| Composition VII | |
|---|---|
 | |
| Artist | Wassily Kandinsky |
| Year | 1913 |
| Medium | oil on canvas |
| Dimensions | 200.6 cm× 302.2 cm(79.0 in× 119.0 in) |
| Location | Tretyakov Gallery, Moscow |
Composition VII is an abstract oil painting executed in 1913 by Wassily Kandinsky, a Russian-born painter. It is in the collection of the Tretyakov Gallery, in Moscow. Art historians have concluded that the work is a combination of the themes of Resurrection, Judgment Day, the Flood and the Garden of Eden. [1]
Kandinsky's preliminary study was his first abstract watercolor. Untitled (Study for Composition VII, Première abstraction), painted in 1913, [2] is one of the first artworks to emerge from the representational tradition of Western European painting entirely, shedding references to well known forms, conventions of material representation and all narrative allusions. The watercolor is the first extant entry in Wassily Kandinsky's parallel series of abstract "Compositions" and "Improvisations" that began to emerge during his Blue Rider Period. Though the work is dated 1910, art historians believe the date is apocryphal, and that Kandinsky dated the work in 1913.
Kandinsky's work from the second decade of the 20th century displays a fair degree of progressive continuity away from the representational traditions of Western European art and towards pure abstraction. His first abstract watercolor appears to be his first purely abstract work. It was thought to be the first purely "abstract painting" as abstract painting later came to be understood (as a culturally significant form, as opposed to "mere ornamentation" created as a decorative element within architecture, written works etc.).
Contemporary with Cubism and Futurism, and the increasingly abstract work of Robert Delaunay, Francis Picabia, František Kupka, Léopold Survage, Piet Mondrian, and Hilma af Klint, [3] Kandinsky's are generally understood as one element of a more general and distributed transition to abstraction.
The history of painting reaches back in time to artifacts and artwork created by pre-historic artists, and spans all cultures. It represents a continuous, though periodically disrupted, tradition from Antiquity. Across cultures, continents, and millennia, the history of painting consists of an ongoing river of creativity that continues into the 21st century. Until the early 20th century it relied primarily on representational, religious and classical motifs, after which time more purely abstract and conceptual approaches gained favor.
Wassily Wassilyevich Kandinsky was a Russian painter and art theorist. Kandinsky is generally credited as one of the pioneers of abstraction in western art. Born in Moscow, he spent his childhood in Odesa, where he graduated from Odesa Art School. He enrolled at the University of Moscow, studying law and economics. Successful in his profession—he was offered a professorship at the University of Dorpat —Kandinsky began painting studies at the age of 30.
Abstract art uses visual language of shape, form, color and line to create a composition which may exist with a degree of independence from visual references in the world.
Der Blaue Reiter is a designation by Wassily Kandinsky and Franz Marc for their exhibition and publication activities, in which both artists acted as sole editors in the almanac of the same name, first published in mid-May 1912. The editorial team organized two exhibitions in Munich in 1911 and 1912 to demonstrate their art-theoretical ideas based on the works of art exhibited. Traveling exhibitions in German and other European cities followed. The Blue Rider disbanded at the start of World War I in 1914.
Synchromism was an art movement founded in 1912 by American artists Stanton Macdonald-Wright (1890–1973) and Morgan Russell (1886–1953). Their abstract "synchromies," based on an approach to painting that analogized color to music, were among the first abstract paintings in American art. Though it was short-lived and did not attract many adherents, Synchromism became the first American avant-garde art movement to receive international attention. One of the difficulties inherent in describing Synchromism as a coherent style is connected to the fact that some Synchromist works are purely abstract while others include representational imagery.
Geometric abstraction is a form of abstract art based on the use of geometric forms sometimes, though not always, placed in non-illusionistic space and combined into non-objective (non-representational) compositions. Although the genre was popularized by avant-garde artists in the early twentieth century, similar motifs have been used in art since ancient times.
The Russian avant-garde was a large, influential wave of avant-garde modern art that flourished in the Russian Empire and the Soviet Union, approximately from 1890 to 1930—although some have placed its beginning as early as 1850 and its end as late as 1960. The term covers many separate, but inextricably related, art movements that flourished at the time; including Suprematism, Constructivism, Russian Futurism, Cubo-Futurism, Zaum, Imaginism, and Neo-primitivism. Many of the artists who were born, grew up or were active in what is now Belarus and Ukraine, are also classified in the Ukrainian avant-garde.
Hilma af Klint was a Swedish artist and mystic whose paintings are considered among the first abstract works known in Western art history. A considerable body of her work predates the first purely abstract compositions by Kandinsky, Malevich and Mondrian. She belonged to a group called "The Five", comprising a circle of women inspired by Theosophy, who shared a belief in the importance of trying to contact the so-called "High Masters"—often by way of séances. Her paintings, which sometimes resemble diagrams, were a visual representation of complex spiritual ideas.
Twentieth-century art—and what it became as modern art—began with modernism in the late nineteenth century.
Concrete art was an art movement with a strong emphasis on geometrical abstraction. The term was first formulated by Theo van Doesburg and was then used by him in 1930 to define the difference between his vision of art and that of other abstract artists of the time. After his death in 1931, the term was further defined and popularized by Max Bill, who organized the first international exhibition in 1944 and went on to help promote the style in Latin America. The term was taken up widely after World War 2 and promoted through a number of international exhibitions and art movements.
The history of Western painting represents a continuous, though disrupted, tradition from antiquity until the present time. Until the mid-19th century it was primarily concerned with representational and Classical modes of production, after which time more modern, abstract and conceptual forms gained favor.
Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, and airbrushes, can be used.
20th-century Western painting begins with the heritage of late-19th-century painters Vincent van Gogh, Paul Cézanne, Paul Gauguin, Georges Seurat, Henri de Toulouse-Lautrec, and others who were essential for the development of modern art. At the beginning of the 20th century, Henri Matisse and several other young artists including the pre-cubist Georges Braque, André Derain, Raoul Dufy and Maurice de Vlaminck, revolutionized the Paris art world with "wild", multi-colored, expressive landscapes and figure paintings that the critics called Fauvism. Matisse's second version of The Dance signified a key point in his career and in the development of modern painting. It reflected Matisse's incipient fascination with primitive art: the intense warm color of the figures against the cool blue-green background and the rhythmical succession of the dancing nudes convey the feelings of emotional liberation and hedonism.
Paul Kelpe was a German-born American abstract painter. His constructions integrating found objects into paintings were the first such works created in the United States and he painted two of the five Williamsburg murals, the first abstract murals in the United States. In addition to his mural work for various American government projects, he was an innovative independent painter and university art professor. He was a pioneer of American abstract art, including his work in Chicago during a period in which abstracts were not well accepted or appreciated.
Caoutchouc is a painting created circa 1909 by the French artist Francis Picabia. At the crossroads of Cubism and Fauvism, Caoutchouc is considered one of the first abstract works in Western painting. The painting is in the collection of Centre Pompidou, Musée National d'Art Moderne, in Paris.
Improvisation No. 30 (Cannons) is an oil painting executed between 1911 and 1913 by the abstract painter Vasily Kandinsky. The work was donated by the Chicago lawyer Arthur Jerome Eddy to the Art Institute of Chicago, in whose permanent collection it still remains.
The Blue Rider is an oil painting executed in Bavaria in 1903 by the Russian emigré artist Wassily Kandinsky. It is now held in a private collection in Zurich, and shares its name with the art movement he would co-found with Franz Marc in the early 1910s.
The Donkey Rider is a watercolor created in 1914 by the German Expressionist painter August Macke. It was created during the art-historically significant trip to Tunisia that he took with fellow painters Paul Klee and Louis Moilliet in April 1914. The watercolor is now in the collection of the August-Macke-Haus in Bonn.
Auf Weiss II (Sur blanc II), in English: On White II, is an oil-on-canvas painting by Russian painter Wassily Kandinsky, from 1923. It was created when the artist was a teacher at the Bauhaus in Weimar. The painting initially hung in the dining room of Wassily and Nina Kandinsky's apartment at Bauhaus Dessau. Since 1976, as a gift from Nina Kandinsky, it has been in the collection of the Musée National d'Art Moderne, in Paris.
Media related to Composition VII - Wassily Kandinsky at Wikimedia Commons