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Concerning the Spiritual-and the Concrete-in Kandinsky's Art
Language: English
Pages: 280
ISBN: B00KQFTIGQ
Format: PDF / Kindle (mobi) / ePub
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above and below the large, rounded blue form somewhat to the left of center; and pretty much any of the drawn lines in the upper left-hand corner. Our occasional uncertainty concerning the status of all of these contours is, as we will see momentarily, crucial to the overall effect of the phenomenon. 81. For the most interesting of these accounts, see Matthias Haldemann, Kandinskys Abstraktion: Die Entstehung und Transformation seines Bildkonzepts (Munich: Wilhelm Fink Verlag, 2002), 206–217.
classical and romantic art and Hegelian system. —Works: Aesthetics: 1, 7–13, 17–18, 20–22, 39, 42–45, 48–50, 58, 65–66, 147–48, 178n6, 179–80n1, 193n21, 228n14; Encyclopedia of the Philosophical Sciences, 36; Phenomenology of Spirit, 6, 16, 56, 145–46, 181n4, 197n9, 204n65, 225n11, 226n22; Philosophy of Nature, 36–39, 63, 191–92n20, 223n137; Philosophy of Right, 64; Philosophy of Spirit, 36; Science of Logic, 11, 23, 191n20, 220n117 Hegelian system, 11, 43, 52, 61–63, 65, 124, 146–48, 192n20,
another; they generate “disharmonious contrasts” that still manage, in the context of the work, to reach a kind of harmonic reconciliation. Finally, even the fundamental opposition between materiality and immateriality is at least provisionally overcome—principally via that “point” which, in adhering so firmly to the lower edge of the picture plane, produces the illusion of the plane’s de-realization above. “The practiced eye,” Kandinsky wrote near the end of Punkt und Linie, “must possess the
Quetschtechnik in certain areas but also an array of other textures throughout: short parallel hatchings appear alongside dry, matte areas that are in turn interrupted by looping, fluid strokes laid down with heavily loaded brushes. Kandinsky simultaneously pursued a strategy of overt spatial disjunction. In a few of the preparatory drawings, which are unfortunately undated but which were presumably made just before (or conceivably just after) work on the canvas had begun, the artist divided the
Beautiful-of-the-“representational”-painting necessarily implies, therefore, a subjective constituent: it is subjective or subjectivist, and it is so because it is abstract. Let’s clarify, in order to avoid possible misunderstanding. In what was just said, we had in mind a subjective contribution that was purely pictorial. In fact, the contribution provided to the “representational” painting by the “subject” of the spectator is much richer than that. In the first place, while contemplating the
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