Point and Line to Plane - Kandinsky, Wassily
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2013 Reprint of 1947 Edition. Exact facsimile of the original edition, not reproduced with Optical Recognition Software. In this title Kandinsky analyzed the geometrical elements which make up every painting-the point and the line. He called the physical support and the material surface on which the artist draws or paints the basic plane, or BP. He did not analyze them objectively, but from the point of view of their inner effect on the observer. A point is a small bit of color put by the artist on the canvas. It is neither a geometric point nor a mathematical abstraction; it is extension,…mehr

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Produktbeschreibung
2013 Reprint of 1947 Edition. Exact facsimile of the original edition, not reproduced with Optical Recognition Software. In this title Kandinsky analyzed the geometrical elements which make up every painting-the point and the line. He called the physical support and the material surface on which the artist draws or paints the basic plane, or BP. He did not analyze them objectively, but from the point of view of their inner effect on the observer. A point is a small bit of color put by the artist on the canvas. It is neither a geometric point nor a mathematical abstraction; it is extension, form and color. This form can be a square, a triangle, a circle, a star or something more complex. The point is the most concise form but, according to its placement on the basic plane, it will take a different tonality. It can be isolated or resonate with other points or lines. A line is the product of a force which has been applied in a given direction: the force exerted on the pencil or paintbrush by the artist. The produced linear forms may be of several types: a straight line, which results from a unique force applied in a single direction; an angular line, resulting from the alternation of two forces in different directions, or a curved (or wave-like) line, produced by the effect of two forces acting simultaneously. The book contains many photographic examples and drawings from Kandinsky's works which offer the demonstration of its theoretical observations, and which allow the reader to experience the inner effect of the point and line to plane.
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Autorenporträt
Wassily Wassilyevich Kandinsky (16 December [O.S. 4 December] 1866 - 13 December 1944) was a Russian painter and art theorist. Kandinsky is generally credited as the pioneer of abstract art.[1] Born in Moscow, Kandinsky spent his childhood in Odessa (today Ukraine), where he graduated at Grekov Odessa Art school. He enrolled at the University of Moscow, studying law and economics. Successful in his profession-he was offered a professorship (chair of Roman Law) at the University of Dorpat (today Tartu, Estonia)-Kandinsky began painting studies (life-drawing, sketching and anatomy) at the age of 30. In 1896, Kandinsky settled in Munich, studying first at Anton A¿be's private school and then at the Academy of Fine Arts. He returned to Moscow in 1914, after the outbreak of World War I. Following the Russian Revolution, Kandinsky "became an insider in the cultural administration of Anatoly Lunacharsky"[2] and helped establish the Museum of the Culture of Painting.[3] However, by then "his spiritual outlook... was foreign to the argumentative materialism of Soviet society",[4] and opportunities beckoned in Germany, to which he returned in 1920. There he taught at the Bauhaus school of art and architecture from 1922 until the Nazis closed it in 1933. He then moved to France, where he lived for the rest of his life, becoming a French citizen in 1939 and producing some of his most prominent art. He died in Neuilly-sur-Seine in 1944. Kandinsky was born in Moscow, the son of Lidia Ticheeva and Vasily Silvestrovich Kandinsky, a tea merchant.[5][6] One of his great grandmothers was a Princess Gantimurova, probably explaining the "slight Mongolian trait in his features".[7] Kandinsky learned from a variety of sources while in Moscow. He studied many fields while in school, including law and economics. Later in life, he would recall being fascinated and stimulated by colour as a child. His fascination with colour symbolism and psychology continued as he grew. In 1889, he was part of an ethnographic research group which travelled to the Vologda region north of Moscow. In Looks on the Past, he relates that the houses and churches were decorated with such shimmering colours that upon entering them, he felt that he was moving into a painting. This experience, and his study of the region's folk art (particularly the use of bright colours on a dark background), was reflected in much of his early work. A few years later he first likened painting to composing music in the manner for which he would become noted, writing, "Colour is the keyboard, the eyes are the hammers, the soul is the piano with many strings. The artist is the hand which plays, touching one key or another, to cause vibrations in the soul".[8] Kandinsky was also the uncle of Russian-French philosopher Alexandre Kojève (1902-1968).