Wassily Kandinsky

devote himself completely to painting.

at the Bolshoi Theatre in Moscow

Has an emotional shock he experienced from K. Monet's, "Haystacks"

Kandinsky entered the Munich Academy of Arts, and studied under Franz Stuck

an art group, in Munich and started a school, in which he taught himself

being engaged in painting and participating in exhibitions.

He co-forms The New Group of Artists (Neue Kunstlervereinigung)

this changes his view of art and inspires him to make Impression III (Concert)

Der Blaue Reiter lacked an artistic manifesto, the origin of the name is simply what kandinsky and marc liked.

Within the group, artistic approaches and aims varied from artist to artist; however, the artists shared a common desire to express spiritual truths through their art.

They believed in the promotion of modern art; the connection between visual art and music; the spiritual and symbolic associations of colour; and a spontaneous, intuitive approach to painting.

Members were interested in European medieval art and primitivism, as well as the contemporary, non-figurative art scene in France. As a result of their encounters with cubist, fauvist and Rayonist ideas, they moved towards abstraction.

During these crisis years of revolution Kandinsky alternated among half-abstract idiom, Impressionist landscapes and romantic fantasies

In his abstract pictures geometrization of separate elements became stronger, the reason for that is, first, the proper process of simplification, and, secondly - the Avant-Garde artistic atmosphere of Moscow of that time.

First Published Work

It was the beginning of the stage of intensive and fruitful search. The works of those years were basically landscapes, based on color discords. The play of color spots and lines was gradually superseding images of reality

Vasily Kandinsky’s use of the horse-and-rider motif symbolized his crusade against conventional aesthetic values and his dream of a better, more spiritual future through the transformative powers of art. The rider is featured in many woodcuts, temperas, and oils, from its first appearance in the artist’s folk-inspired paintings

In that year his style became increasingly abstract and expressionistic and his thematic concerns shifted from the portrayal of natural events to apocalyptic narratives.

"A circle, which I use recently so often, could not be called otherwise but romantic. And the present day romanticism is essentially deeper, more beautiful, more substantial and more salutary - it is a piece of ice, in which fire is burning. And if people feel only cold and do not feel fire - so much the worse for them..."