The Art of Spiritual Harmony

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Cosimo, Inc., 2007 M05 1 - 96 páginas
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"Wassily Kandinsky s contributions as a theorist were arguably more influential on modern art than any of his paintings. In Concerning the Spiritual in Art, first published in 1914, Kandinsky both promotes and defends a form of art in which painters express themselves in abstract terms independent of the material world around them, much as musicians do. Divided into two parts, About General Aesthetic (including an examination of geometrical forms) and About Painting (a discussion of the psychology of color and the language and form of color), Concerning the Spiritual in Art offers an insight into the mind of one of the most renowned of all abstract painters and a preview of the art that he was to produce in the years to come. Russian painter WASSILY KANDINSKY (1866 1944), one of the most famous artists of the 20th century, pioneered abstract art. His other books include Point and Line to Plane and Kandinsky, Complete Writings on Art."

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Contenido

Introduction
1
II The Movement of the Triangle
6
Spiritual Revolution
10
IV The Pyramid
19
ABOUT PAINTING
21
The Psychological Working of Colour
23
The Language of Form and Colour
27
Theory
46
Art and Artists
53
Conclusion
56
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Página xxvi - The nightmare of materialism, which has turned the life of the universe into an evil, useless game, is not yet past; it holds the awakening soul still in its grip.
Página 54 - Painting is an art, and art is not vague production, transitory and isolated, but a power which must be directed to the improvement and refinement of the human soul— to, in fact, the raising of the spiritual triangle.
Página 14 - ... the new torch-bearer of Truth. He will find the minds of men prepared for his message, a language ready for him in which to clothe the new truths he brings, an organization awaiting his arrival, which will remove the merely mechanical, material obstacles and difficulties from his path.
Página 54 - The artist is not born to a life of pleasure. He must not live idle; he has a hard work to perform, and one which often proves a cross to be borne. He must realize that his every deed, feeling, and thought are raw but sure material from which his work is to arise, that he is free in art but not in life.
Página 53 - A work of art is born of the artist in a mysterious and secret way. Detached from him it acquires autonomous life, becomes an entity. Nor is its existence casual and inconsequent; it has a definite and purposeful strength, alike in its material and spiritual life. It exists and has power to create spiritual atmosphere; and from this internal standpoint alone can one judge whether it is a good work of art or bad. If its form is "poor", it is too weak to call forth spiritual vibration.
Página 32 - ... in the human soul . . . 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 . . . 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....
Página xxvi - Dover, 1977) 1-5. is not a dream, and the gulf of darkness reality. This doubt, and the still harsh tyranny of the materialistic philosophy, divide our soul sharply from that of the Primitives. Our soul rings cracked when we seek to play upon it, as does a costly vase, long buried in the earth, which is found to have a flaw when it is dug up once more. For this reason, the Primitive phase, through which we are now passing, with its temporary similarity of form, can only be of short duration. These...
Página 20 - AND so THE arts are encroaching one upon another, and from a proper use of this encroachment will rise the art that is truly monumental.

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