsthaus in Apolda on Lyonel Feininger and László Moholy-Nagy, the Städtische Museum in Jena on Vasily Kandinsky, the Schlossmuseum in Gotha on Marianne Brandt and Wolfgang Tümpel. Many celebrations took place in Weimar, the birthplace of the school; Weimar's Neue Museum staged a commemoration of Bauhaus designers who participated in resistance to Hitler's government after 1933.1 The Erfurt Kunsthalle emphasized controversies over the Weimar Bauhaus, while the Stiftung Bauhaus Dessau mounted an ambitious exposition entitled Bauhaus City, with tours of the many recently restored Bauhaus buildings in... You do not currently have access to this content.

Reflexivity and affectivity

The goal of this paper is to explore the reflexivity of the writer in the writing of organizational studies. The self‐reflexive move that tries to account for and/or to understand researcher reflexivity questions the epistemological and ethical prerequisites to the text. Malcolm Ashmore’s (1989) exploration of the writer’s reflexivity has long been both a key point of reference and (perhaps) a dead‐end. The theme of the writer’s or the subject’s reflexivity – i.e. her/his role, place or ethics in the text – needs constant inquiry. Michel Henry’s life philosophy, I believe, is a source for such exploration. Henry has analyzed human affectivity as the ground to awareness, sensitivity and aliveness. His phenomenology of life, which is not a phenomenology of perception, will be examined here. For Henry, the basic human affectivity that makes consciousness and the text possible is transcendent. He asserts that the text or the work is primarily self‐creating and not the representational choice of the subject or author. His critique of representation will be evaluated here on the hand of his exemplar: Vasily Kandinsky. And I will argue for a reversal of Henry’s position, in the direction of not‐transcendent affectivity, making use of my exemplar: the Flemish writer Dimitri Verhulst.

KANDINSKY BY HELMUT FRIEDEL AND ANNEGRET HOBERT, EDITORS, KLEINE WELTEN/SMALL WORLDS (Facsimile) BY VASILY KANDINSKY, KANDINSKY - ABSOLUTE ABSTRACT BY HELMUT FRIEDEL (ED.) AND KANDINSKY - THEORIES AND EXPERIMENTS FROM VARIOUS YEARS BY VALERY TURCHIN

The Art BookVolume 16, Issue 3 p. 40-41 KANDINSKY BY HELMUT FRIEDEL AND ANNEGRET HOBERT, EDITORS, KLEINE WELTEN/SMALL WORLDS (Facsimile) BY VASILY KANDINSKY, KANDINSKY – ABSOLUTE ABSTRACT BY HELMUT FRIEDEL (ED.) AND KANDINSKY – THEORIES AND EXPERIMENTS FROM VARIOUS YEARS BY VALERY TURCHIN PATRICIA RAILING, PATRICIA RAILING Director, Artists. BookworksSearch for more papers by this author PATRICIA RAILING, PATRICIA RAILING Director, Artists. BookworksSearch for more papers by this author First published: 23 July 2009 https://doi.org/10.1111/j.1467-8357.2009.01043.x EDITOR'S NOTE ‘Kandinsky – Absolute Abstract’ opened at the Stadtische Galerie im Lenbachhaus und Kunstban, Munich (25 Oct 2008–22 Feb 2009), before moving on to Centre Pompidou, Paris (8 April–10 Aug, 2009), and will finish at the Solomon R Guggenheim Museum, New York (18 Sept 2009–10 Jan 2010). To see a selection of Kandinsky's paintings, go to http://www.guggenheim.org/new-york/collections/collection-online/showlist/artist/k/?search=Vasily%20Kandinsky Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat No abstract is available for this article. Volume16, Issue3August 2009Pages 40-41 RelatedInformation

Essay: White daisies on my mind (Requiem for an Alzheimer patient)

The Brain – is wider than the Sky – For – put them side by side – The one the other will contain With ease – and You – beside – The Brain is deeper than the sea – For – hold them – Blue to Blue – The one the other will absorb – As Sponges – Buckets – do – The Brain is just the weight of God – For – Heft them – Pound for Pound – And they will differ – if they do – As Syllable from Sound – —Emily Dickinson The coffin was light lavender on the outside, layered with hundreds of hand-held brushstrokes. It was a plaintive tone, yet imposing, as one might envision the well-worn purple hues of a Roman emperor's robe, easily commanding the attention of passersby. Looking at the empty container, it reminded me of Vasily Kandinsky's comment, in Concerning the Spiritual in Art , that if the color purple were a musical sound, it would be an English horn or perhaps “the deep notes of wood instruments such as the bassoon.” This particular timbre was more like an oboe, mellifluous and soulful, several octaves above the dark purple of a bassoon. On the outside lid, there were many fine lines made by the individual bristles, barely discernible as one examined the smooth wooden surface depending on the angle of the light, giving the overall illusion of a uniform and linear grain. It was as if the knots and imperfections of the wood had been combed out like a child's hair, the tangles gradually loosening with every brush stroke, each one a mother's gentle embrace. Festoons of white daisies were painted on the length and ends, within the recessed panels underlying the long handles of the body, making the purple …

New Worlds: German and Austrian Art 1890-1940

Book synopsis: This volume, the inaugural catalogue of the Neue Galerie New York, seeks to bring to light the history of the works of fine and decorative artists of Germany and Austria between 1890 and 1940. Focusing on 26 visual artists and 18 decorative artists whose work is represented in the Neue Galerie New York collection, the catalogue offers an overview of their works and situates them within the history of their reception in 20th-century America. It also tells the stories of the numerous museum officials, patrons, art dealers and journalists who brought these artworks to the attention of the American public. The catalogue seeks to illumine the little-known facts of German and Austrian artists' reception in American through biographies that describe the highlights of their lives and careers as well as their presentations in the United States. A variety of catalogue essays examine such topics as the cultural context within which German and Austrian Expressionism arose, public response to museum representations of German art, formalistic issues in Austrian decorative arts, aesthetic quests in the German decorative arts, and key moments in the American reception of German and Austrian decorative arts. Featured artists include Peter Behrens, Vasily Kandinsky, Paul Klee, Gustav Klimt, Oskar Kokoschka, Wilhelm Lehmbruck, Adolf Loos, Egon Schiele and Otto Wagner.