Il 2 gennaio 1911 Kandinskij ascoltò a Monaco un concerto con alcuni Lieder, i Quartetti op. 7 e op. 10 e i Klavierstücke di Schönberg, e pochi giorni dopo sentì il bisogno di scrivere al compositore ...(che non era presente al concerto): le lettere che si scambiarono negli anni 1911-14 formano il nucleo essenziale di un dialogo epistolare intorno alle affinità e alle convergenze che Kandinskij e Schönberg immediatamente avvertirono nella loro ricerca sotto il segno della “necessità interiore”, nella fase del primo astrattismo per l’uno e della sospensione della tonalità per l’altro. Senza indulgere ad approssimativi giochi di corrispondenze tra linguaggi e personalità differenti, è possibile tentare un confronto tra la sconvolta visione dello spazio pittorico del primo astrattismo di Kandinskij (uno spazio privato di un “centro” di riferimento) e il vertiginoso stravolgimento dello spazio sonoro che negli stessi anni produce in Schönberg l’abolizione di un centro tonale. Tra gli aspetti più interessanti dell’epistolario tra Schönberg e Kandinskij, che costituisce un contrappunto alle loro riflessioni teoriche e alle loro creazioni degli anni 1911-14, ci sono le ricerche sinestesiche che caratterizzano Il suono giallo e La mano felice, due esperienze teatrali diversissime e concepite in modo del tutto indipendente. E va ricordata la collaborazione del compositore all’almanacco Der Blaue Reiter con Herzgewächse su testo di Maeterlinck. On the Meeting of Kandinskij and Schönberg, under the Sign of “Inner Need” On January 2, 1911 Kandinskij attended concert in Münich with some Lieder, the Quartets op. 7 and op. 10 and the Klavierstücke by Schönberg – a few days later he felt the need to write to the composer (who didn’t attend the concert). The letters exchanged in the years 1911-14 form the essential nucleus of an epistolary dialogue about the affinities and convergences that Kandinsky and Schönberg immediately felt in their research under the sign of “inner need”, in the phase of the first abstractionism for one and the suspension of the tonality for the other. Without indulging in approximate games of correspondence between different languages and personalities, it is possible to attempt a comparison between the upset vision of the pictorial space of Kandinsky’s first abstractionism (a space deprived of a “centre” of reference) and the dizzying distortion of the sound space that in the same years produced in Schönberg the abolition of a tonal centre. Among the most interesting aspects of the correspondence between Schönberg and Kandinsky, which is a counterpoint to their theoretical reflections and their creations of the years 1911-14, there are the synaesthetic researches that characterize Der gelbe Klang and Die glückliche Hand, two very different theatrical experiences and conceived in a completely independent way. Schönberg also composed Herzgewächse on a text by Maeterlinck for the almanac Der Blaue Reiter.
Wassily Kandinsky (1866-1944) is credited as one of the pioneers of abstraction in western art. His creation of abstract work followed a long period of development of creative thought, based on his ...artistic experiences. Kandinsky was a pioneer, and all forms of abstract painting there is scarcely one that he himself did not initiate and experiment with. Wassily Kandinsky was progressing from lyrical outbursts of colour, a symbiosis of poems and paintings to a simple flawless architectural organization and a rigorous form. Kandinsky’s work steadily and harmoniously gathered and spiritual power until it rose at last to a great cosmic synthesis. In this article we will analyse the emergence of abstract art in the period 1910-1914 and Wassily Kandinsky’s influence on that process. Among other things through an analysis of a group of artists “Der Blaue Reiter” (The Blue Rider) including Wassily Kandinsky, August Macke, Paul Klee, and Franz Marc. Wassily Kandinsky was a kind of original source and inspiration for modern art, and he never felt himself bound by a rigid discipline, but aimed at extending the field of art to include all orders of knowledge.
This book presents new research on the histories and legacies of the German Expressionist group Blaue Reiter, the founding force behind modernist abstraction. For the first time Blaue Reiter is ...subjected to a variety of novel inter-disciplinary perspectives, ranging from a philosophical enquiry into its language and visual perception to analyses of its gender dynamics, its reception at different historical junctures throughout the twentieth century and its legacies for post-colonial aesthetic practices. The volume offers a new perspective on familiar aspects of Expressionism and abstraction, taking seriously the inheritance of modernism for the twenty-first century in ways that will help to recalibrate the field of Expressionist studies for future scholarship. Blaue Reiter still matters, the contributors argue, because the legacies of abstraction are still being debated by artists, writers, philosophers and cultural theorists today.This book presents new research on the histories and legacies of the German Expressionist group Blaue Reiter, the founding force behind modernist abstraction. For the first time Blaue Reiter is subjected to a variety of novel inter-disciplinary perspectives, ranging from a philosophical enquiry into its language and visual perception to analyses of its gender dynamics, its reception at different historical junctures throughout the twentieth century and its legacies for post-colonial aesthetic practices. The volume offers a new perspective on familiar aspects of Expressionism and abstraction, taking seriously the inheritance of modernism for the twenty-first century in ways that will help to recalibrate the field of Expressionist studies for future scholarship. Blaue Reiter still matters, the contributors argue, because the legacies of abstraction are still being debated by artists, writers, philosophers and cultural theorists today.
In seinen Werken überträgt Paul Klee den Übergang von (innerer) Stimme und (äußerem) Bild in ein szenisches Spiel - und stellt uns vor das Problem einer möglichen Opferlosigkeit dieses Übergangs. Als ...Musiker, Zeichner und Maler experimentiert er vielfältig mit dieser szenischen Dramatik. Werkimmanent stellt sich dabei die Frage, wie die Gewalt der Sinnenübergänge in den Kunst- und Designproduktionen moderiert und Schuldfreiheit »naturhafter« Produktion erreicht werden kann.Seine neurodermitische Erkrankung zeigt in äußerster Verdichtung - der Sklerose als Palimpsest der Organhäute - den einbehaltenen Schuldkonflikt am Körperbild und dessen nothafte Entäußerung in Malerei. Die Sklerose Klees ist die ultimative Antwort auf das faschistische Programm sich selbst restlos konsumierender (Kriegs-)Produktion.
