KANDINSKY: RUSSIAN

AND BAUHAUS YEARS

KANDINSKY: RUSSIAN AND BAUHAUS YEARS
1915-1933
KANDINSKY: RUSSIAN
AND BAUHAUS YEARS
1915-1933

The exhibition is supported by a grant from the National Endowment for the Arts.

The catalogue is partially underwritten by a grant from the Federal Republic of Germany.

Additional support for the exhibition has been contributed by Lufthansa German Airlines.

The Solomon R. Guggenheim Museum, New York

 Kandinsky Society

Claude Pompidou, President

Dominique Bozo, Vice-President
Thomas M. Messer, Vice-President

Christian Derouet, Secretary

Edouard Balladur
Karl Flinker

Jean-Claude Groshens
Pontus Hulten
Jean Maheu
Werner Schmalenbach
Armin Zweite

Hans K. Roethel

The Members Guild of The High Museum of Art

has sponsored the presentation in Atlanta.

Published by

The Solomon R. Guggenheim Foundation, New York, 1983

ISBN: 0-89107-044-7

Library of Congress Catalog Card Number: 83-50760

© The Solomon R. Guggenheim Foundation, New York, 1983

Cover: Kandinsky, In the Black Square. June 1923 (cat. no. 146)
 The Solomon R. Guggenheim Foundation
HONORARY TRUSTEES IN PERPETUITY
Solomon R. Guggenheim, Justin K. Thannhauser, Peggy Guggenheim

president Peter O. Lawson-Johnston

vice president The Right Honorable Earl Castle Stewart

trustees Anne L. Armstrong, Elaine Dannheisser, Michel David-Weill, Joseph W. Donner,

Robin Chandler Duke, Robert M. Gardiner, John Hilson, Harold W. McGraw, Jr.,
Wendy L-J. McNeil, Thomas M. Messer, Frank R. Milliken, Lewis T. Preston, Seymour
Slive, Michael F. Wettach, William T. Ylvisaker

advisory board Susan Morse Hilles, Morton L. Janklow, Barbara Jonas, Hannelore Schulhof, Bonnie
Ward Simon, Stephen C. Swid

secretary-treasurer Theodore G. Dunker

staff AiliPontynen, Assistant Secretary; Joy N. Fearon, Assistant Treasurer;

Veronica M. O'Connell

director Thomas M. Messer

The Solomon R. Guggenheim Museum

deputy director Diane Waldman

administrator William M. Jackson

staff Vivian Endicott Barnett, Curator; Lisa Dennison, Susan B. Hirschfeld, Assistant Curators;
Ward Jackson, Archivist; Susan M. Taylor,
Carol Fuerstein, Editor; Sonja Bay, Librarian;
Lewis Kachur, Curatorial Assistants; Shara Wasserman, Editorial Assistant
Louise Averill Svendsen, Curator Emeritus

Cherie A. Summers, Registrar; Jane Rubin, Associate Registrar; Guillermo Alonso, Assistant
Registrar; StephanieStitt, Registrar's Coordinator; Saul Fuerstein, Preparator; William

Smith, David M. Veater, Preparation Assistants; Leni Potoff, Associate Conservator;

Elizabeth Estabrook, Conservation Coordinator; Scott A. Wixon, Operations Manager;
Tony Moore, Assistant Operations Manager; Takayuki Amano, Head Carpenter; Carmelo
Guadagno, Photographer; David M. Heald, Associate Photographer; Holly Fullam,
Photography Coordinator

Mimi Poser, Officer for Development and Public Affairs; Carolyn Porcelli, Ann Kraft,
Development Associates; Richard Pierce, Public Affairs Associate; Elizabeth K. Lawson,
Membership Associate; Deborah J. Greenberg, Public Affairs Coordinator; Linda Gering,
Development Assistant; Catherine Kleinschmidt, Public Affairs Assistant; Veronica Herman,
Membership Assistant

Agnes R. Connolly, Auditor; Stefanie Levinson, Sales Manager; Robert Turner, Manager,
Cafe and Catering; Maria Masciotti, Assistant Restaurant Manager; Katherine W. Briggs,
Information; Christopher O'Rourke, Building Superintendent; Robert S. Flotz, Security
Supervisor; Elbio Almiron, Marie Bradley, Assistant Security Supervisors I; John Carroll,
Assistant Security Supervisor II

Rebecca H. Wright, Jill Snyder, Administrative Assistants

life members Eleanor, Countess Castle Stewart, Mr. and Mrs. Werner Dannheisser, William C.
Edwards, Jr., Mr. and Mrs. Andrew P. Fuller, Mr. and Mrs. Peter O. Lawson-Johnston,
Mrs. Samuel I. Rosenman, Mrs. S. H. Scheuer, Mrs. Evelyn Sharp, Mr. and Mrs. Stephen A.
Simon, Sidney Singer, Jr., Mrs. Hilde Thannhauser

institutional patrons Alcoa Foundation, Atlantic Richfield Foundation, Exxon Corporation, Robert Wood
Johnson Jr. Charitable Trust, Mobil Corporation, Philip Morris Incorporated

National Endowment for the Arts, National Endowment for the Humanities, New York
State Council on the Arts
LENDERS TO THE EXHIBITION

Edward Albee, New York Kunsthaus Zurich Stadtische Galerie im Lenbachhaus,

Munich
Herbert Bayer Kunstmuseum Basel
Stedelijk Museum, Amsterdam
Bayerische Hypotheken- und Kupferstichkabinett, Kunstmuseum Basel
Wechselbank, Munich Theatermuseum der Universitat Koln
Kunstmuseum Bern
George Costakis, Athens University Art Museum, University of
Kunstsammlung Nordrhein-Westfalen, California, Berkeley
Nathan Cummings, New York
Diisseldorf
Van Abbemuseum, Eindhoven,
Anneliese Itten, Zurich
Long Beach Museum of Art, Long Beach, The Netherlands
Lighting Associates, Inc., New York California
Wilhelm-Hack-Museum, Ludwigshafen
Mr. and Mrs. Adrien Maeght The Metropolitan Museum of Art,
Yale University Art Gallery, New Haven
Lucia Moholy
New York

Ulrich Pfander, Tegernsee

Musee d'Art et d'Histoire, Centre
d'Initiation a l'Art Moderne, Geneva
The Robert Gore Rifkind Center for
German Expressionist Studies, Gift of the Musee National d'Art Moderne, Centre Artcurial, Paris

Robert Gore Rifkind Foundation, The Georges Pompidou, Paris

Galerie Beyeler, Basel
Los Angeles County Museum of Art
Museum of Art, Rhode Island School of
Galerie Gmurzynska, Cologne
Professor K.P. Zygas, Los Angeles Design, Providence
Leonard Hutton Galleries, New York
Museum Boymans-van Beuningen,
Rotterdam, The Netherlands Sidney Janis Gallery, New York
Museum Ludwig, Cologne Art Advisory SA, c/o Matthiesen Fine Art
Albright-Knox Art Gallery, Buffalo, Ltd., London
New York The Museum of Modern Art, New York
Graphisches Kabinett Kunsthandel
Altonaer Museum, Hamburg Nelson-Atkins Museum of Art, Kansas Wolfgang Werner KG, Bremen
City, Missouri
The Art Institute of Chicago
Ohara Museum of Art, Kurashiki, Japan
Bauhaus-Archiv, Berlin

Busch-Reisinger Museum, Harvard Philadelphia Museum of Art

University, Cambridge, Massachusetts

The Hilla von Rebay Foundation
Fort Worth Art Museum
San Francisco Museum of Modern Art
The Peggy Guggenheim Collection, Venice
The Santa Barbara Museum of Art
The Solomon R. Guggenheim Museum,
New York Schlemmer Family Collection,
Staatsgalerie Stuttgart
Haags Gemeentemuseum, The Hague,
The Netherlands Scottish National Gallery of Modern Art,
Edinburgh
Hirshhorn Museum and Sculpture
Garden, Smithsonian Institution, Staatliche Museen Preussischer
Washington, D.C. Kulturbestiz, Nationalgalerie, Berlin
 TABLE OF CONTENTS

9 Preface and Acknowledgements Thomas M. Messer

iz Kandinsky: Russian and Bauhaus Years, 1915-1933 Clark V. Poling

13 Kandinsky in Russia, 1915-1921

36 Kandinsky at the Bauhaus in Weimar, 1922-1925

56 Kandinsky at the Bauhaus in Dessau and Berlin, 1925-193

85 Catalogue

348 Chronology

354 Selected Bibliography

357 Index of Artists in the Catalogue

358 Photographic Credits

PREFACE AND ACKNOWLEDGEMENTS

The name of Vasily Kandinsky, as lias been pointed out on previous occa-
sions, is inextricably linked to the Guggenheim's history. More than that of
any other artist, his work constitutes the core of the collection that Hilla
Rebay assembled for her patron and for which was known
this institution,

as the Museum of Non-Objective Painting when it was created almost fifty

years ago under the aegis of The Solomon R. Guggenheim Foundation. It is
therefore quite natural that Kandinsky should remain a recurrent subject of
investigation for us, the more so because his art and his theories continue to
have distinctly contemporary implications.
Kandinsky: Russian and Bauhaus Years, 1915-1933 thus becomes the
second installment in a three-part exhibition project. It follows Kandinsky
in Munich, curated in 1982 by Dr. Peg Weiss, and precedes Kandinsky in

Paris, now under study by Christian Derouet. As originally conceived, the

three parts of the project call for the participation of different individuals
steeped in their respective areas of specialization. Together the scholars so
involved should shed new light upon Kandinsky's ultimately unified cre-
ative achievement.
The current exhibition and this accompanying catalogue were entrusted
to Dr. Clark V. Poling, Director, Emory University Museum of Art and
Archaeology, Atlanta, and Associate Professor of Art History, who has de-
voted exhaustive research to the Bauhaus period and in particular to Kan-
dinsky's theoretical and pedagogical contributions. The three parts of Dr.
Poling's essay dealing respectively with Kandinsky in Russia, Weimar and
Dessau are close studies of Kandinsky's art and simultaneously offer guide-
lines for the presentation of the selected objects. As in the first exhibition, the

selection transcends Kandinsky's own oeuvre in order to stress the broader

context of his thought and work in relation to that of other artists.

In acknowledging the Guggenheim's great satisfaction with what ap-

pears to be a perfect implementation of the trilogy's second part, Dr. Poling's
contribution must be mentioned first. In doing so, we are aware that he
wishes to share credit with colleagues who have made generous contributions.
We are grateful to Dr. Hans M. Wingler, Director of the Bauhaus-Archiv
in Berlin, and his associates Dr. Peter Hahn and Dr. Christian Wolsdorff for
sharing important materials with Dr. Poling and for making essential loans
available for the exhibition. Without the generous support from all levels
within the Musee National d'Art Moderne, Centre Georges Pompidou, Paris,

the present exhibition would not have been possible. In particular, we would
 like to thank Dominique Bozo, Germain Viatte, Christian Derouet and Jessica
Boissel. One can hardly exaggerate our gratitude towards all those who acted
either on their own behalf or for their institutions and have allowed us to
include precious objects in their possession or custody in Kandinsky: Russian
and Bauhaus Years. The lenders are listed individually elsewhere in this cata-
logue, but here we would like to single out the following for special acknowl-
edgement: Dr. Felix Baumann, Kunsthaus Zurich; Dr. Christian Geelhaar,
Kunstmuseum Basel; Dr. Hans Christoph von Tavel, Kunstmuseum Bern;
Dr. Werner Schmalenbach, Kunstsammlung Nordrhein-Westfalen, Diissel-
dorf; William Rubin, John Elderfield and Cora Rosevear, The Museum of
Modern Art, New York; Dr. Peter Beye, Staatsgalerie Stuttgart; Dr. Armin
Zweite, Stadtische Galerie im Lenbachhaus, Munich; Edy de Wilde, Ste-
delijk Museum, Amsterdam; Alan Shestack, Yale University Art Gallery, New
Haven; Ernst Beyeler, Galerie Beyeler, Basel; Antonina Gmurzynska, Galerie
Gmurzynska, Cologne; and Mr. and Mrs. Adrien Maeght.
We are indebted to Dr. Charles W. Haxthausen, formerly of the Busch-
Reisinger Museum, Harvard University, Cambridge, and currently Visiting
Professor at Columbia University, for his advice during the early stages of this
exhibition. Stephanie Barron, Max Bill, Jean K. Benjamin, Felix Klee and the
late Hans K. Roethel and Philippe Sers were extremely helpful as well.
Within the Guggenheim Museum, the same team that coordinated the
first installment also took effective charge of the current show and the pro-
duction of the catalogue. Thanks must be expressed to Vivian Endicott
Barnett, the Guggenheim's Curator and coordinator of the three-part project,

and Susan B. Hirschfeld, Assistant Curator, for their active involvement in

all aspects of the project. Carol Fuerstein edited the catalogue and was as-

sisted by Shara Wasserman in its production. Such summary credits fail to

identify many other staff members who contributed their efforts and intel-

ligence to a complex and time-consuming assignment.

Vasily Kandinsky's associations during his long life were many, and each
exhibition conjures up a veritable parade of now legendary contemporaries
whose part in the artist's life is commemorated with his own. None of these
personalities in the years reviewed here were closer to Kandinsky than his

wife Nina, whose tragic death in 1980 took her from our midst. It is the
unanimous wish Kandinsky Society, founded by Nina Kandinsky
of the
shortly before her death, that the exhibition Kandinsky: Russian and Bau-
haus Years, 1915-1933 be dedicated to her memory.

10
 I salute Gudmund Vigtel, Dr. Felix Baumann and Dr. Hans M. Wingler,
Directors, respectively, of The High Museum of Art, Atlanta, the Kunsthaus
Zurich and the Bauhaus-Archiv, Berlin, the institutions to which this exhibi-

tion will travel: thanks to their commitment to Kandinsky's art, it has been
possible to extend the show beyond its initial presentation at the Guggenheim.
It must, finally, not be forgotten that in these times of high costs and
curtailed income, exhibition sponsorship is an essential part of museum
programming. On behalf of this Foundation's Trustees and the Museum's
staff I therefore extend the Guggenheim's deeply felt gratitude to theNa-
tional Endowment for the Arts, to the Federal Republic of Germany and
to Lufthansa German Airlines for their contributions and support granted
toward this exhibition project.

Sponsorship from German sources is particularly appropriate since the

years from 1921 to 1933 that constitute the key period treated in this show
were spent by Kandinsky in German cities and also because the opening
of the exhibition at the Guggenheim Museum coincides with the tricentennial
celebration of the founding of German-American relations.

thomas m. messer, Director

The Solomon R. Guggenheim Foundation

11
KANDINSKY: RUSSIAN AND BAUHAUS
YEARS, 1915-1933

Clark V. Poling

Framed and punctuated by tumultuous historic events, the nineteen years of

Kandinsky's Russian and Bauhaus periods witnessed the First World War,
the Russian and German revolutions, the economic and political upheavals
of the Weimar period and the Nazis' assumption of power. Having developed
prior to 1914 an expressionist abstraction, Kandinsky continued to create an
art of inner content, albeit much changed stylistically, and his response to

those great external occurrences is manifested only generally and in a limited

number of works. In a politically charged environment, he was an apolitical

artist producing essentially abstract work. However, the historical conditions

led to the formation of the institutions in which Kandinsky participated
actively and where he associated closely with fellow artists and designers.
These circumstances, in turn, substantially affected the development of his

theory and teaching and influenced his art. While not himself succumbing to

the contemporary impulse toward utilitarian design, he devoted a great deal

of effort to contributing to the objective theories of the elements of art and
design sought by these institutions. The change in his own art to a geometric
style was part of that striving for a universal formal language. In the face
of recurring criticism of fine art and calls for social and practical function-
ality, Kandinsky preserved his belief in the relevance of his art and teaching
to a school of design and to the culture at large. Though he asserted the
importance and utility of theory as a background to artistic creation, he felt

that art depended ultimately on individual intuition, which found expression

I would thank personally several
like to
people who were particularly important
in his own work, in its formal complexity and richness of interrelationships.
to my work on this exhibition: Thomas M. Because Kandinsky was involved with the artists and institutions of his
Messer for his continuing support and ad-
time, the evidence of Russian avant-garde art and of the art and design that
vice at critical junctures during the plan-
ning and Charles W. Haxthausen for emanated from the Bauhaus throws much light on his receptivity to elements
suggesting the initial idea for the exhibi-
in his environment and on his contributions to that context. The greatly
tion and for many fruitful discussions dur-
ing conception. Hans M. Wingler, Peter
its increased understanding in recent years of the ferment of artistic activity and
Hahn and Christian Wolsdorff at the Bau- innovation in Revolutionary Russia and the expanded knowledge of the
haus-Archiv, Berlin, have given me impor-
tant assistance in my research for this fruitful interaction among masters and students, artists and designers at the
project, as have Christian Derouet and Bauhaus have provided a new framework in which to view Kandinsky's ac-
Jessica Boissel at the Musee National d'Art
Moderne, Centre Georges Pompidou, complishments. His paintings, watercolors, drawings and prints, mural proj-
Paris. Finally,Vivian Endicott Barnett and ects, designs for the stage and designs for porcelain represent a considerable
Susan B. Hirschfeld at the Guggenheim
Museum not only have born the major re- range of artistic output. To this can be added his theoretical work and the
sponsibility for the logistics of organizing products of his teaching, the numerous student color exercises, analytical
the exhibition but also have been very
drawings, free studies and paintings. Nineteen years is a substantial span of
helpful to me throughout the course of
the undertaking. an artist's career, and within it can be seen a development marked by a

iz
 series of large paintings that serve as milestones, a good many of which are
included in this exhibition. The sequence of In Gray, 1919, Multicolored
Circle, 1921, and Composition 8, 1923 (cat. nos. 25, 39, 147), shows the clari-

fication of his previous Munich style in Russia and the development of geo-
metric form and structure culminating in the Weimar period. Yellow-Red-
Bltie, 1925 (cat. no. 196), exemplifies the succeeding phase in its richness and
density of form, color and space. Several Circles, 1926 (cat. no. 188), is more
tranquil and focuses on a narrower range of elements, prefiguring aspects of
the later Dessau period. On Points, 1928 (cat. no. 247), presents a monumen-
tal image, which is a depicted motif of abstract structures. Finally, Develop-
ment in Brown, 1933 (cat. no. 314), is a somber and imposing summation of
the evocative power of abstract imagery. Kandinsky's art of these years shows
considerable range, formal multiplicity and variety of visual effects and
references. It elicits our admiration not only for his assurance in composing
the complex visual and expressive elements but also for his artistic ambition
and assertion of creative independence in the midst of challenging circum-
stances and frequently difficult times.

I. KANDINSKY IN RUSSIA, 1915-1921

Kandinsky's return to Russia in late 1914 was caused by the outbreak of the
war, a disruption he felt keenly in his personal and artistic life. In his last

letter from Munich to his dealer Herwarth Walden, he expressed his reaction
to the onset of war and his imminent departure as an enemy alien:

Now we have it! Isn't it frightful? It's as though I'm thrown out of a
dream. I've been living inwardly in this period, assuming the complete
impossibility of such events. I've been torn out of this illusion. Moun-
tains of corpses, frightful agonies of the ?nost varied kind, inner culture
set back for an indefinite time.
. . . For the 16 years [sic] that I have lived in Germany I have devoted
myself to the German Kunstleben [life of art]. How should I suddenly
feel like a foreigner?
. . . For the time being I'm waiting for the mobilization, and then where
1. Letter or Aug. 1914, Item 171,
2,
Sturm-Archiv, Staatsbibliorhek Preus- '° S°-
sischer Kulrurbesirz (Handschriften-
ahteilung), Berlin. This letter was written on August 2, 1914, the day after war was declared.

13
 The following day Kandinsky left Germany with his mistress Gabriele
Miinter and traveled to Switzerland, where they remained until late No-
vember.
They stayed in a villa at Goldach on Lake Constance, where Kandinsky
worked on the theoretical material he later used in his hook Point and Line
to Plane, and from this temporary vantage point he was able to take a more
hopeful view of the war's eventual outcome. In a letter to his friend Paul
Klee, he conveyed the belief held by many artists and intellectuals early in
the war that a new age would be born of the conflagration:
What happiness there will be when this horrible time is over. What will
come afterwards? A great explosion, I believe, of the purest forces which
will also carry us on to brotherhood. And likewise an equally great
flowering of art, which must now remain hidden in dark corners. 2

The anxiety and optimism revealed in these statements also found occasional
expression in the works Kandinsky executed in the first years after he re-

turned to Russia as well as during his sojourn in Stockholm in early 1916.

Soon afterwards, in the early years of the Russian Revolution, with the offi-

cial embrace of avant-garde art and the restructuring of cultural institutions,

the new "brotherhood" and the "great flowering of art" must have seemed
real possibilities. Kandinsky's energetic involvement in organizational activi-

ties attests to his faith in those possibilities. For a few years he was part of
that artistic community, exhibiting with his avant-garde colleagues. Further,
his art and his pedagogical theories show that he responded, both positively
and critically, to their artistic innovations.
Viewed from the perspective of his entire career, the seven years Kan-
dinsky spent in Russia occasioned a transition in his art, from the expression-
ist abstraction of the immediately preceding Munich years to the geometric
style of his Bauhaus period. A parallel shift in his theoretical work began to
occur in Russia, as he increasingly emphasized the objective characteristics
of formal elements and the principles of their use. This change was to be
reflected in his teaching and writing at the Bauhaus from The 192.2. to 1933.
new qualities in his painting are first seen in works from 1919 to 1921, which
show a reduction of expressionist handling of forms and a gradual absorp-
tion of the geometric elements and structural principles of Russian avant-
garde art. At the same time, Kandinsky sought to maintain what he saw as
artistic freedom and expressive content by preserving the complexity and
some and associative imagery of his earlier art.
of the irregular forms
two years after Kandinsky returned to Russia, until he painted
In the first

a series of major works in September and October 1917, his art was tentative
in character. That he executed no oil paintings in 1915 is indicative of the

upheaval Kandinsky experienced in his life at this time. In spite of the ab-
stract nature of the watercolors and drawings from this year, the absence
2. Letter of Sept. 10, 1914, "Some Letters
from Kandinsky to Klee" in Homage of oils may also manifest a loss of resolve— as the appearance of seemingly
to Wassily Kandinsky, New York, retrogressive imagery in the following year and into 19 17 suggests. Water-
1975, p. 131. English edition of
"Centenaire de Kandinsky," XX e colors from 191 5 retain the energetic brushwork and intense color that were
Steele, no. xxvii, Dec. 1966. stylistic features of the immediately preceding Munich years. In an untitled

14
 example (cat. no. 1), the dense, turbulent quality and predominance of
black, used with bright, spectral colors, reflects Kandinsky's acutely felt

sense of the war. On the other hand, a more lyrical expression is created
in a second watercolor (cat. no. 1), with its luminous colors, more open
distribution of forms and delicate lines. This broad range of technique char-
acterizes the watercolors of the time and perhaps compensated Kandinsky
for his lack of involvement in the more ambitious activity of painting in oils.

Puzzling dichotomies of style are presented in 1916, as seen in the dry-

point etchings and watercolors Kandinsky created in Stockholm in the first

months of the year. This brief period was an interlude in the war years,
when Kandinsky was joined by Gabriele Miinter and each were given exhi-
bitions at Gummesons. Four of the six etchings from this time are abstract.
Etching 1916— No. IV (cat. no. 5), is characteristic in its floating imagery,
small scale and delicacy of line. The other two, however, are representa-
tional images recalling the Biedermeier subjects— scenes of late nineteenth-
century upper middle-class social leisure— Kandinsky occasionally depicted
in the early years of the century in Munich. In Etching 19 16— No. /// (cat. no.

4), this kind of imagery is embodied in the crinolined lady with a lorgnette
and two top-hatted men on horseback who are set in a fanciful landscape
that includes a Russian town with onion-domed towers in the background.
The cluster of soldiers with lances in the mid-distance— a medieval element
also drawn from Kandinsky's earlier work—introduces a reference to war
in the otherwise pastoral setting. Biedermeier motifs were also treated in the
eighteen watercolors done in 1915 and 1916 that Kandinsky called bagatelles
or trifles, an example of which is Picnic of February 1916 (cat. no. 8). Here
the subject matter is idyllic but the extremely tipped composition and the
elongated, spindly forms create a feeling of instability, which this work shares
with Etching 1916—N0. Ill and its watercolor study (cat. no. 3). Though, as

Will Grohmann suggested, a major reason for the choice of representational

imagery must have been its saleability— most of these works were bought by
the art dealer Gummeson— Kandinsky probably also intended an underlying
message. 3 The tottering world depicted in delicate spring-like colors in Picnic
or given a more threatening aspect in the etching conveys Kandinsky's sense of
the war and his faith in a renewal to come. He declared this belief in his
essay, "On the Artist," published as a brochure by Gummeson and dated the
same month as Picnic. He spoke of a "new spring .... The time of awaken-
ing, resolution, regeneration ... a time of sweeping upheaval." 4 Such a vision
represents the continuation of the apocalyptic themes of Kandinsky's Munich
years, and it is not surprising therefore to encounter once again the image of
Trumpeting Angels (cat. no. 6), in a drawing also dating from early 1916".
3. Will Grohmann, Wassily Kandinsky,
Life and Work, New York, 1958, The major picture that survives from this sojourn in Stockholm is Paint-
p. 164. ing on Light Ground (cat. no. 9), which in many of its stylistic features

4. "On the Artist" ("Om Konstnaren," develops the landscape-derived abstract imagery of Kandinsky's later Munich
Stockholm, 1916) in Kandinsky:
Complete Writings on Art, Kenneth years. These elements include the brushwork and loosely defined bound-
free
C. Lindsay and Peter Vergo, eds., z aries of the forms, which give the work a dynamic improvisatory quality.
vols., Boston, 1982, vol. 1., p. 409 There is a great range in color: black and white, light gray, brown, pale pri-
(hereafter referred to as Lindsay/
Vergo I or II). mary and secondary hues, as well as brighter spectral colors. The space is

15
 ambiguous: overlapping modulated planes recede toward the center, but the
intense coloration opposes this effect. Furthermore, the loose definition of
shapes and the alternation of bands of light and dark interrelate areas and
complicate the spatial reading. The result is a rich interweaving of the parts
of the composition. Preliminary drawings (cat. nos. 10, 11) that reveal Kan-
dinsky's pictorial thinking have survived for this canvas, as they do for some
of the Munich works. The arrows in themore rudimentary sketch— schematic
elements seen also in earlier compositional diagrams— indicate the predom-
inant upward thrust and counterbalancing downward movement in the pic-
ture. The drawings also show compositional devices he had discussed in an-

alyses written in the later Munich years of some of his own paintings: the
use of two or three "centers" to the left and right of the actual midpoint of
the picture and the placement of a heavy "weight" at the top. 5 He employed
these features to avoid a static, hierarchical composition and create a dy-
namic, unstable effect. The upward movement of the forms and the color
scheme, with its delicately tinted light gray border and placement of bright
colors in the upper part of the picture, give Painting on Light Ground a pos-
itive, assertive mood, appropriate to Kandinsky's vision of a "new spring."
The living, organic character of this painting is embodied in one of its

most important features, the light gray border that occasioned its title. Kan-
dinsky first developed this device in Painting with White Border of 191 3,
where it evolved after he pondered for months the pictorial problems of the
earlier stages of the work. During his Russian period became an important
it

compositional motif, as the several paintings with titles including the words
"oval" or "border" attest. The drawings for Painting on Light Ground sug-
gest a progressive manipulation of the form of the border, and in the painting

5. See his analyses following the essay

its contour creates an effect of pressure and partial release in relation to the
"Reminiscences" ("Riickblicke") in composition within. Though the border serves as the ground alluded to in the
Kandinsky, 1901-1913, Berlin, 19 13,
title, it also is an outer enframement, which acts as the first of a series of
Lindsay/Vergo, I, pp. 383 ff.; in the
Cologne Lecture, 1914, Lindsay/ spatial planes. This work thus epitomizes the complexity of what Kandinsky
Vergo, I, esp. p. 397; and in his Let- called pure "compositional painting." 6
ters to Arthur Jerome Eddy, 1914,
Lindsay/Vergo, I, esp. p. 403. Two smaller works from 1916 warrant mention, as Kandinsky thought

6. "Painting as Pure Art" ("Malerei als they were important enough to have them reproduced, on facing pages, in
reine Kunst," Der Sturm, 1913), the Russian edition of "Reminiscences," 1918. 7 The watercolor "To the Un-
Lindsay/Vergo, I, p. 353.
knoivn Voice" dated September 1916 (cat. is a somewhat smaller
no. 13),
7. "Stupeni" in Tekst kbudozbnika
("Steps" in Text of the Artist), version of one of those reproduced in the book. The personal meaning of the
Moscow, 1918, with the title To a title has been explained by Nina Kandinsky, who related the story of her
Certain Voice (Odnotnn Golosu),.
dated simply "16"; reproduced in
first encounter with her future husband, through a telephone call, when he
Musee National d'Art Moderne, became intrigued by the sound of the voice of this adolescent girl, whom he
Centre Georges Pompidou, Paris,
would marry the following February. 8 "To the Unknown Voice" is marked by
Paris-Moscou, 1900-1930, exh. cat.,
I 979> P- i 2 4i as "Composition J,
a density of black lines characteristic of some of the watercolors from early
Les Voi.x," watercolor, 31 x 10.8 in the Russian period, as well as a floating quality that was further developed
cm., Pushkin Museum, Moscow, and
in subsequent years. Here the sense of floating is created by the tipped axes
p. 514.

8. Nina Kandinsky, Kandinsky und ich, and use of pale washes surrounding the image. The second watercolor is

Munich, 1976, pp. 12-16. September Simple which is so stark in its

(cat. no. 14), clear forms and linear armature
1916 was the date of their first actual
meeting, the phone conversation
that it works from the very end of Kandinsky's Russian period.
prefigures
having occurred the previous May. Discrete shapes and clear, dramatic structure are features that Kandinsky

16
fig. I

Vasily Kandinsky
Twilight. September 1917
(HL213)
Oil on canvas
Collection Russian Museum, Leningrad

was to develop in his full-scale paintings beginning in 1919 to 1920. 9 In the

watercolor the ovoid and triangular shapes, while not truly geometric, are
nearly flat and thus planar in their presentation. The drawing in black lines,
assured and energetic, brings to the level of a finished work the diagrammatic
sketches of the Munich years, where diagonal axes connected disparate pic-
torial "centers."

The year of Russia's revolutions, of February and late October 1917,

occasioned a series of major paintings by Kandinsky, all of which have re-

mained in the Soviet Union. They were executed during September and
October, and several have a menacing quality conveyed by darkened sky or
somber background. This feeling is also communicated in the bizarre mask-
like image hovering in the upper part of the work entitled Twilight (fig. 1). A

somewhat similar image appears in a drawing dated October 24, 1917 (cat.

no. 17), the very eve of the storming of the Winter Palace in Petrograd and
the onset of the Bolshevik Revolution. Representational motifs from the
Munich period, such as storm-tossed boats with oarsmen, toppling hilltop
cities and landscape elements, were reintroduced in these pictures. At an
abstract level, the works possess a forceful clarity, with forms coalesced
into shapes defined by thick outlines often drawn in black pigment.
The recapitulation of a composition from the Munich period, Small
Pleasures of 1913 (fig. 2), in the Russian painting Blue Arch (Ridge) (fig. 3),

is a fuller instance of Kandinsky's return to personal motifs of the earlier

time and his reworking of them in the more decisive style of 1917. The im-
9. See White Oval (Black Border), 1919
portance to him of this image first painted in 1913 is further indicated by
(HL zzo), Tretiakov Gallery, Mos-
cow (fig. 5). the fact that he reinterpreted it once again in Weimar, in Reminiscence of

17
fig. 2 1924. The Russian allusions in the architecture atop the hill in Blue Arch
Vasily Kandinsky (Ridge) are expanded in the untitled painting referred to as Red Square
Small Pleasures. June 1913
(fig. 4). As the related drawing (cat. no. 15) also shows, the composition
(HL 174)
includes the onion-domed towers of Moscow, taller, modern buildings and
Oil on canvas
The Solomon
Collection R. Guggenheim smokestacks, as well as a picturesque pair of observers on a hilltop in the

Museum, New York foreground. This imagery expresses Kandinsky's fondness for the city, of

which he had written most nostalgically in 1913 in his "Reminiscences."

fig- 3
In the 1918 Russian edition of this essay, he increased the number of Rus-
Vasily Kandinsky
sian references, including those to Moscow, and so his allegiance to his
Blue Arch (Ridge). September 19 17
(HL 110)
native country was reflected at this time in both pictorial and literary forms. 10
Oil on canvas The liveliness of color and formal manipulation in Red Square are char-
Collection Russian Museum, Leningrad acteristic of Kandinsky's work in general and are in marked contrast to the
rather matter-of-fact late Impressionism of the city views he painted from
this studio window around 1919-20 (see cat. no. 29).

From after October 1917 until the middle of 1919 Kandinsky executed no
oil paintings, as he was intensely occupied instead with a variety of organi-
zational, pedagogical and editorial activities related to the drastic revamping
of cultural institutions and programs under the People's Commissariat for
Enlightenment (Narkompros) established by the new Revolutionary govern-
ment. Surviving watercolors and drawings from 1918 show some of his on-
going artistic concerns, the most important of which are the persistence of
landscape imagery and his developing interest in the border. Both features
had been seen in the last painting of 1917, Gray Oval, which was executed
in October. As the watercolor sketch for this work (cat. no. iS) reveals, the
triangular projections at the bottom of the central landscape, together with
the black background, make the image in the oval seem to float. This height-
10. The changes and additions in the ens the effect of the detachment of the image from the stable rectangular
Russian edition are indicated in
"Editors' Notes," Lindsay/Vergo, II,
periphery of the picture. Even when the border is not complete, as in two
pp. 887-897- interesting untitled watercolors from January and March 19 18 (cat. nos. 20,

18
fig-

Vasily Kandinsky
Red Square. 1917
Oil on board
Collection Tretiakov Gallery, Moscow

zi), this element contributes crucially to freeing the composition from secure
pictorial moorings. The feeling of floating is enhanced in these works by the
orientation of some landscape features toward what seems to be the bottom
of the composition, or toward its side. Thus the picture can be turned upside
down or on end and still read correctly, for the most part. 11 The rotational
character of the images frees them from the law of natural gravity, a libera-
tion that was an important aspect of the attempt to create a modern sense of
space, as seen in El Lissitzky's slightly later work.
Red Border (cat. no. 24), one of the first of the series of paintings from
1919, bears interesting comparison with Fainting on Light Ground of early
1916, as it is similar in size and vertical format. The border in the later work
is broader, more fluid and assured, and the forms are clearer and more solidly
colored, with the recurrent triangular shapes indicative of a developing sense
of informal geometry. The more active role of the "rim" or "border"— the
Russian obod of Kandinsky's title can be translated by either word— shows
the artist's increased awareness of this pictorial feature, here painted in
a sequence of red and green irregular bands. Typically, its ovoid shape rounds
off the corners of the picture. But the oval format is not used here to resolve
some relative weakness or unimportance of the corners, as it was in Analytic

Cubist works. There the focus on a central area devoted to a figural or still-

life motif tended to leave the corners unaccented and potentially problem-
11. A somewhat earlier example of a
atic. Kandinsky had long stressed the corners, in keeping with his desire to
composition meant to be read from
all sides is the watercolor Untitled
avoid a central focus and instead to activate diverse quadrants of the pic-
12
("Ceiling"), Oct. 1916 (cat. no. 11), ture. Strong forms frequently occupy one or more of the corners, and
that, from the evidence of the inscrip-
tion on the back, seems to be a de-
diagonals often emerge from or point toward them. In the pictures with
sign for a ceiling. The inscribed word, ovoid borders, abrupt changes in hue or value, the inclusion of a small dis-
in Cyrillic, is "Plafond."
tinct shape or the invasion of the corners by forms from the central area
11. See his Munich-period statements
prevent the periphery from becoming a neutral frame. Spatially, the borders
concerning his paintings cited in note
5, esp. Lindsay/Vergo, I, pp. 397, 402. contribute to the floating quality of the compositions. In conjunction with a

19
fig-

Vasily Kandinsky
White Oval (Black Border). 1919
(HL 220)
Oil on canvas
Collection Tretiakov Gallery, Moscow

dark background up a spatial recession in the

in the central area, they set

composition, as in Gray Oval and Red Border. In White Oval (Black Border),
1919 (fig. 5), and Green Border, 1920 (see cat. no. 34), on the other hand,
the light central background and brightly colored forms create the illusion

of hovering in front of the border.

The tendency toward more solid and defined planar forms is developed
in In Gray, 1919 (cat. no. 25), an extraordinarily complex composition re-

plete with idiosyncratic forms. One of the largest of Kandinsky's Russian

works, it brings together an abstract landscape of precipitous hills carried
over from the Munich period, fanciful elongated forms derived from the
bagatelles, and an incipient geometry. 13 Constellations of these forms float

and turn in a complex spatial layering, the ambient provided by the loosely
painted gray background. The
is both somber and turbulent.
overall effect
13. Regarding a similar derivation from Comparison of the painting with the preliminary drawing and watercolor
the bagatelles, see Art Gallery of New
(cat. nos. 26, 27) shows that Kandinsky started with an array of individual
South Wales, Vasily Kandinsky (1866-
1944); A selection from The Solomon shapes, including motifs such as the boat and oarsmen, that become more
R. Guggenheim Museum and The
hieroglyphic in the final work. Others, such as the biomorphic forms in the
Hilla von Rebay Foundation, exh.
cat., 1982, p. 36. center of the watercolor, are more descriptively rendered in the oil. The
14. In a letter of July 4, 1936, to Hilla watercolor study is especially important in the evolution of the composition,
von Rebay, Kandinsky wrote, "In as it introduces a series of large abstract shapes that underlie the smaller
Gray is the conclusion of my 'dra-
matic' period, that is, of the very forms and bring greater order and visual impact to the painting. With its

thick accumulation of so many welter of interpenetrating and melding forms and variety of allusions, In
forms": The Hilla von Rebay Foun-
dation Archive, The Solomon R.
Gray is Kandinsky's last ambitious effort to perpetuate the rich and myster-
Guggenheim Museum, New York. ious complexity he had first developed in his last Munich years. 14

20
 In 1920 and 1921, the two years following the execution of In Gray,
Kandinsky painted an extraordinary series of pictures, which were an asser-
tion both of his own gradual artistic evolution and of his position vis-a-vis
the Russian avant-garde. Since the Revolution and the subsequent founding
of the Department of Visual Arts (IZO) of Narkompros, Kandinsky had
been deeply involved in organizational activities, working
and educational
closely with leading members of the avant-garde. His writings from 1919
through 1921 treat both the subjective, expressive function of art and the
objective analysis of formal elements and structure. In his autobiographical
statement "Self-Characterization," published in June 1919 in Germany but
apparently written for a projected Russian Encyclopedia of Fine Arts, Kan-
dinsky reasserted concepts he had developed in Munich: the principle of
"inner necessity" as the basis of art and the characterization of the new era
in world culture as "the Epoch of the Great Spiritual." 15 In Program for
his
the Institute of Artistic Culture (Inkhuk), presented in June 1920, he empha-
sized objective investigations of artistic elements; however, he also stated his
opinions about the limitations of scientific inquiry and purely formal con-
struction in art, as well as his belief in the essentially subconscious nature
of true discovery in this realm.
Subsequently, in an interview in July 1921, he explicitly criticized the
principal members of the Russian avant-garde for ignoring content in art:

Instead of creating paintings, works, one makes experiments. One prac-

tices experimental art in laboratories. I think these are two different
things. People paint black on black, white on white. Color evenly ap-
plied, skillfully handled. Those who paint in that way say that they are
experimenting and that painting is the art of putting a form on the
canvas so that it looks as if it had been glued to the canvas. Yet it is im-
possible to paste black on yellow without the eye tearing it from the
16
canvas.

Thus he countered the proponents of the avant-garde with a reference to the

perceptual, psychological effect of color, which creates an illusionary space.
This is not only a telling indication of Kandinsky's continuing concern with
spatial imagery in his own art, but also a statement of his contention that
the relativistic character of the visual elements makes artistic composition
an inherently intuitive process. This was his consistent belief from the Mu-
nich period to the end of his career.
To view Kandinsky's Red Oval of 1920 (cat. no. 33) in the light of his
writings of these years reveals this painting as a conscious statement of his
artistic principles, in response to the art of his Russian contemporaries. The
large-scale yellow quadrilateral that dominates the composition is a tra-
15. "Self-Characterization" ("Selbstcha-
rakteristik," Das Kunstblatt, 1919),
pezium—a four-sided figure with no two sides parallel. This form was a
Lindsay/Vergo, I, pp. 431-433. Suprematist emblem, used by Kazimir Malevich from 1915 and by his fol-
16. Interview with Charles-Andre Julien lowers. It is seen especially in the paintings and graphics of Liubov Popova,
("Une Interview de Kandinsky en
1921," Revue de I' Art, 1969), Lindsay/ who used it as a cover design for Sitpremus (cat. no. 60), the proposed pub-
Vergo, I, p. 476. lication of the Society of Painters Supremus. Other members of this group

21
 who employed the form include Ivan Kliun (fig. 6) and Nadezhda Udaltsova.
In itself, the figure has strong though contradictory spatial implications, as if

it were a rectangle or square seen at an angle in space. By placing this Su-

prematist plane against a richly modulated green background and superim-
posing on it a variety of idiosyncratic forms, themselves modeled, Kandinsky
appropriated it to his own ambiguous atmospheric space. Other shapes,
notably the central red oval and the triangular forms, have a geometric
clarity, but many are freely invented, and some, such as the tipped boat hull
and long, diagonal oar at the left, are allusive, personal signs. The central
complex of forms builds out toward the viewer, while around the edge of
the quadrilateral certain elements recede into the green background. Further-
more, varied techniques of paint application are used: the yellow plane and
red oval, for example, are relatively flat and solidly painted, while other
areas are freely brushed or even coarsely stippled. 17 In texture, spatial effect
and formal imagery, therefore, the painting is a testament to artistic freedom
and complexity.
The vocabulary of points or dots, lines and planes in Red Oval is a

visual elaboration of the formal categories indicated in Kandinsky's "Little

Articles on Big Questions: On Point; On Line," of 1919, and in his Program
for Inkhuk. These publications and the Inkhuk Questionnaire of 1920 (cat.

no. 44), which elicted responses concerning the effects of abstract colors and
forms, cited the graphic elements: points and spots, straight and angled lines,

geometric curved and freer lines, the basic geometric shapes and free forms.
However, Kandinsky clearly announced himself on the side of the free, non-
schematic handling of forms in the service of expression. In the Inkhuk Pro-
gram he warned that even though the focus might for the moment be on
"problems of construction," one must avoid the danger of accepting "the
fig. 6
Ivan Kliun
engineer's answer as the solution for art."
18
In his earlier article "On Line,"

Untitled, ca. 1917 he commented more explicitly on geometric forms:

Oil on paper
The graphic ivork that speaks by means of these forms belongs to the
Collection George Costakis, Athens
first sphere of graphic language— a language of harsh, sharp expressions
devoid of resilience and complexity . . . [a] sphere of draftsmanship, with
. . . limited means of expression. . .

17. Kandinsky commented on variations There then follows the line's first-ever liberation from that most primi-
"Program for the In-
in facture in his
tive of measurement the , rider.
stitute of Artistic Culture" ("Pro-
gramma Instituta Khudozhestvennoi The clatter of the falling ruler speaks loudly of total revolution. It acts
19
Kultury," Moscow, 1920), Lindsay/ as a signal for us to enter the second world, the world of free graphics.
Vergo, I, p. 461; and in "The Mu-
seum of the Culture of Painting"
These remarks represent a response to the geometry that dominated the work
("Muzei zhivopisnoi kul'tury,"
Khndozbestvennaia Zhizn', 1910), of many of Kandinsky's Russian contemporaries. Yet the evidence of Red
Lindsay/Vergo, I, p. 441. Oval and other pictures from the end of his Russian period indicates that
18. "Program for the Institute of Ar- Kandinsky evolved a more complex and ambivalent position. It is clear from
tistic Culture," Lindsay/Vergo, I, p.
47i-
his Inkhuk Program and Questionnaire that he embraced geometric elements

19. "Little Articles on Big Questions: . .

as prime material for the analytical investigation of artistic principles. In his
On Line" ("Malen'kie stateiki o art, furthermore, geometric form came to play an increasingly important
bol'shim voprosam: O linii,"
. . .

role, as he found ways to use it freely enough to integrate it into his devel-
Iskusstvo: Vestnik Otdela IZO NKP,
1919), Lindsay/Vergo, I, pp. 425-426. oping artistic language. Thus Kandinsky picked up the dropped ruler and

22
 the compass as well, though he did not consistently use the precise forms
they generated until his years in Weimar.
Geometry did not have a major role in the pictures that immediately
followed Red Oval, though it does play a small part in works such as Green
Border (see cat. no. 34) and Points (cat. no. 35), both of 1920. It is interesting
that the latter is a virtual replica, only very slightly reduced in size, of a work

of the preceding year, Picture with Points (fig. 7), made soon after the original
was sold to the Russian Museum in Petrograd. The oval, circular, triangular
and striped forms are somewhat more regular in the second version. More-
over, in the later work the sense of detachment of the central area from the
periphery and the resultant floating quality are stronger, an effect enhanced
by the lightened background.
The strongly accented corners of Points and the use of the green border
in the immediately preceding picture anticipate compositional concerns
Kandinsky explored in two interesting works that followed. In "White Stroke
(cat. no. 36) the corners are diagonally truncated, creating an enframing set
of brownish gray triangles. As in the pictures with borders, one can read
the central field as a shape in itself— here a truncated diamond. (The alter-
native use of "border" and "oval" in the titles of the works with borders
indicates the ambiguous figure-ground relationship in this series.) The white
central area again functions both as a space and as a defined shape in Red
Spot II (cat. no. 37). Here the trapezium seen first in Red Oval seems to have
grown so that its corners exceed the limits of the picture's edges. The formal
integrity of the central shape is strengthened by its relatively uniform white
and the varying color and texture of the four corners. Unstably placed itself,

this white field supports a pinwheel-like set of forms that appears to rotate
around the center of the canvas.
fig-
Even more than Red Oval, Red Spot 11 signals a new kind of imagery in
Vasily Kandinsky
Kandinsky's art. The
metaphor and structural principles of land-
visual
Picture with Points. 1919
scape are here abandoned. The sense of freedom from gravity is complete.
(HL 123)
Oil on canvas
The forms are either geometric— circles and triangles— or clearly defined in-
Collection Russian Museum, Leningrad vented ones. Thus this work represents a more complete transition from
abstraction based on nature to nonobjectivity. Some degree of association
with nature still exists: an allusion to bodies turning and floating in a sky-

like or celestial realm. In this regard, it is an imagery resembling that of

Malevich's Suprematist paintings. Though landscape allusions reappear in
subsequent pictures by Kandinsky, they occur in more abstract form than in
previous works. In White Center, 1921 (cat. no. 38), for example, such images
are schematized and rendered weightless, disposed so that they seem to float

against a light background, and the sense of gravity is destroyed by suspend-

ing the forms above the lower edge of the canvas.
Multicolored Circle, 1921 (cat. no. 39), stands as the most developed ex-
ample of the nonobjectivity achieved through clarified and geometricized
form in Kandinsky's Russian period, in spite of the recurrence of the per-
sonal motif of sailboats at the right side of the picture. The dominant triangle

and overlapping circle in the center are pure geometric forms that overcome
associations with mountain and sun. Together with the two large, irregular

23
 quadrilaterals and the prominent diagonals, these shapes create a series of

overlapping, vertically positioned planes parallel to the picture plane. In

the shallow space between the pale blue background and the pair of diagonals
at the left, the forms seem to float and rise, moving centrifugally or radiating
from the midpoint of the lower edge. The underlying geometry and planarity
of this picture testify to Kandinsky's absorption of Suprematism, but the
complexities of contour and modulation, detail, space and movement reveal
the work as an assertion of his own artistic personality. Like Red Spot II, this
is a monumental composition, well over twice the size of the largest paintings
of his Russian contemporaries such as Malevich and Alexander Rodchenko. 20
Kandinsky's synthetic approach to abstract imagery and the variety of com-
positional solutions manifested in the paintings of his last year in Russia are
not, therefore, evidence of a lack of artistic certainty, but rather, of an active
and ambitious development of his own art.
The last three pictures of Kandinsky's Russian period, White Oval,
Circles on Black and Black Spot, are assertions of a free handling of geom-
fig- etry and irregular abstract forms. With its centralized composition of overlap-
Vasily Kandinsky ping planes. White Oval (cat. no. 40) restates in clarified terms the imagery of
Study for "Circles on Black." 1921 Red Oval. The trapezium is replaced by several freely contoured planes ar-
Pencil on paper
ranged in an advancing series, a much more clearly established spatial se-
Collection Musee National d'Art
Moderne, Centre Georges Pompidou, quence than that in the earlier work. The nature-derived shapes in Red Oval
Kandinsky Bequest
Paris, are superceded by nonobjective forms that range from precise geometric
figures to freer and more organic variations. Circles on Black (cat. no. 42)
also utilizes a geometric term in its title, but irregularities of contour and
idiosyncratic shapes abound. The image is, for the most part, planetary, with
the addition of a mask-like form and references to a cluster of buildings in
the upper left, as well as insect-like creatures at the right in the lower part of
the picture. These allusions, which are more legible in the preparatory draw-
ing at the Musee National d'Art Moderne (fig. 8), reaffirm the expressive po-
tential of fanciful, personally invented elements within an abstract imagery.
Black Spot (cat. no. 41) revives an expressionist looseness of drawing on
a large scale. The thinly painted white background, faintly tinted with blue
and yellow near the edges, makes the space seem to breathe and allows the
20. A noteworthy exception is Popova's constellation of black lines and spots and the colored shapes and halations
two-sided painting Dynamic Con- to hover on or near the picture plane. In its combination of precise and ir-
struction/Painterly Architectonics,
ca. 1917-18 and 1918-19, Tretiakov
regular circular forms, Black Spot brings to mind Kandinsky's statement in

Gallery, Moscow, which measures his article "On Line" of 1919:

159 x 125 cm.; see Angelica Zander
Rudenstine, ed., The George Cos- The point is . . . able to increase its size ad infinitum and becomes the
takis Collection: Russian Avant-
spot. Its subsequent and ultimate potential is that of changing its con-
Garde Art, New York, 1981, figs. 828,
830. figuration, whereby it passes from the purely mathematical form of a
21. Lindsay/Vergo, I, p. 425. bigger or smaller circle to forms of infinite flexibility and diversity, far
22. Lindsay/Vergo, I, p. 476. removed from the diagrammatic. 21
23. "Correspondence from Munich"
("Korrespondentsiia iz Miunkhena," For Kandinsky this development meant a liberation from strict geometry
Mir Iskusstva, 1902), Lindsay/Vergo, and the possibility of expressive freedom.
1, pp. 45-51; "Letters from Munich"

("Pis'mo iz Miunkhena," Apollon,

Thus works of 1920 and 1921 constitute a remarkable series
the major
1909-10), Lindsay/Vergo, I, pp. 54-80. of statements about formal qualities and their uses in pictorial composition.

2-4
 Created on a large scale, the paintings are an affirmation of what Kandinsky
saw as his important position in the avant-garde. "I founded abstract paint-
ing," he asserted as he discussed current artistic tendencies in the interview
of 1921. In the face of ideological conflicts about the nature and usefulness
of art, he declared by his own artistic practice his belief in the continuing
validity of pure painting that utilized a complex formal vocabularly to ex-
pressive ends. Kandinsky was aware of a new attitude in his works of these
years. As he said in the 192.1 interview:

. . . [after the Revolution] I painted in a totally different manner. I felt

within myself great peace of soul. Instead of the tragic, something peace-
ful and organized. The color in my work became brighter and more
attractive, in place of the previous deep and somber shades. 21

Bright colors and clarity of shape and structure, seen as early as 19 19 in

24- Concerning Kandinsky's contacts White Oval (Black Border) (fig. predominate in the paintings of 1920
5),
with Russian art during his Munich
period and his activities in Russia and 1921. These characteristics convey Kandinsky's confidence in himself
during the Revolutionary period, see as an artist, in the midst of heady and tumultuous events, which within the
Troels Andersen, "Some Unpublished
Russian avant-garde involved criticism and rejection of his art and ideas.
Letters by Kandinsky," Artes: Peri-
odical of the Fine Arts, vol. II, Oct.
1966, pp. 90-110; John E. Bowlt and
Rose-Carol Washton Long, eds., The Kandinsky's Role in the Russian Avant-Garde
Life of Vasilii Kandinsky in Russian
Art: A Study of "On the Spiritual in During the nearly two decades of his Munich period, Kandinsky had
Art," Newtonville, Massachusetts,
1980; and Jelena Hahl-Koch, "Kan-
maintained contact with artistic developments in Russia. He had published
dinsky's Role in the Russian Avant- numerous articles in St. Petersburg, Moscow and Odessa and traveled fre-
Garde" in Los Angeles County
quently to his native country, exhibiting there regularly as well. One of his
Museum of Art, The Avant-Garde in
Russia, 1910-1930: New Perspectives, earliest essays appeared in 1902 in Mir Iskusstva (World of Art), Diaghilev's
exh. cat., 1980, pp. 84-90; see also journal in St. Petersburg, and this contribution is indicative of his sympa-
John Bowlt, "Chronology" in
E.
Rudenstine, Costakis Collection, pp. thetic relationship to the Russian Symbolists with whom the World of Art
500 ff. group was closely linked. His ties to Russia were strengthened by his writing
That Kandinsky did not sympa-
thize with the more rebellious activi-
a series of five "Letters from Munich" for the St. Petersburg journal Apollon
23
ties of the early avant-garde may be from 1909 to 1910. The exhibitions he contributed to during these years
deduced from his objections to the
were important ones, in which other members of the Russian avant-garde
tone of the Futurist anthology A Slap
in the Face of Public Taste, Moscow, also participated: for instance, those of the Moscow Association of Artists
1912, in which four of his poems from 1900 to 1908 and in 1911; Vladimir Izdebsky's International Salon in
from Sounds (Klange) were published
without his permission; see his Odessa in 1909 and 19 10; and the Jack of Diamonds exhibitions in Moscow
"Letter to the Editor," Russkoe Sloi'O, in 1910 and 1912. 24 In Munich, furthermore, Kandinsky's work on the two
1913, Lindsay/Vergo, I, p. 347.
Blaue Reiter exhibitions and the almanac in 1911 and 1912 showed his keen
25. It noteworthy that watercolors by
it

Goncharova, Larionov and Malevich interest in the art of his Russian contemporaries. He included the Burliuk
exhibited in the second Blaue Reiter brothers, Mikhail Larionov, Natalia Goncharova and Malevich in the ex-
exhibition, 1912, as well as a painting
hibitions, and the almanac contained several Russian contributions among
by Goncharova were owned by Kan-
25
dinsky. They are now part of the its articles and illustrations.
Kandinsky Bequest at the Musee Kandinsky's most important publication in Russian was the somewhat
National d'Art Moderne, Centre
Georges Pompidou, Paris. abbreviated version of On the Spiritual in Art, presented first as a lecture

26. "O dukhovnorm v iskusstve" in by the Futurist Nikolai Kul'bin at the All-Russian Congress of Artists in
Trudy Vserossiiskago sezda khudozh- St. Petersburg in December 1911, the same month the book was published
nikov, Petrograd, 1914; translated by
John E. Bowlt in Bowlt and Long, in Munich. This Russian version was printed in the transactions of the Con-
pp. 63-112. gress, which appeared in October 1914. 26 Thus Kandinsky's major theoret-

2-5
 ical statement from the Munich years was available to Russian readers. Its

basis in Western and Russian Symbolism is revealed in its thesis that an,
created by a mysterious process involving inner responses to colors and
forms, contributes to the spiritual growth that Kandinsky believed would
characterize culture in the modern era. At the same time, his many remarks
about the expressive and perceptual effects of visual elements, based on his
readings in psychology and his own investigations, laid the foundation for
the more objective components of his theories and pedagogy in the Russian
and Bauhaus years. Of particular interest in this regard is the color illustra-
tion of a chart by Kandinsky, Elementary Life of the Primary Color and Its
Dependence on the Si?nplest Locale (fig. 9), included in the Russian publi-
cation. This diagram, which had not appeared in the German edition, shows
the effects of different backgrounds on colors. It also demonstrates the cor-
respondence of the basic colors and forms, a concept that Kandinsky empha-
sized in his Program and Questionnaire for Inkhuk and later at the Bauhaus.
The stark geometric image, in primary colors and black and white, antici-

fig- pates the formal vocabulary of the Suprematists, though its strictly didactic

Vasily Kandinsky function distinguishes it from their usage of such forms in self-sufficient
Elementary Life of the Primary Color and works of art.
Its Dependence on the Simplest Locale.
With the coming of the Revolution, Kandinsky's social class, age and
Illustration no. 4 to Russian text of On the
Spiritual in Art, 1914, see cat. no. 315 point of view set him apart from other members of the avant-garde, though
these factors did not prevent his full-scale involvement in the new activities

taking place in the arts. He was fifty years old in 191^, eleven years older
than Malevich and twenty to twenty-five years older than the other leading
artists of the period. Son of a wealthy tea merchant, Kandinsky owned
an apartment building and other properly in Moscow until their expropria-

tion following the Revolution. 2 " His background notwithstanding, he had a

generally liberal social outlook and, according to his wife Xina, greeted the
Revolution of February 191- and the abdication of the Czar with cautious
optimism. 28 Thereafter, when the Bolsheviks instituted their sweeping cul-
tural reorganization, Kandinsky took a very active role. He of course already
had extensive experience in organizational, pedagogical, editorial and exhi-
bition activities in Munich, as a leading member of Phalanx, the Neue Kitnst-
lervereinigung Muncben (New Munich) and the Plane
Artists' Society of

Reiter. His participation in the newly formed organizations meant putting

these skills at the service of the new society during the Utopian early years
of the Revolution.
The range of his endeavors is very impressive and indeed equal to that
of any of his Russian contemporaries. Starting in January 1918, at the invi-
tation of Vladimir Tatlin, he became a member of the Visual Arts Section
(IZO) of the People's Commissariat for Enlightenment (Narkompros or
XKP , the department that directed programs in education, research, mu-
seums and publications in the arts. Subsequently Kandinsky taught at the

Svomas (Free State Art Studios Moscow, where he was head of a studio,
1
in

and directed the theater and film section of IZO NKP. The latter activity is
17. Nina Kandinsky, pp. 80-81. indicative of his continuing interest in the relationships among the various
18. Ibid., pp. 17-18. arts, and indeed their potential synthesis. These ideas were expressed in his

z6
 article "On Stage Composition" of 1912, which he republished in Russian
29
at this time. Further areas of involvement were the International Bureau of
IZO— in connection with which he made contacts with German artists'

groups and Bauhaus director Walter Gropius— and the Commission on the
Organization of the Museums of Painterly Culture— under whose aegis he
helped organize and arrange acquisitions for museums in Moscow and other
Russian cities.

These associations brought him into close contact with many of the
some of whose work bore particular relevance
leading artists of the period,
to his subsequent development, most notably Rodchenko, Popova and Udalt-
sova. The link with Rodchenko, who along with his wife Varvara Stepanova
lived for a time in Kandinsky's building and directed an art reproduction
studio there as well, was especially strong.He and Kandinsky both worked on
the Commission to establish the Museums of Painterly Culture, Rodchenko
as chairman of the purchasing committee; and with Stepanova and Nikolai
Sinezubov the two were represented in the 1920 Exhibition of Four in
Moscow.
One of Kandinsky's most ambitious undertakings reflected his continu-
ing, profound interest in artistic theory: the establishment of the Moscow
Institute of Artistic Culture (Inkhuk), which opened in May 192.0 with him
as its head. This was a research institute in which the other leading members
of the avant-garde participated, and here Kandinsky soon encountered op-
position to his ideal of a pure abstract art with an expressive function. He
presented his Program for Inkhuk in June 1920 at the First Pan-Russian
Conference of Teachers and Students at the State Free Art and Industrial Art
Studios, where it was well received. 50 This plan shows a logical development
of ideas Kandinsky had investigated in On the Spiritual in Art and also pro-
vides evidence of the thoughts concerning formal elements he evolved during
the period he spent in Goldach in 1914. The emphasis in the Program is on
the objective, analytical approach to the study of art, a tendency that cul-
minated in his later teaching at the Bauhaus and in his Bauhaus Book Point
and Line to Plane of 1926. He systematically categorized the graphic and
chromatic elements and stressed the need to study their psychological effects,

with the help of the relevant sciences, occult investigations included. He

maintained that the interrelationships between painting, sculpture and archi-
tecture should also be researched, with the further goal of progressing to
"monumental art or art as a whole," involving all the arts. Accordingly
music, literature, theater, dance, circus and variety shows should be analyzed
to discover their underlying principles and effects on the psyche. Many of
the features of his proposal represent the continuation of those aspects of his
earlier thinking that ultimately derive from Symbolism: his concern with
expression and intuition, with the integration of the arts and with the find-
29. In Izobrazitel'noe Iskusstvo, 1919
(see Lindsay/Vergo, p. 881, note
II,
ings of occult sciences such as chromotherapy. The positivist and materialist
14); "On Stage Composition" (Uber orientation of his Inkhuk colleagues, along with their growing doubts re-
Biihnenkomposition," Der Blaue
Reiter, Munich, 1914), Lindsay/
garding the validity of pure art, caused them to reject his program.
Vergo, I, pp. 257-265. A particularly fascinating aspect of Kandinsky's plan is the importance
30. Lindsay/Vergo, I, pp. 455-472. placed on questionnaires as a means of determining the responses of a broad

27
 range of people to the visual elements. Tabulating their results would pro-
duce a "directory" of abstract qualities. Such a desire to obtain verifiable
findings in order to formulate general laws and ultimately to arrive at a uni-
versal language was both a scientific impulse and a democratic one. The
Inkhuk Questionnaire drawn up by Kandinsky (cat. no. 44), elaborates as-
pects of his Program for the Institute. 31 It presents a series of twenty-eight
questions, many requiring extensive answers and even sets of studies or
exercises as responses. The varying effects of juxtaposing different forms or
colors and changing their relative positions, orientation and placement on a
page are considered, as are combinations of different colors and shapes. The
questions on the psychological effects of forms and colors are especially in-
teresting and represent features that met with opposition within the Insti-

tute:

. . . Imagine, for example, a triangle— does it seem to move, where to?

Does it seem more witty than a square? Is the sensation of a triangle
similar to that of a lemon? Which is most similar to the singing of a
canary—a triangle or a circle? Which geometric form is similar to Philis-
tinism, to talent, to good weather, etc.?
Which color is most similar to the singing of a canary, the mooing
. . .

of a cow, the whistle of the wind, a whip, a man, talent, to a storm, to

repulsion, etc.? Can you express through color your feelings about
science and of life, etc.? i2

With the growing importance of Constructivism within Inkhuk, Kandinsky's

program was rejected, and by the end of 1920 he left the Institute. Subse-
quently, he was involved in the formation of a similar institution, the Rus-
sian Academy of Artistic Sciences (RAKhN), which operated, as Inkhuk had,
under the auspices of Narkompros. Kandinsky was chairman of the commit-
tee to establish the Academy, and in June 192.1 he submitted a plan for the
Physicopsychological Department, which he was to head. This plan, which
summarizes aspects of his Inkhuk Program, was accepted. 33 The Academy
opened in October, with Kandinsky as Vice-President, but his program
31. Rudenstine, Costakis Collection, pp. was not instituted, as he departed for Berlin at the end of the year. Nina
iio-iii. Evidently Popova's response
to the Questionnaire has survived: see Kandinsky has reported that Kandinsky was passed over for President of
L. Adaskina, "Liubov Popova. Put' the Academy because he was not a member of the Communist Party, in favor
stanovleniia khudozhnika-konstruk-
stora," Tehnicneskaia estetika,
of Petr Kogan, who was. 34 If this were the case, Kandinsky's disappointment
Moscow, 1978, no. 11, pp. 17-23; may have influenced his decision to leave Russia.
Andrei Nakov, Abstrait/
cited in
In fact there were numerous reasons for this decision. The rejection of
Concret: art non-objectif Ritsse et
Polonais, Paris, 1981, p. 174, note his program for Inkhuk was a clear indication of the ideological rift that had
170. developed between him and the Russian avant-garde. The emphasis of the
32. 1 am indebted to Jane Sharp for avant-garde on materials, on objective visual characteristics over subjective
this translation.
qualities, and on the rational, organizing features of construction as opposed
33. John E. Bowlt, ed., Russian Art of
the Avant-Carde: Theory and Criti- to the intuitive process of composition constituted an argument from which
cism, 1902-1934, New York, 1976, Kandinsky dissented. Indeed, he was to continue this argument in his writings
pp. 196-198; Lindsay and Vergo
doubt that Kandinsky actually wrote for many years. Further developments by the fall of 1921 put Kandinsky at
this article, II, p. 902. an even greater distance from the leaders of the avant-garde. Shortly after
34. Nina Kandinsky, p. 86. their exhibition 5x5 = 25, held in Moscow in September, Alexandra Exter,

28
 Popova, Rodchcnko, Stepanova and Alexander Vesnin renounced pure art
in favor of utilitarian design, or Productivism, and indeed Inkhuk adopted
this position. Clearly, this tendency was in opposition to Kandinsky's art
and ideals.

It is ironic that Kandinsky himself had a great interest in applied arts,

as his Munich-period designs show. 55 In his July ion interview he referred
to the Productivist viewpoint and declared that he had been the first to make

cups, in the previousDecember and in the first half of 1921, when he also
designed embroideries. 36 Examples of the cups have survived, as have nu-
merous drawings for cups (see cat. no. 49) as well as for a teapot and sugar
bowl. The designs were for the parts of a tea service to be manufactured
by the Petrograd Porcelain Factory. 37 An extant cup and saucer (cat. no. 50)
draw motifs from the painting Circles in Black of 1921. A cup and saucer
(cat. no. 51), which were included in the Erste russische Kitnstausstelhmg
at the Galerie van Diemen in Berlin in 1922, show more purely abstract
forms, similar to elements in Red Spot 77, 1921. In his porcelain designs,
then, Kandinsky utilized characteristic elements from his pictorial imagery.
This was a decorative conception of applied art, not a more profoundly
utilitarian approach. In this regard, it was not essentially different from that
underlying the slightly later porcelain designs of the Suprematists Nikolai
Suetin, Malevich and Ilia Chashnik. However, the geometric simplicity of
the Suprematists' imagery occasionally accords with the shape of the objects
so directly as to function more as a total design than as applied decoration.
Of course, Kandinsky's porcelain designs were not Productivist in intention:
they did not represent a repudiation of fine art nor an affirmation of the
primacy of utilitarian goals.

Certainly, by late 1921 Kandinsky's alienation from the Russian avant-

garde must have been complete. Although he had worked energetically in

35- See Peg Weiss, Kandinsky in Munich: the various programs of Narkompros and had exhibited and published
The Formative Jugendstil Years,
Princeton, 1979, chap. XI, esp. pp.
frequently, he was unable to exercise any significant artistic influence. The
122-124; and The Solomon R. Gug- rare works that reflect his style are by minor artists, Vasily Bobrov (see cat.
genheim Museum, New York,
nos. 47, 48), Kandinsky's studentand secretary during 1920 and 192.1, and
Kandinsky in Munich: 1X96-1914,
exh. cat., 1982, cat. nos. 30-33, Konstantin Vialov, another of his pupils. 38 Even more telling are the harsh
109, no, 113, 118, 145-149, 154-161. reviews Kandinsky had received from the important avant-garde art critic
36. Lindsay/Vergo, I, pp. 476-477. Nikolai Punin as early as 1917 and 1919. He condemned Kandinsky's work
37. L. Andreeva, Sovetskii farfor 192.0- 39
as romantic, literary and illogical. Finally, the severe physical deprivations
1930 gody, Moscow, 1975, pp. 115-
116; other designs are reproduced in of the Civil War period constituted an important factor in Kandinsky's deci-
Lothar Lang, DasBauhaus, 19 19-19}}: sion to leave the Soviet Union, as Nina Kandinsky has made clear in her ac-
Idee and Wirklichkeit, Berlin, 1965,
figs. 34, 35; and Staatlichen Galerie
count of their years in Russia. Once the prospect of going to Germany pre-
Dessau, Schloss Georgium, Moderne sented itself, he could hope for a far more comfortable environment, material
Formgestaltung: das fortschrittliche
as well as critical. His commercial successes in the years immediately before
Erbe des Bauhauses, exh. cat., 1967,
P-73- the outbreak of the war, as well as his many friends and artistic contacts in
38. Rudenstine, Costakis Collection, pp. Germany, augured well for his return.
80 and 492.
The occasion for his departure, as Nina Kandinsky recounts, was pro-
39. John E.Bowlt, "Vasilii Kandinsky:
vided by an invitation to the Bauhaus, a visit for which official permission
The Russian Connection," in Bowlt
and Long, pp. 28-29, 33- was granted. 40 This invitation of fall 1921, the result perhaps of his previous
40. Nina Kandinsky, pp. 89 ff. contact with Gropius in connection with the activities of the International

2-9
 Bureau of IZO, was probably merely for a visit to study the new institution in
Weimar. 11 A teaching position
Bauhaus was offered
at the to Kandinsky only
in March of 1922, when Gropius visited him in Berlin.

Kandinsky's Russian Contemporaries

The change in Kandinsky's art that began in 1919 can be understood only
in reference to the work of his Russian contemporaries. His close association
with leaders of the avant-garde and exposure to their art, as in the exhibitions
in which he participated, affected his own development. This was a gradual
process, however, culminating in 192.3, over a year after his departure from
Russia. The prevailing attitudes in the programs and organizations
i:
in which
Kandinsky worked must also have influenced him: particularly the belief in

concrete, rational and scientific artistic approaches that allowed the produc-
tion of art and design that would serve a mass society. Thus Kandinsky's in-

creased emphasis on objective properties of artistic elements in his Inkhuk

Program must have been a response to these attitudes toward art and art
education. This move toward objectivity in his theoretical work was par-
alleled in his art.
41. See Kandinsky 's Dec. 27,
letter of
Earlier, Kandinsky's art and ideas— his pioneering abstraction and his
192.1, to Klee in "Huit lettres de
Kandinsky a Klee" in "Centenaire de theoretical writings, with their discussions of the pure colors and forms-
Kandinsky, XX' Siecle, no. xxvii, had exercised influence on artistic developments in Russia. Indeed, his chart
Dec. 1966, p. 79; and Feininger's
of the primary colors and basic geometric shapes published in the Russian
letter of Feb. 11, 1912, to his wife,
The Houghton Library, Harvard version of On the Spiritual in Art provided a precedent for Malevich's in-
University, Cambridge, Massa-
vestigations of pure geometry." With Malevich's Suprematist works of 19 15
chusetts.
and later, however,new form of art, a stark geometric non-
a radically
42. A drawing believed to be a study for
Small Pleasures and to date from objectivity, was born. The pictorial and graphic art of Suprematism and
191 3, the year inscribed on the sheet, Constructivism appears very different from the work of Kandinsky's Russian
was thought to show an early use of
geometric form prior to Kandinsky's period, yet it provided the example of formal qualities and principles he
exposure to the Russian avant-garde absorbed and gradually utilized in his painting and later theoretical and
(Kenneth C. Lindsay, "The Genesis
pedagogical work.
and Meaning of the Cover Design for
the first Blaue Reiter Exhibition Cata- The clear flat colors and well-defined geometric forms on white grounds
logue," Art Bulletin, vol. xxxv, Mar.
of Malevich's epochal paintings of 1915 and 1916 contrast sharply with
1953, pp. 50-52). More recently, how-
ever, scholars have convincingly corresponding elements in Kandinsky's work prior to 1923; but their com-
attributed the drawing to about 1924 positional qualities are highly relevant to underlying characteristics of Kan-
and connected it with the painting of
that year, Reminiscence (Riickblick),
dinsky's Russian paintings. Most important in this respect is the sense of
which it resembles closely; Angelica flotation and freedom from gravity, of suspension in an open space, wherein
Zander Rudenstine, The Guggenheim
Museum Collection: Paintings 1880-
forms move past and swing away from each other. A Malevich painting of
194S, 2 vols., New York, 1976, vol. I, 1 9 14 is entitled Suprematist Composition (Airplane Flying) (Collection The
pp. 270-271; Hans K. Roethel in Museum of Modern Art, New York); and, indeed, this is appropriate because
collaboration with Jean K. Benjamin,
Kandinsky, New York, 1979, p. 126.
the feeling of levitation in his work conveys both a sense of modernity and a
43. As suggested by John E. Bowlt, who vision of spatial infinity that reflects his mystical sensibility. The straight
cites Malevich's friendship with Niko- edges and flat coloring of the fotms accord with the planar character of the
lai Kul'bin and posits his reading the

Russian publication of On the pictures, but overlappings and abrupt changes in the size of neighboring
Spiritual in Art, in "The Semaphores forms create ambiguous effects of spatial layering. In Suprematist Fainting of
of Suprematism: Malevich's Journey
1915 (cat. no. 52), the large, floating quadrilateral with superimposed or at-
into the Non-Objective World," Art
News, vol. lxxii, Dec. 1973, p. 20. tached small shapes is a type of formal constellation to which Kandinsky

3°
 referred in Red Oval. However, in this painting of 1920 Kandinsky retained
shading and atmospheric space, elements he later reduced in favor of a flatter
handling of forms closer to Suprematism.
Diagonality is an important compositional feature Malevich used to
achieve a sense of movement, as indicated by the Suprematist Diagonal Con-
struction 79 of 1917 (cat. no. 53). The drawing hears an inscription explain-
ing the principles it embodies: A construction in the center of intersections of

dynamic movements. This drawing might be a translation, albeit in more

geometric form, of the schematic thinking underlying many of Kandinsky's
late Munich and Russian compositions. Thus it parallels Kandinsky's work
and anticipates his use of clearly defined diagonals from 1919. Malevich
also produces an illusion of movement by shifting the axis of one or more
of the elements in a group of forms, so that they begin to pull away from the
constellation, creating a sense of imminent dispersal, as in Suprematist
Painting, 1916 (fig. 10). This sense of movement contributes to the feeling
of infinite space that characterizes his Suprematism and also to the dynamic
conception of modern space that younger Russians and Kandinsky as well
came to share.
Finally, a crucial aspect of Malevich's formulation of an absolute non-
objective art was his radical reduction of pictorial form to elementary
shapes, often limited to only one or two in a painting. The most famous
examples are the starkest: Black Quadrilateral, ca. 191 3, in the Tretiakov

Gallery, Moscow, and Suprematist Composition: White on White, ca. 1918,

// at The Museum of Modern Art, New York. In works such as these, the ex-

treme simplicity of form makes factors such as position and alignment es-
pecially critical. Thus a central placement or a shift of axis and placement
fig. IO
toward the picture's corners produce very different visual effects: stability
Kazimir Malevich
and flatness versus movement and implied space. Malevich's drawing
Suprematist Painting. 1916
Oil on canvas Suprematist Element: Circle, 1915 (cat. no. 55), exemplifies these latter, dy-
Collection Stedelijk Museum, Amsterdam namic qualities. Suprematist Painting, Black Rectangle, Blue Triangle, 19 15
(cat. no. 54), shows through its combination of the two forms their inherently
different formal characters, which are enhanced by differences in size and
color. Malevich's consideration of the inherent formal qualities of geometric
elements may reflect the influence of Kandinsky's On the Spiritual in Art,
though the text emphasized the feelings elicited by those characteristics. 44
Kandinsky, in turn, may have been affected by Suprematism in his stress on
the basic elements and their positioning and alignment in his Inkhuk Pro-
gram and Questionnaire. In his Bauhaus teaching he developed these subjects
still further.

The Suprematist presence in Moscow was strongly felt in the emerging

avant-garde. Malevich and his colleagues Kliun, Popova, Udaltsova and
others organized the Supremus group 1916 to 1917, and after the Revo-
in

lution they were active in IZO Narkompros and at the Svomas in Moscow.
44. See Magdalena Dabrowski, "The
Plastic Revolution: New Concepts Though Malevich left for Vitebsk in 1919, several of the other members of
of Form, Content, Space, and Mate- the Supremus were active in Inkhuk. Kandinsky assuredly had contact with
the Russian Avant-Garde" in
rials in
them and saw their work in exhibitions. Kliun's relevance to Kandinsky lies
Los Angeles County Museum, Avant-
Garde in Russia, p. 31. primarily in his investigations of elementary forms. At the 1917 Jack of

3i
 Diamonds exhibition in Moscow he evidently showed an extraordinary
series of paintings, each bearing one geometric form on a light ground. 45
Among the shapes featured in these works were a circle, elipse, triangle and
trapezium along with odder forms— an unusual trapezium with one curved
side and an angled fragment of a triangle (for example, fig. 6; cat. no. 57).

Each shape is given a particular color, for example, the circle, bright red;
the elipse, red brown; the triangle, orange; and the angled form, yellow.
While the correspondences do not match Kandinsky's choices, these paint-
ings embody his principle that the inherent characteristics of colors and
forms bear special relationships to each other.
The odd geometric shapes in Kliun's series are particularly interesting.
They are irregular like Malevich's quadrilaterals, which depart from the
normative square or rectangle. 46 Together with subtle variations in surface

texture and a sensitive placement of forms in relation to the picture's edge,

these personally determined shapes introduce slightly illusionary qualities
within the generally flat nonobjective images. Such characteristics of Su-
prematism anticipate the freedom with which Kandinsky approached ge-
ometry in the work of his Bauhaus years. In other works Kliun focuses on the
45- Rudenstine, Costakis Collection, pp.
146-147, figs. 145-151, and p. 183, juxtaposition of two or more geometric shapes to convey the contrast be-
fig. 269. tween their inherent energies, as Malevich had done in Suprematist Painting,
46. Jean-Claude Marcade, "K. S. Male- Black Rectangle, Blue Triangle. Kliun's drawing of a triangle overlapping a
vich: From Black Quadrilateral (1913)
to White on White (1917); from the segment of a circle (cat. no. 58) prefigures Kandinsky's use of this combina-
Eclipse of Objects to the Liberation tion, which he described much later in his arresting statement: "The contact
of Space" in Los Angeles County
Museum, Avant-Garde in Russia, between the acute angle of a triangle andno less effect than that of
a circle has
47
p. 21. God's finger touching Adam's in Michelangelo." While there is little likeli-
47. "Reflections on Abstract Art" ("Re- hood that Kandinsky knew Kliun's drawing, the principle it embodies was
flexions sur l'art abstrait," Cahiers
inherent in the work and writings of the Suprematists, most notably Malevich
d'Art, 1931), Lindsay/Vergo, II, p.
759- and Popova. 48 In combining three geometric shapes Kliun created an image of
48. Dabrowski, Los Angeles County Mu- overlapping circle, triangle and quadrilateral (fig. n) that coincidentally
seum, Avant-Garde in Russia, p. 31.
foreshadows studies done for Kandinsky's Bauhaus classes, for example
49. Apparently, Kliun's painting Supre-
matism: 3 Color Composition, ca.
Eugen Batz's Spatial Effect of Colors and Forms (cat. no. 22.0). A watercolor
49

1917 (fig. 10), was among the works by Udaltsova from ca. 1918-20 (cat. no. 59) shows a similar image and illu-
shown in the Jack of Diamonds ex-
strates once more the Suprematist interest in the stark juxtaposition of basic
hibition in Moscow,
1917; Ruden-
stine, Costakis Collection, p. 146, forms.
fig. 140. Popova's contribution to Suprematism was a major one: she abandoned
50. I am indebted to my
colleague at
Malevich's mystical allusion to infinite space and placed increased value on
Emory University, Dr. Juliette R.
Stapanian, for introducing me to the the formal properties of surface, shapes and colors. Her "architectonic com-
concept of shift (sdvig) as it applies to positions" from 1916 to 1918 achieve a density and energy through the over-
Russian avant-garde poetry and art.
lapping of large-scale geometric planes. Within a shallow space flatness is
51. See Nakov, p. 155.
emphasized, and a dynamic quality is created by the intensity of color con-
52. Gail Harrison Roman, "Art After the
Last Picture: Rodchenko," Art in trast and by the triangular outlines and diagonal placement of forms. Kan-
America, vol. lxviii, Summer 1980, dinsky's later use of large geometric planes that often serve as backgrounds
pp. 120-121.
for smaller forms and his deployment of diagonal bars to dynamic effect
53. Wilhelm-Lehmbruck-Museum der
Stadt Duisburg and Staatliche Kunst- seem at least partially indebted to Popova's Suprematist compositions. A
halleBaden-Baden, Alexander basic device Kandinsky shared with Popova and Malevich as well was that
Rodtschenko and Warwara Stepa-
nowa, exh. cat., 1982, illustrations of "shift," 50 the placement of forms off axis to create a disjunction and sense
pp. 120-127. of movement. This dislocation of forms was a major feature of the Russian

3*
fig. II avant-garde's antitraditional, antihierarchic approach to composition, form-
Ivan Kliun ulated to achieve a statement of modernity.
Suprematism: ? Color Composition.
Along with Malevich and Popova, the most important painter of the
ca. 1917
Russian avant-garde was the Constructivist Rodchenko, whose close asso-
Oil on board
Collection George Costakis, Athens
ciation with Kandinsky has already been mentioned. 51 Many elements of
Rodchenko's paintings and drawings from the years 1915 to 1920 were of
fig. ii great relevance to Kandinsky's work of the early and mid-twenties. His de-
Alexander Rodchenko velopment of the use of the compass and ruler, first in drawings of 1915
Untitled. 19 17 and 1916 and subsequently in paintings, constituted a major contribution
Gouache on paper to the Russian concept of the "artist/engineer." 52 His gouaches from 1915
Private Collection
to 1917 are colorful and dynamic compositions that employ many kinds of
geometric shapes: circles, crescents and segments of circles in addition to
53
triangles and fragments of quadrilaterals (see fig. 12). This wide range of
forms is indicative of the extraordinary inventiveness of his work, which was
54. Ibid., esp. illustrations pp. 1 28-131, based on a highly experimental approach to artistic elements and materials.
151, 160-167; also, two ink drawings The variety and liveliness of Rodchenko's imagery is extremely pertinent to
entitled Composition "Points," 1920,
p. 166, and the painting Kinetic Com-
Kandinsky's subsequent use of geometry.
position "Points," 1910, p. 169. Two Specific features of Rodchenko's art that probably influenced Kandin-
of the relevant paintings in the
sky are his use of circles, points and linear groupings. 54 Overlapping circles
George Costakis Collection evidently
were included in the Exhibition of were a major motif in the younger artist's pictures that include disks or rings
Four, Moscow, 1910, in which Kan-
(for example, cat. nos. 68, 69) in simple and complex combinations. In some
dinsky also showed: Composition:
Two Circles, 1918, and Composition of these works halo from experimentation with the textural
effects result
No. ny, 1919, Angelica Zander Ru- properties of the paint medium. These inventive variations on the theme of
denstine, "The Catalogue" in The
Solomon R. Guggenheim Museum, the circle are incorporated in Kandinsky's paintings of the early twenties and
Art of the Avant-Garde in Russia: later. His works of the mid-twenties show not only circular motifs but small
Selections from the George Costakis
Collection, exh. cat., 1981, pp. 205,
round points as well. In particular, Several Circles, 1926 (cat. no. 188), with
207. its multicolored elements and dark background, strikingly resembles Rod-

33
fig- 13 chenko's paintings with brightly colored points on black of 1919 and 1920
Alexander Rodchenko (see fig. 13). Related to these paintings are Rodchenko's ink drawings from
Composition No. iij. 1919
1920 entitled Composition "Points" (see fig. 14), which show variations in
Oil on canvas
the density and placement of small circles and dots, treatments similar to
Collection George Costakis, Athens
those Kandinsky illustrated in drawings of 1925 for his book Point and Line
fig. 14 to Plane (cat. nos. 183-185). Line ultimatelybecame the preeminent construc-
Alexander Rodchenko tive element for Rodchenko, as he explained in his 1921 Inkhuk lecture,
Composition "Points." 1910 "Line." 55 During the preceding two years he had experimented with straight
India ink on paper
lines disposing them in parallel, converging and intersecting configurations.
Collection Rodchenko Archive, Moscow
The precision and structural clarity of the resulting images are characteristic
of this stage of Constructivism. In spite of the overall sense of flatness con-
veyed in these works, some perspectival indications are provided by the
overlapping and converging lines though such spatial clues are contradicted
by other devices. Rodchenko's Non-Objective Painting of 1919 (cat. no. 70)
even includes a grid that recedes slightly into space, a feature that El Lissitzky
and Kandinsky were to use in the early twenties.
Certainly Kandinsky knew works by Rodchenko of the sort discussed
here, as the two artists associated personally and participated in the same
exhibitions, most notably the Exhibition of Four in 1920. Not only did
Kandinsky adopt the geometric motifs inspired by Rodchenko's works during
the first years after his return to Germany, some time after he first encoun-
tered them in Russia, but he used them toward different objectives and in the
context of a different style. Whereas Rodchenko's deployment of elements is
characterized by reductive purity, Kandinsky created a pictorial imagery of
great variation and multiplicity of forms. Spatially less flat and structurally
55. "The Line," Arts Magazine, vol. 47,
May-June 1973, pp. 50-51; transla- less schematic than Rodchenko's, his pictures of the period continue to
tion and notes by Andrei Nakov. develop the art of underlying complexity he had formulated earlier.

34
 The art form Lissitzky invented and called Proitn (an acronym for
"Project for the Affirmation of the New") extended the Suprematist style
by the addition of a Constructivist sense of calculated structure and a dy-
namic, contradictory three-dimensionality. Lissitzky also participated in the

movement toward utilitarian art, creating an abstract graphic style for typo-

graphic design and producing examples of agit-prop (agitation-and-propa-

ganda). His works that are close to the Suprematist idiom contain simple,
flat geometric forms— triangles, circles and bars— similar to those Kandinsky

was beginning to incorporate in his pictures. The poster Beat the Whites
with the Red Wedge, 1919 (cat. no. 73), juxtaposes a white circle and a red
triangle— a kind of contrast between colors and forms Kliun had investigated
and Kandinsky would later utilize. The formal language of this agit-prop
design very effectively communicates its urgent Civil War message. In his
children's book Of Two Squares, designed in 1920 and published in 1922,
Lissitzky used geometry in a narrative way to convey a political theme: "The
red square destroyed the black chaos on earth, in order to rebuild a new red
unity." 56 The straightforward symbolism of color and shape seen here is very
different from the mysterious "inner sound" Kandinsky intuited in forms,
yet both are based on the notion that particular elements carry specific mean-
ings, a concept for which Kandinsky had been an influential proponent. In
addition, the grouping of rectangular shapes atop the circle in Lissitzky's
page design for the book (cat. no. 77), elements that recall Kandinsky's images
of the hilltop citadel, constitute an odd link between the two artists.

Lissitzky rotated images in order to deny their traditional orientation to

the horizon and thus proclaim a new, liberated sense of space. 57 Kandinsky
had experimented with rotating compositions in 1918 and the device is im-
plicit in some of his subsequent works, including those with borders. How-
ever, the floating quality and aerial allusions of Malevich's art, rather than
the example of Kandinsky, probably inspired Lissitzky to develop his con-
cept of rotation. It is seen most explicitly in his circular lithograph Proitn 6B,
ca. 1919-21 (cat. no. 76), the sketch for which is signed on three sides, sug-
58
gesting that it can be viewed from all directions. This work also exhibits
56. Sophie Lissitzky-Kiippers, El Lissit- aspects of Lissitzky's art that Kandinsky resisted: the precise character of
zky: Life, Letters, Texts, New York,
technical draughtsmanship and the explicit, although ambiguously used, in-
1969, p. -4-
"The Catalogue" in
dications of a draughtsman's spatial projections. Here and in the painting
57. Rudenstine,
Guggenheim Museum, Selections Proun 3 A, ca. 1920 (cat. no. 75), the design appears to have been created by
from the Costakis Collection, p. 175.
instruments such as the T-square, triangle and compass. Perhaps it was
58. Rudenstine, Costakis Collection, p.
Lissitzky, therefore, more than any other Russian avant-garde artist, whom
247, fig. 463.

59. E.g., "Reflections on Abstract Art," Kandinsky had in mind when he later criticized Constructivism for banishing
Lindsay/Vergo, II, pp. 758-759. Lissit- intuition and placing too much faith in a calculated mathematical approach
zky criticized Kandinsky's recent 59
to pictorial composition.
paintings in a review of exhibitions
in Berlin in Veshcb, no. 3, 1922., In conclusion, in assessing Kandinsky's debt to his Russian contempo-
quoted in Lissitzky-Kiippers, p. 342. raries, one must consider more than the increasing use of elementary geo-
He felt that being "swamped with
color" they lost clarity. Moholy- metric forms and clarified structure apparent in his pictures. He was affected
Nagy's subsequent presence at the by other essential aspects of their art, though in some instances this influence
Bauhaus would have provided Kan-
dinsky with further reason for re-
resulted in an enhancement of features already implicit in his work, rather
sisting Constructivist "calculation." than in an appropriation of new elements. The devices that affected him

35
 were the superimposition of flat planes, shift of axis and placement of forms,
diagonality, dispersal and centrifugal composition, and the contradictory
use of spatial effects. As a consequence of this influence, the appearance of
Kandinsky's art changed dramatically by 1922-23. Nevertheless, his new
style remained recognizably his own, because he adapted the forms and
principles of the Russians to his own imagery of formal multiplicity and
variety, which often retained a sense of atmospheric space, abstracted land-
scape references and idiosyncratic shapes. A crucial clue to the fundamental
difference between his work and that of the Russians is provided by their
opposing views of construction and composition. 60 For Kandinsky, con-
struction—the structural organization of the formal elements— was subordi-
nate to composition, which embraced the expressive function of the elements
and thus served the content of the work. 61 For his Russian contemporaries,
construction— the economical organization of materials or elements accord-
ing to structural essentials— had primacy, whereas composition was deni-
grated as merely a harmonious, pictorial arrangement of forms. Their values
of economy and clear structure were not in themselves important to Kan-
dinsky, since he considered the expressive result of combining the various
elements more significant. His major pictures of the post-Russian years, thus,
are hardly reductive. Indeed, they have a complexity and richness of incident
comparable to that of his Munich works, achieved, however, with a different
formal vocabularly and greater clarity. At the Bauhaus he could consolidate
his emerging geometric style in a context that welcomed his artistic and theo-
retical activities. There he was able to pursue both the systematic study of
formal elements in his teaching and the intuitive process of pictorial com-
position in his art.

II. KANDINSKY AT THE BAUHAUS IN WEIMAR, 1922-1925

Return to Germany

Arriving in Berlin in December 1921, Kandinsky entered an artistic milieu very

different from that of the prewar Munich he had 1914. The German
left in

60. Margit Rowell, "New Insights into Revolution of November 1918 and the establishment of the Weimar Republic
Soviet Constructivism: Painting, with the Social Democrats as the leading party had encouraged Utopian
Constructions, Production Art" in
hopes for a new society, which the arts sought to advance. The artists' or-
Guggenheim Museum, Selections
from the Costakis Collection, pp. 26- ganizations with which Kandinsky had been in contact as a member of the
27; Rudenstine, "The Catalogue,"
International Bureau of Narkompros propounded the principle of dedicating
Ibid., pp. 226-217.
the arts to the needs of the new, more egalitarian society. The November-
61. "Program for the Institute of Artistic
Culture," Lindsay/Vergo, I, p. 469; grttppe, the Arbeitsrat fiir Kunst (Work Council for Art) and the Bauhaus,
"The Basic Elements of Form" ("Die which was established in Weimar in the spring of 1919, championed these
Grundelemente der Form" in Staat-
lichesBauhaus 'Weimar, 1919-192), goals. Not only Kandinsky's stature in Germany as a pioneering abstract
Weimar and Munich, 1923), Lindsay/ artist and influential theorist, but also his contribution to the innovative
Vergo, II, p. 502; and "Abstract Art"
("Abstrakte Kunst," Der Cicerone,
Russian developments in education and research in the arts made him an
1925), Lindsay/Vergo, II, p. 516. appropriate choice for the faculty of the Bauhaus.

36
 Kandinsky quickly became reinvolved in the German art world. Exhi-
bitions of his work took place at the Galerie Goldschmidt-Wallerstein in
Berlin in May 1922 and at Thannhauser's Moderne Galerie in Munich in

June. He participated in the Erste Internationale Kunstausstellung in Diissel-

dorf the same June, contributing a brief foreword to its catalogue, in which
he reasserted his belief in "synthesis," interpreted as a uniting both of diverse
people and of the separate arts. He was given an exhibition at Carl Gumme-
son's gallery in Stockholm in October, was included in the important Erste
russische Kunstausstellung at the Galerie van Diemen and showed his murals
at the Juryfreie Kunstschau in Berlin that fall. The changes that had occurred

in Kandinsky's art during the immediately preceding years were readily ap-
parent. They were noted by Ludwig Hilbersheimer, who, in his review of the
Goldschmidt-Wallerstein exhibition, commented that titles of works such as
Circles on Black, 1921 (cat. no. 42), revealed Kandinsky's "striving toward
geometrization, towards the constructive." 62 Constructivism itself was be-
coming an important artistic force in Germany with the presence there of
other Russians, such as Lissitzky, and artists from elsewhere in Eastern
Europe, for example Hungarians, including Laszlo Moholy-Nagy, who had
come to Berlin after the collapse of the Hungarian Revolution. The Con-
structivist tendency in Kandinsky's work, however much it may have been
absorbed into his personal style, is evidence of the movement's international
scope. Indeed, the growing importance of Constructivism in Europe may
have furthered Kandinsky's own acceptance of geometry as a universal ar-
tistic language.
The works Kandinsky executed during the first year after he returned to
Germany, which include only five oil paintings, continue to develop the
synthetic style of the Russian period in their combination of geometric and
free forms. Circles, triangles, bars and checkerboard patterns appear together
with irregular invented shapes and areas of stippling or loosely applied paint,
which create the predominant effect of free handling. Two paintings of 1922
include important elements of works from the preceding year: Blue Circle
(cat. no. 80) is a centrifugal, floating, sky-like or planetary image; White
Cross (cat. no. 81) shows a large trapezium, with its attendant spatial im-
plications, against which is placed a diagonal buildup of forms intersected
by opposing diagonals. The loosely modeled forms in White Cross include
62. "Berliner Ausstellungen," Sozialisti- two odd crescent-shapes of a vaguely organic character. These are juxtaposed
sche Monatshefte, vol. I, July 1922, with clearly defined elements, the strip of checkerboard patterning that con-
p. 699; quoted in Rudenstine, Gug-
genheim Museum Collection, I,
tains the white cross, and a long needle-like diagonal. The juxtaposition of
p.
300. the diagonal and crescent reverses the relationship seen in an untitled water-
63. See Rudenstine, Costakis Collection, color of 1922 (cat. no. 82), which features a motif derived from works of
pp. 256 ff., for a review of the schol-
Kandinsky's Munich period. It is the lance-bearing horseman, whose cypher,
arly literatureon this motif, esp.
Rose-Carol Washton, Vasily Kandin- the double curve in the upper right, is a further simplification of the ab-
sky, 1909-13: Painting and Theory, George
stracted form of horse and rider associated with St. in Painting with
Ph.D. dissertation, Yale University,
New Haven, 1968, pp. 217-223 and White Border of 1913. 63 White Cross lacks the specific reference made by the
Rose-Carol Washton Long, double curve, as well as the motif in the lower left of the watercolor that may
Kandinsky: The Development of an
signify the coils of the multicolored dragon. Reversing the direction of the
Abstract Style, New York, 1980, pp.
126-127. tapering line, its point intersecting the organic curved form, the painting

37
fig- 15 renders the relationship abstract, transmuting it into a juxtaposition of op-
Vasily Kandinsky
posite characteristics rather than a confrontation between elements in a
Arc and Point. February 1923
symbolic narrative. This abstraction is taken further in subsequent works
Watercolor, India ink and pencil on paper
The Solomon
Collection R. Guggenheim that use the constellation of diagonal line and arc, the watercolor Arc and
Museum, New York Point, 1923, and the oil Blue Painting, 1924 (figs. 15, 16).
The continuing development of elements from the Russian period and
fig. 16
the revival of images from his Munich years also characterize one of Kan-
Vasily Kandinsky
dinsky's major undertakings of 1922, the Small Worlds portfolio of twelve
Blue Painting. January 1924
64
(HL 267)
prints. was published by
Printed at the Bauhaus in Weimar, the portfolio
Oil on canvas mounted on board the Propyliien Verlag in Berlin. A months at the
product of Kandinsky's first

The Solomon R. Guggenheim

Collection Bauhaus and of the first year of his renewed residence in Germany, these
Museum, New York, Gift, Fuller Foun-
prints are especially interesting for their range of imagery, which is both
dation, Inc., 1976
retrospective and forward-looking. From his Munich work came the hilltop
citadels of Small Worlds VIII (cat. no. 90) and the boat with oar of Small
Worlds II (cat. no. 85), though the addition of the sail transforms the storm-
tossed vessel of the Deluge into a calmer, more picturesque motif, whose
feeling of tranquility is reinforced by the large, blue ovoid form. Many of the
prints show devices from Kandinsky's Russian years, including the land-
scape motif and oval border of Small Worlds III (cat. no. 86) derived from
Red Border, the dispersed imagery of Small Worlds X (fig. 17) and the plane-
tary composition of Small Worlds VI (fig. 18), which is close to that of Circles

011 Black. The checkerboards and grids in several of the prints are Con-
64. In a letter of Dec. 13, 1912, to Kath- structivist elements that Kandinsky first used in Russia in On White of 1920
erine Dreier, Kandinsky wrote that
the portfolio was finally finished: (fig. whose checkered band and striped diagonals are precedents for
19),
Katherine S. Dreier Papers, The Small Worlds IV (cat. no. 87). The indications of perspective are contra-
Beinecke Rare Book Room and Man-
uscript Library, Yale University,
dictory, as elements appear at once to recede and to be flat, and a further
New Haven. spatial tension is provided by the large black ring which counteracts the

38
fig- 17
Vasily Kandinsky
Small Worlds X. 1922
Drypoint on paper
The Solomon
Collection R. Guggenheim
Museum, New York

fig. 18

Vasily Kandinsky
Small Worlds VI. 1922
Woodcut on paper
Collection The Solomon R. Guggenheim
Museum, New York

fig. 19
Vasily Kandinsky
On White. February 1920
(HL 224)
Oil on canvas
Collection Russian Museum, Leningrad

39
 illusion of depth. Kandinsky's use of the grid and checkerboard also accords
with the great interest in these forms at the Bauhaus, where they were em-
ployed as devices for designs and formats for student exercises. Finally, the
clearly defined forms and flat colors that dominate a number of these prints,
as well as some of the compositional arrangements, anticipate Kandinsky's
subsequent work: for example, the cluster of parallel bars and the circular
bands intersected by wedge shapes in Small Worlds VII (cat. no. 89) and the
radiating and crisscrossing diagonals in Small Worlds I (cat. no. 84).
The advanced qualities of the Small Worlds prints are shared by Kan-
dinsky's most ambitious project of the year, the design of large-scale wall
paintings for an octagonal room in the Juryfreie Kunstsckau in Berlin (see

cat. nos. 93-98). These murals were to be installed in the entrance room of an
art museum, but the plans were never realized. Their execution involved the
participation of Bauhaus students, who, using casein paint and working on
the floor of the Bauhaus auditorium, transferred his designs onto large can-
vases. 65 The murals apparently measured approximately fourteen-feet-high
by twenty-three-feet-wide for the longer walls and five-feet-wide for the
short walls. 66 The dynamic compositions and vivid colors glowing against
the black and brown backgrounds must have created an exciting experience
for the viewer surrounded by these wall-size paintings, as can be gauged by
the full-scale reconstruction installed in the Musee National d'Art Moderne.
This project provided Kandinsky with one of his few opportunities to re-

alize his ideal of "monumental art," here synthesizing painting and archi-
tecture. As such, it was a fitting accomplishment of his first months at the
Bauhaus, whose goal was the integration of the fine and applied arts and
where he had been appointed master of the Wall-Painting Workshop. The
origins of Kandinsky's desire to achieve a synthetic work such as the Jury-
freie room ultimately can be traced to an early experience on an ethnological

research trip to the Vologda region of Russia in 1889. On entering the peasant
houses, which were full of brightly colored furniture, folk art and icons, he
felt surrounded by painting. As he wrote in his "Reminiscences" of 1913, "In
these magical houses I experienced something I have never encountered again
since. They taught me to move within the picture, to live in the picture." 67
The intensity and scale of the Juryfreie murals allowed the viewer to be-
come absorbed in the pictorial experience of Kandinsky's abstract imagery.
The mixture of free and geometric forms that characterized the style of
the end of the Russian period is found in the murals. However, the scale and
prominence of geometric elements is increased in many areas of the compo-
6s. Nina Kandinsky, p. 109.
sitions, and representational motifs are eliminated in favor of an abstract
66. The estimates of the measurements,
based on door heights typical about
vocabulary of forms. The largest number of irregular forms occurs in Panel A,
1920, were formulated at the time of the most independent composition, which can be likened to a conventional
this reconstruction, as explained by
easel painting enlarged to the size of a wall. It contains an extraordinarily
Jean A. Vidal, "Notes Techniques sur
la Realisation du Salon Kandinsky" broad array of shapes organized to constitute a dynamic confrontation be-
in Musee National d'Art Moderne, shows great variety in handling of
tween two large clusters of forms, and
Centre Georges Pompidou, Paris, he
Salon de Reception Concu en 1922 surface and contour. Thus the mural represents a continuation of the inven-
par Kandinsky, brochure, n.d., n.p. tiveness and formal richness asserted in the works of the last years in Russia.
67. Lindsay/Vergo, I, p. 368. Comparison of the gouache maquette with photographs (cat. nos. 93, 94)

40
 of the mural shows that the forms, particularly the geometric shapes and
68
above all the circles, were more precisely executed in the final work.
This transformation of shapes in the course of the execution of the panels
accords with the emergence of the geometric style of Kandinsky's Bauhaus
years. Among the abstract motifs encountered in the murals are checker-
board elements tilted in space, crisscrossing lines and clusters of circles, fea-

tures that recur throughout the early Bauhaus work. On the three walls with
doorways and in the corner panels, geometry plays a more important role,

serving to create a truly synthetic work by relating the compositions to the

architectural context. Parallel bars echo the horizontal boundaries of the
walls and diagonals emerge from corners. A particularly dramatic image is

achieved by means of these devices at the right side of Panel D, where the
tapering diagonal bands seem to pierce the circle, a motif Kandinsky singled
out when he used it again in a painting of the following year that he titled
The Arrow Form. 69 Checkerboard fragments appear in most of the panels,
usually near the boundaries, repeating the black and white checkered floor
of the original room, a feature that further unifies the paintings with their
three-dimensional context. 70
Within the first half-year of his tenure at the Bauhaus, then, Kandinsky
made contributions to the Printing Workshop and the Wall-Painting Work-
shop that fulfilled the early goals of the school. Both projects involved special
techniques or craft and the public function of art: the portfolio, which in-

cluded lithographs, woodcuts and drypoints, had a relatively wide avail-

ability and the murals exemplified the process of large-scale painting and

were public in nature. In addition, the Juryfreie designs realized the Bauhaus
ideal of integrating the arts of painting and architecture. To be sure, the
portfolio and the murals were examples of fine art rather than utilitarian

and thus reflected Kandinsky's position regarding the primacy of pure art,

which he maintained during his eleven years at this school for applied de-

sign. In fact, the issue of the relative importance of fine art versus applied

design remained a problematic one throughout the institution's existence.

The Early Bauhaus

Kandinsky arrived at the Bauhaus in June 1922, just as a change was begin-
ning to take place in its theoretical and stylistic orientation: away from
Expressionism and toward a more universal, objective and Constructivist
point of view, involving increased emphasis on functionalism and technology
68. I am grateful to Christian Derouet of
in the approach to design. Lyonel Feininger's woodcut for the cover of the
theMusee National d'Art Moderne,
Centre Georges Pompidou, Paris, for founding proclamation of April 1919, the Frogramm des Staatlichen Bau-
bringing to my attention the compo- hauses in Weimar (Program of the State Bauhaus) (cat. no. 99), suggests the
site of these original photographs,
character of the school during its initial period. This image of a cathedral
published in Will Grohmann, Was-
sily Kandinsky, Paris, 1930, pi. 19, conveys the Utopian mood of the early years of Germany's socialist de-
fig. 13.
mocracy, which had been established in the preceding November. It em-
69. Die Pfeilform, 1923 (HL 258).
bodies as well an Expressionist view of the Middle Ages, conceiving the
70. See Katherine Dreier's description in
her booklet Kandinsky, New York,
Gothic cathedral as the center of the culture, uniting people of different social
1913. P- 3- classes within a common spiritual ideology and integrating the visual and

4i
 performing arts within its physical confines. That Kandinsky shared these
ideas and must already by the beginning of 1920 have been aware that the
Bauhaus espoused them is demonstrated by his writings of that year. He not
only made note of the formation of the Arbeitsrat fiir Kunst, the November-
gruppe and the Bauhaus but also called for "the building of an international
house of art" representing all the arts and named "The Great Utopia." 71 The
Expressionist style of Feininger's print embraces a Cubist-derived integration
of forms and space, which suggests a unification of the material and the
cosmic, as well as angular shapes and direct evidence of the woodcut techni-
que, which draw attention to the handcraft process involved. The print, in

fact, summarizes the philosophy of the Bauhaus at its founding, as articulated

in the final paragraph of director Walter Gropius's manifesto published in

the Prograrmn:

Let 11s create a new guild of craftsmen without the class distinctions that
raise an arrogant barrier between craftsman and artist! Together let us
desire, conceive, and create the new building of the future, which will
embrace architecture and sculpture and painting in one unity and which
will one day rise toward heaven from the hands of a million workers
like the crystal symbol of a new faith? 2

7i. "The Great Utopia" ("O velikoi When Kandinsky joined the Bauhaus he became part of a faculty that con-
utopii," Khudozbestvennaia Zhizn',
1910), Lindsay/Vergo, I, pp. 444-448;
sisted primarily of artists, including Feininger, who was master of the Printing
"Steps Taken by the Department of Workshop, Johannes Itten, director of the Preliminary Course, Paul Klee,
Fine Arts in the Realm of Interna-
teacher in the Preliminary Course and master of the Stained-Glass Work-
tional Art Politics" ("Shagi otdela
izobrazitel'nykh iskusstv v mezhdu- shop, and Oskar Schlemmer, master of the Sculpture Workshop and subse-
narodnoi khudozhestvennoi politike," quently director of the Bauhaus Stage. As already noted, Kandinsky became
Ibid.), Lindsay/Vergo, I, pp. 448-454;
"Program for the Institute of Artistic
master of the Wail-Painting Workshop and, in addition, like Klee, taught
Culture," Lindsay/Vergo, I, p. 463. one of the courses in the Theory of Form as part of the preliminary program,
72. "Programm des Staatlichen Bau- which was required of all students before they entered one of the specialized
hauses in Weimar," April 1919;
translated in Hans M. Wingler, The
workshops. 73 Gropius believed that artists could provide the necessary vision
Bauhaus: Weimar, Dessau, Berlin, for the creation of a new kind of design that would serve modern society,
Chicago, Cambridge, Massachusetts,
and he also came to feel that courses in theory were needed to help students
1969, p. 31. 1 have substituted the
word "building" for "structure" as develop an understanding of the principles and elements of form. Kandinsky
the translation of "Ban." firmly maintained that "free art" should be the basis for the practical arts,
73. A much fuller account of Kandinsky's a view he continued to espouse long after the school had begun to emphasize
activities at the school is provided in
my book, —
Kandinsky Unterricbt am utilitarian design.
74
Kandinsky's and Klee's courses within the preliminary
Bauhaus: Farbenseminar und analy- program supplemented the workshop classes of Itten, which were later taken
tiscbes Zeichnen, dargestellt am
Beispiel derSammlung des Bauhaus- over by Josef Albers and Moholy-Nagy. Together, these classes constituted
Archivs, Berlin, Weingarten, 1982. a program that stressed the direct handling of materials, experimentation
For discussions of the early years
with design elements and discussions of theory in which both students and
of the Bauhaus see Marcel Francis-
cono, Walter Gropius and the Crea- faculty participated.
tion of the Bauhaus in Weimar: the The original formulation of the Bauhaus Preliminary Course is to be
Ideals and Artistic Theories of its
Founding Years, Urbana, Illinois,
credited to Itten, who brought a background in early progressive education
1971. to the teaching of artistic principles and encouraged in his students a sensi-
74. See Kandinsky's essay "On Reform tivity to materials and an awareness of their own psychic responses. The
of Art Schools" ("K reforme khudoz-
hestvennoi shkoly," hkusstvo, 1923), Expressionist side of Itten's artistic personality can be seen in the typography
in Lindsay/Vergo, II, esp. p. 495. he designed for his essay, "Analysis of Old Masters," 1921 (see cat. nos.

42-
 104, 105), which features an exuberant mixture of typefaces and colors, and
in his analytical sketches of old-master paintings. 75 These sketches reflect an
immediacy of emotional response to compositional elements in the paintings.
Itten asked his students to follow a similar approach in both analytical draw-
ings and rhythmic
studies. These exercises sometimes resulted in highly sim-
plifiedsummations of movements or formal relationships, as exemplified in
the diagram at the lower right of Itten's sheet of sketches analyzing Meister
Franke's Adoration of the Magi (cat. no. 106). He also submitted the paint-
ings to an elaborate geometric analysis (cat. no. 107). Both the geometric and
reductive schematization of Itten's analyses seem to have influenced Kan-
dinsky's teaching of analytical drawing, particularly in its more elaborate
form at the Dessau Bauhaus.
Itten made another contribution to the program of objective study of
materials and visual elements that gained ascendancy at the school: his
systematic categorization of textures and colors according to sets of con-
trasts such as smooth-rough, dull-shiny, light-dark and the complementary
oppositions for colors. His Color Sphere, 1921 (cat. no. 108), presented as
a twelve-pointed star with seven gradations from white to black for each
of the twelve hues, is an early example of the charts used at the Bauhaus
as aids to understanding color relationships and nuances. Itten's diagram
is heir to a tradition that began with Goethe and the painter-theorist Philipp
Otto Runge at the beginning of the nineteenth century and is particularly
indebted to his own teacher in Stuttgart, Adolf Holzel. 76 Kandinsky used
color charts in his teaching, but relied on simpler ones such as the six-part
color circle. A particular instance of Kandinsky's borrowing from Itten's
teaching is provided by the student exercises he assigned concerning chro-
matic contrast using the square-in-square format. Vincent Weber's study done
for Itten's course (cat. no. nz) demonstrates the principle by placing a pri-
mary color, red, against different colored backgrounds to show varying kinds
and degrees of contrast. Geometric formats, most notably those based on
the grid, were used by Itten in his own work, from around 1916 (see cat.

nos. 101, 102), and in exercises he assigned students. Such designs were
valued as a means of simplifying the composition to allow for the study of
the complex interrelationships of contrast and gradation. Thus they are
frequently found at the Bauhaus, especially from 1921 when the influence of
the Dutch De Stijl movement was strong. Chart-like presentations of color
relationships were developed in particular by the student Ludwig Hirschfeld-
75- "Analysen alter Meister" in Utopia:
Dokumente der Wirklichkeit, Wei-
Mack, who conducted a workshop on color in connection with Itten's Pre-
mar, 192.1, pp. 28-78. The typo- liminary Course from 1921 to 1923. Hirschfeld-Mack's studies demonstrated
graphic design was a collaborative
contrasts, gradations and spatial illusions of colors in a variety of didactically
project involving the student Friedl
Dicker in addition to Itten. effective formats (see cat. nos. 113-115).
76. For a survey of color charts and
theories used at the Bauhaus, see my
catalogue, The High Museum of Art, Kandinsky's Teaching and His Theory of Correspondences
Atlanta, Bauhaus Color, 1976; a more
detailed treatment is found in my Concerning Kandinsky's teaching during the Weimar years of the Bauhaus
Ph.D. dissertation, Color Theories of
the Bauhaus Artists, Columbia little specific is known: the bulk of detailed evidence— his own course notes
University, New York, 1973. and publications as well as the surviving student exercises— is from the Des-

43
 V"

fig. 2.0

Gerhard Schunke
Analytical Nature Drawing: Character
of the Objects
Ink on paper
Collection Bauhaus-Archiv, Berlin

fig. ii
- 2
Maria Rasch
Analytical Nature Drawing: Constructive
Analysis
Ink on paper
Collection Bauhaus-Archiv, Berlin

fig. 22
Maria Rasch
Analytical Nature Drawing: Geometric
Connections
Ink on paper
Collection Bauhaus-Archiv, Berlin

fig- z-3

Ida Kerkovius
Analytical Nature Drawing: Linear
Analysis
Ink on paper
Collection Bauhaus-Archiv, Berlin

44
 sau period. In general terms Kandinsky discussed his approach to teaching
form and color in his contributions to the book published on the occasion of
the large Bauhaus Ausstellung of August and September 19x3. 77 In these
texts he stressed a systematic study of the elements, both in isolation and in

their interrelationships. Regarding color he stated, "its characteristics, power,

and effects" should be studied, and he believed that the same properties of
78
form must be investigated. Here Kandinsky meant the physiological and
psychological properties, the perceptual and expressive effects of color and
form: clearly an extension of the pedagogical formulations of his Russian
period. Moreover, student notes taken in 1924 indicate that in discussing
color phenomena, he relied heavily on his treatment of the subject in On the
Spiritual in Art. 19 A specialized subject Kandinsky taught at the Bauhaus
was analytical drawing, for which the students setup still lifes of ordinary
domestic or studio objects and analyzed their shapes and interrelationships.
Four of the student drawings were reproduced in the book published in con-
junction with the Bauhaus Ausstellung (figs. 20-23). These show a simplifi-
cation of outline and analysis of the structural networks inherent in the still-

life arrangements, the more advanced examples revealing the freest abstrac-
tion. 80 Subsequently, in Dessau, Kandinsky developed the study of analytical
drawing more systematically. The linearism and graphic clarity of his own
paintings, beginning as early as 1923, must have derived in part from the
constructive geometry of the analytical drawings.
A feature of Kandinsky's teaching that played a particularly visible role
at the Weimar Bauhaus was his theory of the correspondence between the
basic colors and forms. He involved the entire Bauhaus community in the
subject through seminar discussions and the circulation of a questionnaire
from the Wall-Painting Workshop (cat. no. 116). This survey, which, like the
Inkhuk Questionnaire, attempted to scientifically verify artistic theory, uti-
lized a form that presented the three basic shapes in outline. Participants were
77- "The Basic Elements of Form" and asked to fill in the shapes with the appropriate primary color and explain
"Color Course and Seminar" ("Die
Grundelemente der Form," "Farbkurs their choices. With the notable exceptions of Schlemmer and Klee, the re-
und Seminar" in Staatliches Bauhaus spondents confirmed Kandinsky's theory of the essential affinity of yellow
Weimar, 1919-1923J, Lindsay/Vergo,
II, pp. 498-504.
and the triangle, red and the square and blue and the circle. The concept of

78. "Color Course and Seminar," correspondence was based on the phenomena of synaesthesia, whereby ex-
Lindsay/Vergo, II, p. 501. periences of one sense faculty affect another, which Kandinsky discussed in
79. Notes by Irmgard Sorensen-Popitz, On the Spiritual in Art. Here he cited examples of synaesthesia, noting for
Bauhaus-Archiv Inv. Nr. 3958/1-9.
instance, that bright yellow may be perceived as sour or can hurt the eye,
80. An account of Kandinsky's early
teaching of analytical drawing is "as a high note on the trumpet hurts the ear." 81 Accordingly, shapes and
found in Wolfgang Venzmer, "Holzel colors may share inherent characteristics, which are heightened when appro-
and Kandinsky as Teachers: An Inter-
view with Vincent Weber," Art priately combined. For example, "Sharp colors have a stronger sound in
journal, vol. 43, Spring 1983, pp. 17- sharp forms (e.g., yellow in a triangle). The effect of deeper colors is empha-
30. 1 am indebted to Peg Weiss, editor
sized by rounded forms (e.g., blue in a circle)." 82 In the illustration for the
of this special issue on Kandinsky, for
showing me the manuscript of this Russian publication of On the Spiritual in Art and in his Inkhuk Program and
interview before publication.
Questionnaire, Kandinsky elaborated his concept. A reproduction in the
81. On the Spiritual in Art (liber das
book accompanied the 1923 Bauhaus Ausstellung (cat. no. 319,
that see p.
Geistige in der Kunst, Munich, 1911),
Lindsay/Vergo, I, pp. 157-158. 174) shows the canonical relationships and their extension to the three-
82. Ibid., p. 163. dimensional shapes, pyramid, cube and sphere.

45
 These correspondences as well as contrary combinations of the shapes
and colors appear in several designs created for the exhibition. Among the
postcard announcements, Rudolf Baschant's bears red squares and a blue
circle (cat. no. I2ie), while one of Herbert Bayer's has a blue triangle, a black
circle and a red square (cat. no. i2if). Deviant combinations were as interest-
ing as the standard ones, according to Kandinsky, because of the expressive
effects of their inherent contrasts. 83 Bayer treated related ideas on a monu-
mental scale in his designs for the staircase of the Bauhaus building, which
were part of the wall-painting program for the exhibition. These were three
large murals, one for each floor: the first a blue composition with circles; the

second with images dominated by red and the square; the third yellow with
triangles (cat. no. 119). In chromatic value and formal character alike, this

ascending sequence represented the synaesthetic effect of progressive light-

ening.
The theory of correspondence exemplifies Kandinsky's scientific atti-

tudes toward art, for throughout his career he sought to formulate a science
of art (Kunstwissenschaft). While he attempted to create a scientific basis for
this theory through his systematic approach and use of questionnaires, it was
an essentially subjective notion. The correspondences he posited could serve
expressive ends in artistic usage, though the variables of context and possible
combinations were so great that the results were unpredictable. Moreover,
the "correct" combinations had no real usefulness in the design of practical
objects beyond a simple graphic or decorative level. Nevertheless, Kandinsky
taught the theory throughout his Bauhaus career and occasionally applied it

in his own work. He valued the expressive effects that could be created
through the application of the theory and believed that students should
learn systematic approaches to formal elements before they became involved
in the more intuitive process of creative design.

Early Bauhaus Design

In its emphasis on the basic shapes and colors, Kandinsky's theory of corre-
spondence accorded well with the elementarist tendency in design that pre-

vailed at the Weimar Bauhaus, and 1924.

especially in the period about 1923
Indeed, the basic shapes appear in many of the objects and works of art
executed there. The ashtrays and teapot by Marianne Brandt, 1924 (cat. nos.

127-129), products of the Metal Workshop, are good examples of this formal
predilection, with their use of the triangle, cylinder, circle and semisphere.
The wooden pieces of Josef Hartwig's chess set (cat. no. 126), which include
cubes and pyramids, and the glass and chrome components of K.J. Jucker's
83. "Analysis of the Primary Elements in
Painting" ("Analyse des elements and Wilhelm Wagenfeld's table lamp (cat. no. 124) indicate the variety of
premiers de la peinture," Cahiers de materials submitted to this normative geometry. The basic shapes and colors
Belgique, 1928), Lindsay/Vergo, II,
also were stressed in typography and graphic design, where the letter forms
p. 854.

84. Important factors in the influence of

were made up of circular, square and triangular units (see cat. no. 122). In
De on the Bauhaus were the
Stijl this context mention should be made of Schlemmer's costume designs for his
presence and activities of Theo van
Doesburg, spokesman for the Dutch
Triadic Ballet, ca. 1922 (cat. nos. 134, 241), which transform the dancer's
group, in Weimar from 1921-23. body into a series of abstract geometric shapes.

46
 The Bauhaus emphasis on elementary geometry represents a continu-
ation of the use of simple abstract forms by the Jugendstil artists at the
beginning of the century for the purpose of reforming the elaborate design
traditions of the nineteenth century. In its social idealism and belief that a
standardized vocabulary of forms would create a unified visual environ-
ment, the Bauhaus also reflected the point of view of the Werkbwid, the
association of German designers and manufacturers that was dedicated to
improving design and simplifying the forms of utilitarian objects so they

could be mass produced. Bauhaus designs were meant to express modernity

because, with their strict geometry, they were free of traditional ornament
and embodied a new rationalism. The assumption was that these pure forms
were more functional and better suited to mass production than traditional
ones. Rather than simply resulting from a logical assessment of the function
of an object or the process of fabrication, however, Bauhaus products and
similar modernist designs in fact reflect a style, a preconceived attitude
toward certain forms. This style expressed convictions about the nature of
the modern world and a new rational democratic society.

Bauhaus Masters

The Bauhaus concern with geometry and the constructive principles it of-
fered provided the background for Kandinsky's artistic development during
his years at the school. This concern is visible not only in the utilitarian

products but also in the representational and abstract art executed there.
Feininger's views of German towns and his coastal and marine scenes con-
tain large, simplified planes derived from the shapes in the landscape or city-

scape subjects (cat. no. 133). These representational elements are much
transformed, however, for they are rendered as flat, straight-edged shapes,
frequently rectangles or triangles, and aligned so as to suggest an underlying
grid. In many of his schematized images of the human form, Schlemmer uses
the grid in a more explicit way than Feininger, subdividing the figure and
locking it into a field of rectangular planes (fig. 24). Even when they are
modeled slightly, the planes are nearly flat and are disposed parallel to the
picture surface. Moreover, the figural components are shown frontally or in
profile, thus according with the overall flatness. In his graphic works Schlem-
mer often created a linear armature of interlocking shapes (cat. no. 135), a
schematic integration of multiple forms paralleling that in the analytic draw-
ings done in Kandinsky's classes.
fig-M The grid was introduced at the Bauhaus by Itten as the basis for exer-
Oskar Schlemmer
cises in his course, but its implicit presence in Cubism and dominant role in
Figure of a Youth in Components. 192.1
the art and design of the De Stijl group assured its currency in the art created
Pencil and enamel on canvas
84
Private Collection
at the school. The ways
which individual artists utilized the grid reveal
in

how they conceived the role of geometry in the pictorial process. It could
provide a simple armature for a graphic design or pictorial composition, or a
basis for a complex interplay of structure and other visual elements. Klee
probably used the grid more subtly and inventively than any other artist.

Beginning as early as 1914, and especially during his Bauhaus years, he em-

47
 85
ployed this geometric device in his paintings. In a number of examples
from 1913, the proportions of the squares and rectangles vary considerably,
and diagonal deflections or additional shapes such as triangles or half-circles
are introduced, changing the rhythm and producing illusions of shallow
depth. However, the alterations of the basic structure of the grid seem deter-
mined primarily by the application of the different colors, and, indeed, the
pictures can be seen as vehicles for color relationships and effects, subjects
86
to which Klee devoted attention in his teaching. Architecture, 192.3 (cat.
no. 131), with its contrasts of yellow and violet and gradations of value and

hue, owes the dynamism of its composition to the variety of its visual group-
ings, degrees of contrast, and to its spatial effects. The inherent architectural

associations of the grid are elicited by the vertical emphasis and the addition
of the two triangles at the top, an example of the discovery of representa-
tional implications in an abstract structure. This process reverses that of
Feininger, who abstracts from the given visual world, and differs from
Kandinsky's technique of including simplified representational motifs within
an otherwise abstract imagery.
A freer use of geometry by Klee is seen in works such as Red Balloon of
1922 (cat. no. 130). In this painting the addition of the drawn elements of the
tree and balloon rigging make the representational references of the geo-
metric shapes explicit. The red circle here and the triangles in Architecture
nevertheless remain, pure forms nudged into representational service by
context or accompanying elements. The tension in the visual reading pro-
vides much of the fascination of these paintings and of the lithograph Tight-
rope Walker of 1923 (cat. no. 132), where the schematic image of a human
face is submerged in the apparatus that supports the performer. This work
is particularly interesting in its use of a disembodied and contradictory per-
spective derived from Constructivism. To be sure, Klee's sets of converging
lines floating in space have a representational function, however ambiguous
they may be, whereas the Constructivists' linear structures are entirely non-
87
objective. Klee's playful and inventive manipulation of geometry and as-
sociative elements reveals his belief in the dual nature of artistic creativity,

85. See Eva-Maria Triska, "Die Quadrat- which, he maintained, involves both systematic knowledge of the formal
bilder Paul Klees —ein Beispiel fur das elements and intuition in utilizing them for expressive effect. This belief
Verhaltnis seiner Theorie zu seinem
Werk" in Kunsthalle Koln, Paul Klee: was held also by Kandinsky and the other Bauhaus artists who shared a
Das Werk der Jahre 1919-1933, exh. background in Expressionism.
«t., 1979, pp. 43-78.
Moholy-Nagy, on the other hand, gave primacy to rationality in the
86. See The Thinking Eye, vol. 1 of Paul
Klee Notebooks, Jiirg Spiller, ed.,
artistic process and objectivity in the study of visual phenomena. He had
London and New York, 1961, pp. 421- been deeply influenced by Suprematism and Constructivism, particularly
429, 433-511; and Paul Klee, Beitrdge through Ivan Puni and Lissitzky, both of whom he knew when he lived in
zur bildnerischen Fortnlehre, Jiirgen
Glaesemer, ed., 1 vols., Basel and Berlin from 1921 to 1923. His appointment to the Bauhaus in the spring of
Stuttgart, 1979, facsimile vol., pp. 136- away from Expressionism in the
1923 to replace Itten signaled the shift
142, 153-190; transcription vol.,
school's program that Gropius desired. Moholy-Nagy's interests in photo-
PP- 73-75. 81-104.
87. Jim M. Jordan, "The Structure of graphy, typography and industrial design accorded with the growing em-
Paul Klee's Art in the Twenties: From phasis on technical and utilitarian aspects of design at the Bauhaus. In
Cubism to Constructivism," Arts
addition to his activities in these fields, he continued to create works of fine
Magazine, vol. 52, Sept. 1977, esp.
p. 155. art that reflected the influence of the Russian avant-garde. The precision

48
 of line and clarity of the simple geometric shapes in his works show that he
espoused the technical aesthetic offered by compass and ruler, as it had been
introduced by Rodchenko and developed by Lissitzky. His groupings of
circles and half-circles, lines and bars float against white or, occasionally,
black backgrounds, which simultaneously appear to be flat surfaces and
infinite space (cat. nos. 137, 138; fig. 25). The formal exactitude of his art and
the ways it from Kandinsky's despite certain shared vocabulary, are
differs

illuminated by Moholy's concept of construction, which was influenced by

the Russians. According to Moholy, a thorough knowledge of the physical
and perceptual properties involved in the work is required of the artist and a
construction is ideally "predetermined at every point of its technical and
intellectual relations." 88 Kandinsky's opposing view that construction is

subordinate to composition allowed intuition a more important role in the

creation of art, and he was subsequently to criticize the Constructivists for
relying too much on reason and calculation in the use of geometry. 89

fig-*5
Kandinsky's Art, 1923-1925
Laszlo Moholy-Nagy
DIV. 1922
Thus, the Bauhaus provided a context in which a range of artistic points
Oil on canvas
of view were allowed to flourish, within the parameters of a commitment to
Collection Albright-Knox Art Gallery,
Buffalo, George B. and Jenny R. Mathews geometric forms and structural principles. Here, as elsewhere in Europe
Fund, 1973 was believed
where abstract art was developing in the teens and twenties, it

that geometry provided a universal language. The goal of the Bauhaus was to
formulate a theory of the visual elements that would constitute the common
basis for practice in both art and design and permit collaborative work and
the creation of an integrated design environment. The artists at the school
contributed toward this end through their pedagogical and creative work. In
this context Kandinsky was able not only to develop his theoretical ideas, but
also his art. He accomplished this in 1923, in the months during which the
preparations for the Bauhaus Ausstellung were taking place and when the
influence of De Stijl and Constructivism began to be felt strongly at the
school. At this time Kandinsky created a more consistently geometric ab-
stract style, which clearly showed the elements he had absorbed from the
Russian avant-garde while it maintained his personal commitment to richly

complex pictorial composition. In a series of major works executed from

February through July 1923, he consolidated the geometric tendencies that
had been developing in his art from 1919 and brought to the fore the sche-
matic construction and other theoretical principles he emphasized in his
teaching at the school.
The major picture painted just prior to this sequence, In the Black Circle
of January 1923 (cat. no. 143), shows irregular and mottled forms familiar
in earlier works, but introduces the circle as a prominent motif: this
Von Material zu Architektur, Bau-
hausbiicher 14, Munich, 1929;
shape was to play an important role in many of Kandinsky's works of the
English translation, The New Vision: Bauhaus period. Here it appears as a geometric version of the irregular oval
From Material to Architecture, New
that bore the central imagery in the bordered pictures of the Russian years.
York, 1930, p. 59.

. "Reflections on Abstract Art," Lind-

The atmospheric depth provided by the black background and the modu-
say/Vergo, II, p. 759. lated areas is in marked contrast to the two dimensionality of the key works

49
fig. 26
Vasily Kandinsky
On Gray. 1923
(HL252)
Oil on canvas
The Solomon
Collection R. Guggenheim
Museum, New York

that followed. A transition to these was provided by On Gray (fig. 26), a

painting that recapitulated and developed the important picture of 1919,
White Oval (Black Border) (fig. 5), in which Kandinsky had introduced
clearer forms and structure. In On Gray he further regularized the forms and
simplified the composition of the earlier painting and added numerous pure
geometric elements. Kandinsky said his "cool period"— the more geometric
style that culminated in 1923— began in 1919; therefore he must have con-
sciously chosen to revise a work from that year and then paint his next
picture, On White (cat. no. 144), in a mode closer to Suprematism than any
90. Pankt und Linie zu Flache, Bauhaus-
other of his career. On White— with its crisply defined flat planes, overlap-
biicher 9, Munich, 1926, Lindsay/
Vergo, II, pp. 603-608. ping triangular and trapezium shapes, its floating suspension on a white
91. Peg Weiss has proposed in "En- background, axial shifts and peripheral forms that seem to disperse— is clearly
counters and Transformations" in
Guggenheim Museum, Kandinsky in
indebted to the work of Malevich and Popova. However, the multiplication
Munich, pp. 30, 82, that the forms of forms and inclusion of idiosyncratic shapes, as well as the building up of
in this painting derive ultimately from
planes in many layers indicate that he appropriated the Russians' style to
—
those such as the circle and diag-
onal lance — associated with the horse- his personal idiom.
man St. George in works from the Complexity and diversity are taken to an extreme in the painting that
Munich period. This thesis is,

in my opinion, unconvincing, followed, Traversing Line, 1923 (cat. no. 145), which contains a sequence of
especially in view of the absence of large shapes that underly the composition: the tan trapezium suggesting a
the dragon motif and the application
square tilted and warped in space, the pale yellow triangle and the circle.
of a different color to the circle
yellow rather than blue. (That blue is These elementary forms, of course, were of central importance in Kandinsky's
the suitable color for the circle in a
activities at the Bauhaus during this year and indicated his commitment to
transformation of the St. George
motif is shown by the clearest geometry, though his use of the trapezium for the square suggests that he
early example, the blue ovoid form was making a point about pictorial art and its spatial illusionism. This
behind the horse and rider in Painting
with White Border.) The crucial
group of shapes had been used also by Russians such as Kliun. Other forms
problem here is that the evidence with which Kandinsky was concerned during the Bauhaus years appear

50
 here: the grid rendered in perspective and the whiplash curve. These repre-
sent, respectively, movement into depth and movement on the surface of a
more tensile and varied character, as the diagrams of complex curves in
90
Point and Line to Plane indicate. These two elements reflect Kandinsky's
debts to both Constructivism and Jugendstil. The crisscrossing sets of con-
verging lines in the lower right are also borrowed from Constructivism, from
Rodchenko in particular, and the contradictory spatial readings they sug-
gest play an important role in the succeeding paintings. Another major
feature here is the use of long diagonal lines to link separate parts of the
composition or create divergent axes. In these lines are realized on a grand
. uL 1
scale the compositional diagrams of Kandinsky's late Munich period (for
1
•
I

example, fig. 27) and the schematic constructions of the analytical drawings
fig- 17 executed at the Bauhaus. Traversing Line is, indeed, a pivotal work, for it
Vasily Kandinsky
brings up to date elements from Kandinsky's artistic past and embodies
Study for "Painting with White Border."
1913 aspects of his teaching. Its surfeit of forms, which includes the trapezium and
Pencil on paper circle bearing pictures within the picture, makes this a disconcerting and yet
Collection Stadtische Galerie im Lenbach- impressive work, one that was crucial to Kandinsky's development during
haus, Munich
his Weimar period.
In June and July 192.3, shortly after Traversing Line was completed,

Kandinsky painted In the Black Square, Composition 8 and Circles in a Cir-

cle (cat. nos. 146, 147, 150). These three works are clearer in composition and
somewhat simpler in their array of forms than Traversing Line and represent
the culmination of the geometric tendency of the period. Basic shapes and
straight and curved lines predominate in these paintings, and their black

lines against white or light backgrounds maintain a schematic and rigorous

quality. The large size and transparency of many of the forms and their

open distribution across the picture plane give these compositions monu-
a
mentality and an expansiveness despite their relative flatness. Whereas cer-
tain abstract features of the series derive from Russian precedents, their

vertically positioned triangles and planetary circles refer to landscape. In

must be especially good to prove that
the symbolic St. George motif occurs
addition, in Composition 8 the delicate modulation of the background from
in the Bauhaus work, given Kandin- white to pale blue at the bottom and yellow at the top suggests atmospheric
sky's repeated advocacy of abstract
space. Nevertheless, the transparency of forms, their rigorous definition and
art as well as the preponderance of
abstract imagery in his pictures of the floating quality maintain the abstract character of the works.
Weimar period in particular. Simi- Clusters of lines and overlapping circles in the three canvases are strongly
larlydubious, it seems to me, is
Weiss's interpretation of Yellow-
reminiscent of elements in Rodchenko's works, but these features have been
Red-Blue, 1925, as combining a integrated into the variety of other forms. Moreover, the trapezoidal white
reference to a guardian figure the — field of In the Black Square is Kandinsky's ultimate synthesis of that Su-
two rectangles in the yellow portion
of the work presumably recalling the prematist shape and his own formulation of the pictures with borders. Here
guardian's sword and its hilt and — the narrowness of the border heightens the tension between the black square
St.George and the dragon the latter —
pair no longer opponents, but unac- and trapezoid, rendering ambiguous the spatial reading; it is uncertain
countably nestled together as blue whether the white field lies in front or behind the black border. Finally, with
circle and complex curve, Ibid. Kan-
dinsky's sequences and contrasts of
its sharp oppositions of black and white and bright colors, /;; the Black
91
abstract qualities and their psycholog- Square shows the most dramatic contrasts of the series.
ical reverberations are thus read
Composition 8 was regarded by Kandinsky "as the high point of his
rather literally as symbols ultimately
derived from narrative art. postwar achievement," according to Will Grohmann, his principal con-
92
92. Grohmann, p. 188. temporary biographer and critic. Large in size and carefully planned, as

5i
fig. 28
Vasily Kandinsky
Study for "Composition 8." 1923
Watercolor on paper
Collection Galleria Galatea, Turin

evidenced by the existence of a small squared drawing for the entire picture
(cat. no. 148) and a watercolor that closely anticipates the right side (fig. z8),

the painting fulfills the criteria he had formulated during his Munich period
for designating a work as a "Composition": "The expressions of feelings that

have been forming within me ...(.. . over a very long period of time), which,
after the first preliminary sketches, I have slowly and almost pedantically
examined and worked out." 93 Composition 8 transforms the mountain and
sky imagery of Kandinsky's earlier work into the abstract style of the years
immediately following the Russian period.
The importance of Composition 8 lies also in its embodiment of Kan-
dinsky's theories. Its forms are predominantly angular and circular, repre-

senting what he considered "the two primary, most strongly contrasting plane
93. On the Spiritual in Art, Lindsay/
figures," the triangle and circle. 94 Corresponding to the colors yellow and
Vergo, I, p. 218. Composition 8 is the
only picture from the Russian and blue, these shapes possessed for him the polar qualities of sharpness, warmth
Bauhaus periods designated a "Com- and advancing and eccentric movement, versus coldness and retreating and
position," although Kandinsky
originally gave this title to a painting concentric movement. 95 In addition, the triangle, when pointing upward as
of 1920; however he later changed its here, was characterized by stability and ascension, and the circle, by eccentric
name to Spitzes Schweben (Pointed
as well as concentric movement, both stability and instability, as well as
Hovering, HL 228). The fact that the
new title was given in German indi- freedom from gravity. As always for Kandinsky, these properties of forms
cates that the decision was made
were influenced by colors, warm colors advancing, expanding and rising,
while he was at the Bauhaus, possibly
when he was giving the title Compo- cool colors receding, contracting and descending. Composition 8 offers a
sition 8 to the new work. variety of combinations of colors and basic shapes, especially for the many
94. Point and Line to Plane, Lindsay/
circles. Thus one can witness these effects here, particularly the spatial ones,
Vergo, II, p. 600.
which are also influenced by the placement of the shapes in higher or lower
95. Cf. Kandinsky's notes on the quali-
ties of the basic shapes in his class positions within the composition. Furthermore, interactions of particular
notes, "Cours du Bauhaus" in Philip- colors with surrounding or neighboring colors affect chromatic character-
pe Sers, ed., Wassily Kandinsky:
Ecrits complets, Paris 1975, vol. 3, istics such as warmth and intensity, phenomena demonstrated by the rings or
pp. 254-255 (class of Sept. n, 1925). halos around many of the circles. These interrelationships among colors and

51
 96
forms were valued by Kandinsky for creating rich "contrapuntal" effects.

Comparison of this series with pure nonobjective Constructivist works

by artists such as Rodchenko and Moholy-Nagy shows great differences.
Even at an abstract level, Kandinsky's space often conveys the feeling of
landscape by means of overlapping planes and the placement of small forms
near the top of the composition that suggests distance. The formal economy of
the Constructivists' works maintains their character as direct presentations
of pure geometry and, incidentally, prompted Kandinsky to designate them
as "experiments" Thus they are more straightforward
in the 1921 interview.

and literal than Kandinsky's complex paintings, which incorporate not

only illusionism but a hierarchy of forms and multiple relationships, includ-
ing sets and series of forms and chromatic interactions. Even the works that
are closest in style to Constructivism, such as Circles in a Circle from July
1923, illustrate these distinguishing characteristics. In Circles in a Circle
there are an abundance of elements, a hierarchy of circles of different sizes
and an illusion of aerial space, which is enhanced by the perspectival effect

created by the intersecting colored bands.

Kandinsky's theoretical statements about composition elucidate the na-
ture of his works from 1923. In On the Spiritual in Art he had discussed a
kind of "complex composition," which he called "symphonic" and identified
with his own recent paintings. 97 Concerning the basic structure of a com-
position and the interrelationship of the elements, he wrote, "One finds

primitive geometric forms or a structure of simple lines serving the general

movement. This general movement is repeated in the individual parts, and
sometimes varied by means of individual lines or forms." Such an analysis
is clearly applicable to paintings such as Traversing Line (cat. no. 145) and
Composition 8. In writings from the Bauhaus period he linked content and
composition, which he characterized as the "elements and construction . . .

subordinated to a mysterious law of pulsation." 98 This expressive energy

comes ultimately from the inherent forces or tensions of the elements, their
psychological and perceptual effects. Accordingly, in Point and Line to Plane
he stated: "The content of a work finds expression in composition, i.e., in the
inwardly organized tensions necessary in this [particular] work." 99 It was to
attain rich expressive effect, therefore, that Kandinsky utilized the complexity
and variety of "symphonic" composition.
In Composition 8 the expression is determined by elements such as the
ascendant acute pink angle, the calmer obtuse blue angle and the "cosmic"
cluster of circles glowing and pulsating in the upper left. Dramatic accents
are supplied by the vibrant smaller circles, the one freely curving line and the
skewed checkerboard fragments. A special note is provided by the combina-
tion of small but vivid shapes, near the top of the painting: a yellow triangle
and the ring of a blue circle that touch. For Kandinsky the combination of
96. On the Spiritual in Art. Lindsay/ triangle and circle creates the strongest and most evocative contrast, exem-
Vergo, I, pp. 171, 178-179.
plifying the power of abstract forms and their interactions. In this instance,
97. Ibid., pp. 2.15-Z18.
the choice of colors is dictated by his theory of correspondence, and thus
98. "Abstract Art," Lindsay/Vergo, II,

p. 516. enhances the polarity of the shapes. Though the generic landscape reference
99. Lindsay/Vergo, II, p. 548. in Compositioft 8 serves as a kind of framework for the painting, the essential

53
 content is abstract. That Kandinsky meant to convey abstract ideas or feel-

ings in his painting is indicated by his teaching and writings of the Bauhaus
period. For example, he assigned his students a set of exercises in which
combinations of the basic shapes create an expression of aggression when
the triangle is dominant, of calm with the square dominant, and of interior-
100
ization or deepening with the circle dominant. Similarly, in a statement of
ioo. Sers, pp. 147, 250 (class of Jan. 26, 1929 Kandinsky listed general affective qualities as "the basic character of
1926).
the picture," maintaining that the artist "tries to achieve the clearest possible
101. Kandinsky's answer to the question-
naire in Paul Plaut, Die Psychologie
expression of this basic idea (e.g., dark, warm, very controlled, radiant, in-
der produktiven Personlichkeit, 1929, troverted, restrained, aggressive, 'disharmonious,' concealed, overpowering,
Lindsay/Vergo, II, p. 739. ." 101
etc.). This is what is called 'mood' . . .

102. Rudenstine, Guggenheim Museum

The importance of circles in the works of 1923 anticipates the dominant
Collection, pp. 309-311, 323-325,
I,

reviews Kandinsky's use of the circle role they play in many pictures through the twenties, in a number of which,
as a dominant motif, his statements
most notably Several Circles of 1926 (cat. no. 188), they constitute the sole
concerning this shape and the related
art-historical literature. motif. 102 By 1930 he was able to formulate verbally the range of meanings

103. Kandinsky had prepared this state- this shape could convey, a content of an abstract psychological or symbolic
ment so it could be used in Groh- character, subject to the influence of the chromatic or formal treatment and
mann's 1930 monograph on him;
"Lieber Freund ." Kunstler schrei-
. .
context provided in the work. In a letter to Will Grohmann he wrote con-
ben an Will Grohmann, Karl Gutbrod, cerning the circle:
ed., Cologne, 1968, p. 56 (Oct. 12,
1930); English translation in Groh- It is a link with the cosmic. But I use it above all formally ....
mann, 1958, pp. 187-188. As the rest
of the statement makes clear, Kan-
Why does the circle fascinate me? It is:
dinsky's assertion that he used the 1. the most modest form, but asserts itself unconditionally,
"above all formally" was not
circle
2. precise, but inexhaustibly variable,
meant in a narrow sense, for he
valued the "inner force" of this ab- 3. simultaneously stable and unstable,
stract form, as he said in his answer
4. simultaneously loud and soft,
to Plaut's questionnaire. There he
continued, "I love circles today in the j. a simple tension that carries countless tensions within it.

same way that previously I loved, e.g., The circle is the synthesis of the greatest oppositions. It combines the
horses —perhaps even more, since I
concentric and the eccentric in a single form, and in equilibrium. Of the
find in circles more inner possibilities,
which is the reason why the circle has three primary forms, it points most clearly to the fourth dimension. 103
replaced the horse": Lindsay/Vergo,
II,p. 740. By this he did not mean Though painted seven years before these ideas were articulated, Composi-
that the circle retained from the
Munich-period works the specific
tion 8 and Circles in a Circle exemplify the use of the circle as a cosmic
significance of the horse, that is, image and attest to the range of its possible variations. In the first the form
especially, its associations with St.
George, who symbolized the conquest appears within an abstract landscape context and in the second in a man-
of the spiritual over the dragon of dala-like format characterized by central focus, symmetry and an encom-
materialism. Kandinsky's statements
passing ring.
on the should be read as pro-
circle
claiming the eclipse not only of Kandinsky's works from the remainder of the Weimar period, which
naturalism but also of iconography concluded in June 1925, basically continued the abstract style of 1923, though
in any traditional sense by virtue of
the capacity of geometric form to certain changes appear. These changes prompted the artist to remark in a let-
convey abstract, largely ineffable ter to Grohmann of January 31, 1924, that he now departed often from his
meanings. For the argument that the
circle essentially represents a continu-
"cool period," which he here stated had begun in 1921. The chromatic rich-

ation of the horse motif rather than ness of Blue Painting (fig. embodied in the varying shades of blue in its
16),
truly "replacing" such elements, see
background, represents a development away from the starker pictures with
Weiss, 1979, pp. 128-132. Lindsay
interpreted the symbolism of Kandin- light grounds that preceded it and anticipates In Blue of the following year
sky's use of such geometric forms (cat. no. 156). In spite of its light background and schematic linear elements,
more generally: "Les Themes de
l'inconscient" in "Centenaire de Yelloiv Accompaniment, 1924 (cat. no. 152), carries this development further,
Kandinsky," 1966, pp. 48 ff. in its dominant color relationship of the blue and violet cross-shape against

54
 the yellow of the ground. Moreover, the density of overlaid planes, shapes
and lines in Yellow Accompaniment is in marked contrast to the clarity of the
more openly distributed forms in works such as Composition 8. This com-
pacting of forms appears also in One Center, 1924 (cat. no. 154), whose con-
centric motif and curving lines and shapes shown against a dark background
constitute a response to the radial arrangement and straight and angular
elements in Yellow Accompaniment Formal and chromatic polarities be-
.

come the main themes of certain subsequent works. Unlike the oils of 1914,
the watercolors Black Relationship (fig. 29) and Elementary Effect (cat. no.

155) have an almost didactic clarity and they embody simple oppositions:
the single black circle versus a cluster of angular colored forms in the first,

the ringed greenish yellow circle contrasted to the horizontal black bar in the
second. Somewhat more complex formally and coloristically is the painting
fig. 29
Pointed and Round of 1925 (cat. no. 157).
Vasily Kandinsky
Pointed and Round and Above and Left (cat. no. 158), the picture that
Black Relationship. 1924
Watercolor on paper immediately followed it, as well as a number of other works from the first
Collection The Museum of Modern Art, half of 1925, are particularly close to Kandinsky's theoretical formulations
New York, Acquired through the in Point and Line to Plane. In was the period just preceding the
fact, this
Lillie P. Bliss Bequest
drafting of the manuscript, which he was to undertake in the summer and
104
fall of the year, right after he moved to Dessau. In 1923 Kandinsky had
begun to rework the notes made in Goldach in 1914 and thus was involved
with this project concurrent with his teaching and painting. He seems to
have conceived the works from the last part of the Weimar period in terms
of his theories, and the didactic character of some of them, therefore, can
be attributed to this preoccupation. Pointed and Round, for instance, pre-
sents the elemental contrast between triangular and circular forms, elabo-
rated by tapering lines and a complex free curving line. Above and Left
reflects Kandinsky's complicated theories about the characteristics of dif-

ferent parts of the picture plane. He considered the lower right quadrant
the heaviest, densest and most resistant at the picture's boundaries, while the
105
upper left quadrant was the lightest and most diffuse. Therefore, a strong
contrast existed between them, as differentiated from the milder contrast
between the lower left and upper right quadrants. A diagonal linking the
two powerfully opposing corners, was "unharmonic" and dramatic,
thus,
whereas a diagonal connecting the other corners was "harmonic" and lyrical.
104. Kandinsky dated the foreword to the In its composition Above and Left embodies this theory by including the
book "Weimar 1923, Dessau 1926," dramatic diagonal from lower right to upper left as well as counter diag-
the latter being the year the book was
published, Lindsay/Vergo, II, p. 530. onals. Moreover, the two equilateral triangles represent the directions re-
In letters to Grohmannhe reported ferred to in the title, the green one acting as an arrow indicating ascent, the
his progress with the writing of the
manuscript: by July 16, 1925, he had
yellow pointing left, "toward the far-away." Both directions connote free-
begun, and by Nov. 3 the work was dom, according to Point and Line to Plane. Another work related to the book
completed. These letters are in the
is Black Triangle (cat. no. 159); in fact, a very faithful diagram of the painting
Grohmann-Archiv, Staatsgalerie
Stuttgart, and copies are in the library entitled "Inner Relationship between complex of straight lines and curve"
of The Museum of Modern Art, New is used as an illustration for the treatise.
10 5
*

In both the drawing and the

York.
painting, the interconnected lines are like the students' analytical drawings,
105. Point and Line to Plane, Lindsay/
Vergo, II, pp. 639-655. and the image, in which the geometric forms comprise a standing figure,

106. Ibid., p. 6^6, pi. 23. anticipates the abstract signs and figures of the later twenties.

55
 By virtue of its size and complexity, the culminating picture of 192.5 is

Yellow -Red-Blue (cat. no. 196). Its richly varied color and dense accumula-
tion of large-scale forms are very different from the more severe organization
and color and the open linear network of Composition 8. The program-
matic title refers to the color sequence Kandinsky presented in Point and

Line to Plane and embodied in the painting as well as in numerous student

exercises for his courses. 107 While circles play a major role here, along with
square and rectangular forms, there are also prominent irregular shapes,
such as the monumental undulating black line at the right. The variety of
forms and the range of modulated color, which in the background creates
atmospheric spatial effects, give this imposing work the richness character-
istic of the later Weimar period.

III. KANDINSKY AT THE BAUHAUS IN DESSAU

AND BERLIN, 1925-1933

Forced to leave Weimar in mid-1925 by the actions of the right-wing ma-

jority in the Thuringian state parliament, the Bauhaus moved to the industrial
city of Dessau. Here the school reached its apogee, its modernist approach
to design symbolized by its famous building (cat. no. 163), designed by Gro-
pius and completed in 1926. A paradigmatic Bauhaus design product was exe-
cuted here. Marcel Breuer's tubular metal armchair (cat. no. 176): its modern
material, potential for mass production, lightness, cubic shape and openness
epitomize the school's aesthetic and functionalist ideals. Kandinsky was the
first person to purchase an example of the chair; hence the naming of the
model the "Wassily" chair when it was again produced commercially dec-
108
ades later.

During the Dessau period Kandinsky wrote Point and Line to Plane,
which appeared in the Bauhaus Book series, as well as a number of articles,
three of which were published in the journal Bauhaus. He systematized his
teaching, and from this time have survived well over two hundred student
exercises, in addition to his own pedagogical notes. 109 This was also a very
productive period for Kandinsky's art. After he applied in his painting the
abstract principles articulated in Point and Line to Plane and in his teaching,

he developed a diverse set of pictorial images and modes. Some of these

represent particular responses to the Bauhaus context and to his colleagues,

107. Ibid., pp. 578-579. most notably Klee.

108. Nina Kandinsky, p. 119. Kandinsky stayed at the Bauhaus through its closing in Dessau on Oc-

109. For detailed discussion of Kandin- tober 1, 1932, which was decreed by the National Socialist majority on the
sky's several courses and of the stu-
city legislature. He then moved with the school to Berlin, where it reopened
dent exercises see my book
Kandinsky — Unterricht, which also as a private institution in mid-October, remaining there until July 1933,
contains a catalogue of the exercises when it was closed for good by the Nazis following their assumption of
in the collection of the Bauhaus-
Archiv, Berlin. Kandinsky's notes are
power. Kandinsky's tenure, therefore, lasted through the directorships of
published, in the sequence in which Gropius, of architect Hannes Meyer, who succeeded him from 1928 to 1930,
they were found in his files rather
than arranged more strictly by course
and of Mies van der Rohe for the remainder of the school's existence. After
or by chronology, in Sers, pp. 157-391. the move to Dessau the Bauhaus was oriented primarily toward practical and

56
 technical goals. Yet shortly after Meyer came to the school in the spring of
1927 to institute an architecture department, Kandinsky began to teach his
Free Painting seminar. 110 In the context of an institution devoted to applied
art and design, courses of this kind seemed anomalous, but for Kandinsky
and his like-minded colleagues, they provided a balance to technical concerns.
As he expressed this position, "The student should receive, more than pro-
fessional training, a broadened synthesizing education. Ideally he should be
endowed not only as a specialist but as a new person." 111 In addition to Kan-
dinsky's course, Klee taught a painting class and Joost Schmidt a sculpture
class, all of which were optional. That interest in the fine arts was strong at

the Bauhaus is indicated by the exhibitions held at the school and elsewhere
which included paintings by students and faculty alike. Kandinsky even re-
112
marked, somewhat hyperbolically, "Everyone paints at the Bauhaus."

Kandinsky's Apartment, Bauhaus Masters' House

In addition to the Bauhaus building itself, Gropius designed a house for the di-

rector and three double houses for Bauhaus masters. In mid-June 1926 Kan-
dinsky and his wife moved into one of these houses, which they shared with
Klee and his family. The other houses were occupied by Moholy-Nagy and
fig. 30
Marcel Breuer
Feininger, Georg Muche and Schlemmer and their families. In the furnishing

Chair for Kandinsky's Dessau Dining, and color treatment of his half of the three-story building, Kandinsky ad-
Room. 1926 hered to a certain extent to the aesthetic of the Bauhaus, and also asserted his
Wood, metal and black fabric own point of view. He and his wife utilized their antiques and traditional
Musee National d'Art
Collection
furniture, except in the dining room, where furniture designed by Breuer
Moderne, Centre Georges Pompidou,
Paris, Kandinsky Bequest was used (cat. nos. 167-169, 175). The table, with its cantilevered circular top,
(cat. no. 175) square base and tubular metal legs and stand, was a typical Breuer design, an
example of which was also used in Moholy's dining room. The chairs (see fig.

39), on the other hand, were unique and were designed following Kandinsky's
instructions. 113 Though awkward as chair designs, they are interesting for
no. Meyer's appointment began Apr. 1,

1927. Kandinsky's course began May their compositions comprised of the five circles of the round white-rimmed
16 of that year: Sers, pp. 370 ff.
black seats and the white disks atop the tubular legs. The black of the end
in. "And, Some Remarks on Synthetic
wall and the cabinet continues the black-white color scheme. The wall color
Art" ("Und, Einiges iiber synthetische
Kunst," ho, 1927), Lindsay/Vergo, II, was probably chosen as a setting for one of his own paintings: On White and
p. 715, note. I have given a more Three Sounds can be seen in surviving photographs of the room (for example,
literal translation here, however.
cat. nos. 167, 168); and black in fact was the background against which
112. Regarding the students' work see
Peter Hahn, "Zur Einfuhrung" and Kandinsky felt colors seem particularly vivid. Moreover, as he said to his
catalogue in Galleria del Levante, class, the black-white combination provided an effect of clarity and concise-
Munich, Junge Maler am Bauhaus, 114
exh. ness, which he believed expressed the modern spirit.
cat., 1979, n.p. Kandinsky's
remark was quoted by Grohmann in His use of different colors for different planes in the apartment interiors
"Art into Architecture: The Bauhaus
reflected the Bauhaus approach to the use of color in architecture, a point of
Ethos," Apollo, vol. bcxvi, Mar. 1962,
P-37- view to which he contributed while master of the Wall-Painting Workshop in
115
113. Nina Kandinsky, p. 119. Weimar. Alfred Arndt's Color Design for the Exterior of The Masters'
114. Sers, p. 327 (class of May 18, 1928). Houses, Dessau, 1926 (cat. no. 178), exemplifies the principle of distinguish-
115. 1have discussed the Bauhaus ap- ing the planes and elements of architectural exteriors in order to create a
proach to color in architecture in
Color Theories, chap. 4, and in High
three-dimensional composition. Under the influence of De Stijl and of the
Museum, Bauhaus Color, pp. 38-39. German architect Bruno Taut, this concept was put into practice by the

57
 Bauhaus Wall-Painting Workshop, but in the new buildings in Dessau it was
applied only in interiors. Gropius, like many of his contemporaries among
International Style architects, preferred the plastic unity created by all-white
exteriors. A design by the student Vladas Svipas and Kandinsky for the lat-

ter's studio in the Masters' House, apparently never executed, is a good ex-
ample of Bauhaus wall-painting: the walls and other features of the interior

are differentiated and yet interrelated by two shades of blue, several tones of
gray, and black and white (cat. no. 177). Kandinsky's living room was painted
according to his design. The walls were light pink, except for the short wall
behind the divan, which was ivory white, the doors were black, the ceiling,

gray, and a niche was covered with goldleaf. The softness and immateriality
of the pink contrasted with the coldness of the black and white of the ad-
jacent dining room. The gray contributed a lightness and the gold a sense of
weight. 116 Through these elements he wished to achieve a complex interre-
lationship of qualities similar to those in his paintings and ultimately deriving
from the synaesthetic effects of the colors.

Thus Kandinsky's primary goal in the color design of interiors was not
the formal articulation of the architecture nor the creation of spatial effects.
He wanted this design to produce an expressive and dematerializing effect
and to create thereby a synthetic work of art, the realization of which re-
mained one of his fundamental ideals. His concept of wall-painting was char-
acteristic of his response to the prevailing attitude at the Bauhaus. Rather
than embracing utilitarian or functionalist goals, he insisted on the validity
not only of teaching artistic principles but also of applying them to the
practical realm so as to transform it into a vehicle for aesthetic and expres-
sive aims. He also expressed this point of view in the way he analyzed utili-

tarian objects in class. For instance, he compared Breuer's tubular armchair,

Mies's Weissenhof armchair (cat. no. 305) and a traditional club armchair,
explaining that the older chair expressed the downward pull of gravity,
while the modern ones counteracted this feeling and achieved a sense of an
upward movement. The Mies chair especially had embodied this vertical

character for Kandinsky, transforming the "material" nature of the seated

position into an "abstract" quality. In this way he asserted his opposition to
the primacy of material, technical and social concerns during the period of
n6. Sers, p. 327, and Nina Kandinsky,
pp. 118-119. Meyer's directorship, when discussions of this sort were frequently intro-
117
117. Ibid., p. 332 (class of May 18, 1918). duced by Kandinsky in his classes.
Kandinsky's opposition to Meyer
eventually went beyond his advocat-
ing the precedence of artistic values Point and Line to Plane
over socially relevant practical ends.
He apparently played a part in the de-
Kandinsky's Bauhaus Book was his principal contribution to the realization
cision of the Dessau City Council to
dismiss Meyer as director on the of a "science of art," a goal he had long projected in his writings and which
grounds that he encouraged left-wing Gropius and others at the school sought as well. "Scientific" in the sense of
politics at the school: see Poling,
Kandinsky — Unterricht, p. 148, note
the German word Wissenschaft, which does not necessarily entail the strict

87. verification required in the natural sciences and can be applied to humanistic
118. Cf. Marcel Franciscono, "Paul Klee studies, this text is systematic in the logical, progressive development of its
in the Bauhaus: The Artist as Law- 118
giver," Arts Magazine, vol. lii,
material. Kandinsky's concepts were based on his own careful observations
Sept. 1977, pp. 122-127. and his readings in perceptual psychology and artistic theory from the nine-

58
 teenth and early twentieth centuries. As he did in his teaching, he included
in the book examples from the natural sciences and technology. The use of
scientific sources, of course, was intended to help insure the validity of the
principles for universal application. Further, Kandinsky wished to integrate
the various intellectual and artistic disciplines as called for in his concept of
119
synthesis. In carefully categorizing the formal elements and drawing on a
broad range of examples from the arts and sciences, as well as in its logical
sequence and tone of certainty, the book presents its material as basic laws
leading to a theory of composition. Kandinsky's role as the "artist as law-
giver" is the subject of Schlemmer's satire in the collage he made as part
of a spoof on his Bauhaus colleagues (cat. no. 179). 12 °
The basic progression from point to line to plane, which Klee also
presented in his Bauhaus Book Pedagogical Sketchbook (Padagogisches
Skizzenbuch), 1915, Kandinsky had outlined already in writings of 1919
and 1920. m It is rooted in the study of geometry and could, for example,
be found in one of the much-read Popular Scientific Lectures by the famous

119- See Kandinsky's chart in "And,

late nineteenth-century physiologist Hermann von Helmholtz, originally
Some Remarks on Synthetic Art," published in i876". 122 In discussing the axioms of geometry, Helmholtz had
Lindsay/Vergo, II, p. 709.
cited the propositions, "that a point in moving describes a line, and that a
120. Schlemmer's collage was part of his
humorous presentation
line inmoving describes a surface." 125 The suggestion of animation in such
9 Jahre
Bauhaus, at the party given on the statements must have appealed to Kandinsky and Klee. Indeed, energy,
occasion of Gropius's departure
movement and rhythm were qualities that Kandinsky believed enlivened the
from the Bauhaus: Karin von Maur
in Staatsgalerie Stuttgart, Klee und pictorial elements and thus determined the nature of artistic composition. A
Kandinsky Erinnerung an eine
,
central feature of Point and Line to Plane, accordingly, is the discussion of
Kiinstlerfrenndschaft, exh. cat.,
1979. PP- 88-90.
these forces. Kandinsky's sources for this conception of visual phenomena
121. "Little Articles on Big Questions: . .
lay in perceptual psychology, particularly the Munich psychologist Theodor
On Line," Lindsay/Vergo, I, pp. 424- Lipps's concept of kinetic empathy and his eye-movement theory of per-
425; and "Program for the Institute of
Artistic Culture," Lindsay/Vergo, I,
ception. Of was August Endell's application of Lipps's
further relevance
P- 459- ideas to artistic questions and his formulation of ideas of tension and tempo,
122. Marianne L. Teuber, "New Aspects which characterized lines and linear complexes. 124
of Paul Klee's Bauhaus Style"
in Des
Moines Arts Center, Paul Klee: Designed by Herbert Bayer, the book is illustrated with many diagrams
Paintings and Watercolors from the and drawings by Kandinsky and a number of photographs in addition to
Bauhaus Years, 1921-1931, exh. cat.,
illustrations taken from scientific publications. Even a small selection of the
1973. P- 9-
illustrations indicates the richness of his investigation of the basic elements
123. "Uber den Ursprung und die Bedeu-
tung der geometrischen Axiome," and their ramifications. For example, he noted that the point can have
Populdre wissenschaftlicbe Vortrage,
different shapes and sizes and can be multiplied and he illustrated the latter
Braunschweig, 1876, vol. Ill, pp. 21 ff;
reissue of original English translation phenomenon by examples from nature— a telescopic view of the "Nebula in
of 1881, "On and Signifi-
the Origin Hercules" and a microscopic enlargement of the "Formation of nitrite."
125
cance of Geometrical Axioms," Pop-
ular Scientific Lectures, New York, Utilizing his notion of the expressive resonance, or "inner sound," of visual
1962, p. 227, see also p. 225. elements, he wrote concerning groups of points:
124. Regarding the influence of Lipps and
Endell, see Marianne L. Teuber, "Blue
Night by Paul Klee" in Vision and Since a point is also in itself a complex unity (its size + its shape), it may
Artifact, Mary Henle, ed., New York, easily be imagined what a gale of sound develops as a result of still-
1976, p. 143; and Weiss, 1979, pp.
esp. pp. 36-37, 120, note 73.
further accumulation of points on the plane— even when such points are
34 ff,

125. Point and Line to Plane, Lindsay/

identical— and how this gale intensifies if, in the course of development,
Vergo, II, pp. 555-556, figs. 5, 6. points of differing, ever increasing dissimilarity in size and shape are
126. Ibid., p. 554. strewn upon the surface. 126

59
fig- 31 A number of the illustrations drawn by Kandinsky exemplify these ideas,
Vasily Kandinsky
including the figure "Centralized complex of free points" (cat. no. 181). This
Drawing for Point and Line to Plane,
"Curve — freely undulating." 1925
image shows the phenomenon of texture, which Kandinsky
in particular

Ink on paper maintained depended on three factors: the character of the surface, the na-
Collection Musee National d'Art ture of the implement, and "the manner of application, which may be loose,
Moderne, Centre Georges Pompidou, " 127
compact, stippled, spray-like, etc
Paris, Kandinsky Bequest
As his own art indicates, Kandinsky was interested in the variety of

fig- 3 2 types of lines, and he considered straight, angled, zigzag, curved and wavy
Vasily Kandinsky lines in his text, as well as their combinations and relationship to the picture
Drawing for Point and Line to Plane, plane. In some of the illustrations he included small arrows to indicate the
"Curve — freely undulating." 1925
multiple forces or tensions inherent in lines. 128 Regarding complex, "free"
Ink on paper
Collection Musee National d'Art
curves,which had an important role in his paintings, Kandinsky wrote about
Moderne, Centre Georges Pompidou, the uneven alternating forces that generated their forms. In his examples of
Kandinsky Bequest
Paris,
freely undulating curves, variations are created by thickening the line, pro-
ducing the effect of emphasis or stress (figs. 31-33).

Kandinsky treated the "Picture Plane" in the third section of the book,
briefly discussing illusions of three-dimensionality and devoting much of his
attention to the varying nature of the different parts of the picture plane or
surface. As mentioned above, he believed that the four quadrants of the
picture were different in their inherent weight and that the four sides pos-
129
sessed varying degrees of resistance (fig. 34). The diagonal axes of the
picture, therefore, have distinct characteristics. The plates illustrating groups
of points are good examples of these qualities. All three emphasize the "un-
harmonic" or "dramatic" diagonal, from lower right to upper left, but also
indicate the opposing "harmonic" or "lyrical" diagonal (cat. nos. 183-185).
He also considered qualities of weight and space: the sense of gravity and
nearness of the lower part and the right side, versus the lightness and distance
127. Ibid., pp. 566-568, and fig. 12.
of the upper and left parts of the picture plane. Kandinsky's feeling that the
128. Ibid., pp. 597-598, figs. and
34, 35, placement of "heavy weight" in the light area increases
a its tension is illus-
pp. 602-604, figs- 39-42.
129. Ibid., p. 646,
trated by the plate "Point: 9 Ascending points" (Drawing No. 1), where the
fig. 77, and pp. 651-652
figs. 82-84. largest dot is in the upper left (cat. no. 185). These drawings, of course, illu-

60
 minate Kandinsky's paintings with points and circles, as well as recall the
fig- 33
Vasily Kandinsky influential works of Rodchenko. The range of expression made possible by
Drawing for Point and Line to Plane, the different groupings, placements and densities of the points is indicated
"Spontaneous emphasis within a free
by the titles of the plates, which are in addition to "Point: 9 Ascending points,"
curve." 1915
"Cool tension toward center" and "Progressive dissolution."
Ink on paper
Collection Musee National d'Art
Moderne, Centre Georges Pompidou,
Paris, Kandinsky Bequest
Kandinsky's Art, 1926-1927

fig-
Many of the works from the period following the completion of Point and
34
Vasily Kandinsky Line to Plane take as their theme the expressive contrast or consonance of the
Drawing for Point and Line to Plane, elements discussed in the book. Examples include Tension in Red and Calm
"Varying resistance of the four sides of 1926 and Line-Spot and Hard but both 1927 (cat. nos.
Soft, 192, 295, 194,
of a square." 1925
Ink on paper
195). The relationship of angular and curved forms, both simple and complex
Collection Musee National d'Art in shape, dominates these images, even where one aspect of the polarity pre-
Moderne, Centre Georges Pompidou, vails. Among the most important pictures of the first years in Dessau are
Paris, Kandinsky Bequest
those in which the circle is the principal or the sole motif. 130 The largest and
probably the finest of these is Several Circles (cat. no. 188); this and its smaller
preliminary version were the first paintings of 1926 and thus of the Dessau
period. 131 This planetary image synthesizes elements of the preceding works
concerned with this motif: the large circle drawing together smaller ones
in Circles in a Circle (cat. no. 150); the diagonal movement and place-

Grohmann, ment of a large circle toward the upper left in both Draiving No. 1, 1923
130. 1958, pp. 204 ff; Ruden-
stine, Costakis Collection, pp. 313 ff. (cat. no. 151), and Drawing No. 1, 1925; the "cool" horizontal sequence of
131. Sketch for Several Circles (Entwitrf circles in "Cool tension toward center"; and the counter-diagonal moving
zu Einige Kreise, HL 312), Collection
toward the upper right in several of the drawings. These groupings and
New Orleans Museum of Art, Gift of
Mrs. Edgar B. Stern. diagonals create effects not only of ascent but also of both coalescence and

61
 forms against a modulated background of dark grays
dispersal. Placing the
and black provides an atmospheric quality and the association of a night
sky. In this context the colors glow and assume varying positions in an illu-

sionary space, depending on their brightness, chromatic temperature, size

and position. Kandinsky described these phenomena in Point and Line to

Plane as the "annihilation" of the picture plane, whereby "the elements

'hover' in space, although it has no precise limits (especially as regards
depth)":

the way the formal elements advance and recede extends the picture plane
forward (toward the spectator) and backward into depth (away from
the spectator) so that the picture plane is pulled in both directions like
an accordion. Color elements possess this power in extreme measure} 12

Accent in Pink, 1926 (cat. no. 190), was the next picture but one executed
after Several Circles and, though smaller, is in many ways an interesting
companion to it. It belongs to the group of works in which the circle pre-
dominates but other forms appear, and this painting includes squares and a
warped diamond-shape that functions in a manner similar to that of the
quadrilateral fields first used in the Russian pictures. Quite different effects

must have been intended two paintings from early 1926. For
in these
Kandinsky in Several Circles the dominant blue circle, reinforced by the
use of a large amount of black and the square format, would have signified
coolness and repose; whereas in Accent in Pink the pink circle, dark yellow
diamond-shape and vertical format would have connoted warmth and activ-
ity, effects were mitigated by cooler, somber elements. The axes
though these
of thetwo paintings are also different: in Several Circles the dominant move-
ment is toward the top left. In Accent in Pink, however, though the larger
number of circles gravitates toward the upper left, the major compositional
direction is determined by the pink circle moving toward the upper right; this
movement creates a "harmonic" or "lyric" diagonal, which, according to
Kandinsky produces a feeling of nearness in contrast to the sense of dis-
tance in the larger work. 133
Finally, Accent in Pink exhibits key features of Kandinsky's color theory.
For example, he demonstrates his proposition that violet and blue are the
two major color oppositions for yellow by contrasting the yellow diamond
with the dark violet corners which contain a good deal of blue. The com-
positional use of color polarities contributes to the complex equilibrium
created here: near the center are focal contrasts of black and white, while
complementary oppositions of green and red or pink balance the lower and
upper parts of the picture. The resonant color and cosmic reference provided
by the image of the circle in Several Circles and Accent in Pink as well as the
variety of abstract imagery in subsequent paintings— as exemplified by the
angular forms and vivid hues of Tension in Red (cat. no. 192) or the lively
complexity of Sharp Hardness (cat. no. 193)— show that the broad range and
131. Lindsay/Vergo, II, p. 648. richness Kandinsky had developed in his works of 1924 and 1925 continued

133. Ibid., p. 641. to characterize the paintings of the early Dessau years.

62
 Color Theory

The student exercises done for Kandinsky's courses are the largest group of
such material that survives from the Bauhaus. Well over two hundred of
these works have been collected by the Bauhaus-Archiv in West Berlin. Al-
most all are color studies or analytical drawings, but there are a number of
free studies and paintings as well; virtually all are from the Dessau period.
The color exercises especially indicate the systematic nature of Kandinsky's
teaching. Kandinsky assigned an elaborate set of exercises so that his stu-

dents would become directly involved with color phenomena and principles,
rather than merely attending a series of theoretical lectures. Participatory
education of this sort was central to the Bauhaus program. Students benefited
not only from executing the studies but also from the discussion of their
works in class. The exercises were regularly shown in exhibitions of the

Preliminary Course, and moreover, a group of them were included in at least

one public exhibition, 10 Jahre Bauhaus, 1920 bis 1930, which opened in
154
Dessau at the beginning of 1930 and traveled to Essen and other cities.

This probably accounts for the careful construction and execution and ex-
plicit labeling of many of the examples from 1929-30 by students such as
Eugen Batz, Friedly Kessinger-Petitpierre, Karl Klode, Hans Thiemann and
Bella Ullmann-Broner. In general the surviving exercises are well executed
and effective demonstrations of the visual phenomena and artistic principles

involved. Their qualities of clarity and logical presentation are ultimately

derived from the charts and diagrams used in scientific and theoretical
sources. However, the forcefulness and scale of many of the works, the in-
ventiveness and subtlety of others, and certain of the formats, such as those
based on the grid, clearly show that they are products of a school of modern
design.
The majority of the color studies concerns four major subjects: color
systems and sequences, the correspondence of color and form, color inter-
relationships and color and space. Kandinsky frequently used the principles
involved in these categories works from the Bauhaus years. A program-
in his

matic statement of this sort is the major painting from the months preceding
the move to Dessau, Yellow-Red-Blue, 1925 (cat. no. 196). This work em-
bodies the systematic ordering of colors by the color circles and gradation
sequences Kandinsky taught in his classes. More than his fellow Bauhaus
masters Itten and Klee, who also taught color theory, Kandinsky placed
great emphasis on the three primary colors and black and white. Though
this emphasis arose largely because of his interest in the basic elements and
their role in his correspondence theory, it also reflects Kandinsky's adherence

to Goethe's color theory, to which he referred often in his teaching notes.

The sequence in Yellow-Red-Blue, in the charts Kandinsky used in Point
and Line to Plane and in class assignments places yellow and blue at oppo-
site poles. Yellow and blue for Goethe formed the elemental opposition,
134. Clippings of reviews of this exhibition
are in the Albers Scrapbook at the which he called the plus-minus polarity, and this concept was adopted by
Busch-Reisinger Museum, Harvard Kandinsky in his synaesthetic view of these hues. He quoted Goethe on this
University, Cambridge, Massachu-
setts, P/A1/7. polarity: yellow "is the color nearest the light. It . . . always carries with it

63
 the nature of brightness ."; while blue "always brings something of dark-
. .

ness with it . .
." and provides "a feeling of cold, shade." 135 The areas of . . .

white near the yellow rectangle at the left of the painting and the prominent
black forms on the right near the blue circle represent these affinities, which
are shown clearly in the color gradation charts.
For Goethe red was the bridge between the poles and originates from
them by the principle of "increase," which he called the "primal phenom-
enon." He based this concept on his observations of the effects of turbid

media, such as the atmosphere. When light is seen through such a semi-
transparent medium, it appears yellow or orange or even red as the medium
becomes denser, a phenomenon exemplified by sunsets. The blue or lavender
appearance of distant mountains demonstrates the opposite effect, when
darkness is seen through the turbid medium, which itself is illuminated.
From both poles, therefore, there is a tendency toward red, through yellow
and orange on the one hand, and through blue and violet on the other. Thus
red was conceived as the union of the opposites. 136 In Yellow-Red-Blue,
orange forms near the yellow, red in the center and violet overlapping the red

and blue forms create this sequence, which is also found in student exercises
(see cat. no. 199). The progression is not merely a basic way of ordering
colors but an abstract embodiment of elemental opposition and mediation.
In the assignments done by the students and the diagrams in Point and
Line to Plane, the color sequences show gradations of lightness value and
chromatic temperature, from light and warm to dark and cool. They also,

therefore, represent the spatial progression, as indicated by the stepped color-

scale and its designation as "a slow, natural slide from top to bottom" 137 (see
cat. no. 198). Ascent and descent, advancing and receding movements are
correlated in the color scales, which thus incorporate a number of the major
principles of Kandinsky's color theory. Other sequences include the second-
ary colors orange and violet and two hues of red, warm and cool, to show
itswide range (see cat. no. 199). In addition, some studies show the place-
ment of green parallel to red in its position in the value and temperature

135- Sers, p. 198;Johann Wolfgang von

gradation (see cat. no. zoo). Many of Kandinsky's paintings utilize these
Goethe, Zur Farbenlehre, "Didak- sequences, either in complete or partial form, and sometimes in broken or
tischer Teil," originally published
transposed versions. Fxamples are seen in Into the Dark, 1928, and Cool
1810; Kandinsky quoted phrases
from paragraphs 765-766, 778, 781- Condensation, 1930 (cat. nos. 217, 201).
782. (The division of Goethe's treatise Color circles also demonstrate the fundamental order of the hues. Kan-
into numbered paragraphs makes it
possible to consult any available edi- dinsky used two types in his teaching, the traditional six-part circle and
tion using the designated numbers.) the more unusual four-part diagram (fig. 35). The first of these presents the
136. Goethe, paragraph 794; quoted by familiar placement of the secondary colors between the primaries so that
Kandinsky, Sers, p. 119, see also
p. 219; Goethe discussed "increase" the complementary pairs lie on the diameters, showing their opposition:
(Steigerung), paragraphs 517 ff. yellow-violet, orange-blue and red-green (cat. The four-part circle
no. 197).
137. Lindsay/Vergo, II, pp. 579-580. was derived from the concepts of the psychologist Ewald Hering and shows
138. Ewald Hering, Grundziige der Lehre the oppositions yellow-blue and red-green. 138 Based on his theory that these
vom Lichtsinne, Berlin, 1910; "Die
Reihe der Farbtone, pp. 40 ff English;
four hues are the primary chromatic sensations, this pairing corroborated
translation, Outlines of a Theory of Goethe's concept of the yellow-blue polarity and thus must have appealed to
the Light Sense, Cambridge, Massa-
Kandinsky. In Yellow-Red-Blue he seems to have intended a reconciliation of
chusetts, 1964, "The Series of Color
Hues," pp. 41 ff. the two complementaries of yellow, for while blue and yellow are paired

64
 here, violet borders the left side and part of the bottom of the picture, the
domain of yellow.
Kandinsky expanded the theory of correspondences to include inter-
mediary hues and shapes as he had suggested in his Inkhuk Program. 139 He
asked his students to choose geometric forms, sometimes composite ones,
that could accord with the secondary colors (cat. no. 203). In Point and Line
to Plane Kandinsky elaborated this theory by correlating the color scale to a
sequence from obtuse to acute angles, so that blue and violet correspond to
obtuse angles, red to the right angle, and orange and yellow to acute angles
14 °
(see cat. no. 204). Student exercises apply this general scheme to the vary-
ing bends of a complex curve (cat. nos. 206, 207). In his own paintings Kan-
dinsky only occasionally employed the prescribed combinations of colors
and forms in a systematic way. Composition 8 (cat. no. 147) provides some
examples of these combinations in the large angles, which are colored blue
and warm pink, and in some of the circles and triangles. In fact, he readily
accepted deviant combinations, for he believed that "the incompatibility of
a form and a color" can offer "new possibilities and thus also harmony." 141
Nevertheless, a few paintings from the beginning of the Dessau period em-
body the correspondence theory quite directly. Three Sotinds, 1926 (cat. no.
202), presents parallel sequences of color and shapes in its triad of triangles:
the acute triangle is yellow, the equilateral one, red, and the more open one
with a curved side is blue. Tension in Red and Calm, both 1926 (cat. nos.
192, 295), follow the general outlines of the theory to achieve their overall
expressive effects and contrast in their relationships of color and forms as
indicated by the titles. The active intensity of the first is created by the angu-
lar forms and warm red pentagonal ground plane, with contrast provided
by the predominantly blue and greenish blue circular forms. The repose con-
veyed by Calm derives from the dominant blue circles and use of blue in

fig- 35 the generally gray background and also from other curving forms and dark,
Hans Thiemann cool colors.
Color Scales and Color Circles, ca. 1930
Color interrelationships were central to Kandinsky's concept of pictorial
Tempera, collage and typewritten texts
on board art and of the compositional process. In order to study their effects, he used

Collection Bauhaus-Archiv, Berlin a variety of geometric formats, including the square-in-square and grid ar-

rangements first introduced at the Bauhaus in Itten's Preliminary Course.

Occasionally Kandinsky's own works resemble color studies, specifically
those in which he places simple shapes of different hues against uniform
backgrounds in order to focus on the character of the individual colors and
the subtle phenomena of chromatic interactions (cat. nos. 208, 209). The more
complex geometric works of the late Dessau and Berlin years, epitomized
by Balance Pink of 1933 (cat. no. 311), show interrelationships by repeating
shapes of the same hue in different groupings, sizes and proportions on vari-
ous backgrounds. Alterations in the appearance of colors are caused by simul-
taneous contrast, a phenomenon whereby a color shifts toward the opposite
139. Lindsay/Vergo, I, p. 461.
or complementary of its neighbor in terms of both value and hue. For ex-
140. Ibid., II, pp. 588 ft.
ample, red may appear lighter and warmer when juxtaposed to blue, that is,
141. On the Spiritual in Art, Lindsay/
Vergo, I, p. 163. 1 have translated the
closer to blue's complementary, orange. The color contrast studies in the
phrases more literally. square-in-square format demonstrate these effects by switching the super-

65
 imposed and background colors (cat. no. 211). Student exercises on this

theme must have strongly influenced Albers in his approach to the teaching
of color, which he developed later, after he emigrated to the United States.
In fact, the notion of the "relativity" of color and form that was central to
Albers's art and pedagogy had been clearly articulated by Kandinsky at
various stages of his career. Kandinsky returned to this aspect of the nature
of artistic elements in 1939, stating, " 'Absolute' means do not exist in paint-
ing; its means are relative only. ... It is from relativity that the unlimited
142
means and inexhaustible richness of painting arise." This attitude led him
to conceive the organizing of a pictorial composition as a complex process of
adjusting the multiple interrelationships of the visual elements, which he
called "living things." 143
One of Kandinsky's class assignments specifically concerned principles
for the compositional use of color. This exercise utilized a format based on a
nine-square grid that was further subdivided into additional rectangles or
squares. 144 The caption and diagram incorporated into the example by Thie-
mann indicate the concepts the students were asked to examine: Accenting
the Center; Balance, Above and Below (cat. no. 213). The black-white con-
trast in the center creates a focal emphasis, while the opposing or comple-
mentary colors in the upper and lower parts of the design relate to each
other visually across the surface and create equilibrium by completing each
other. As already mentioned, Accent in Fink embodies principles of the pic-
torial usage of contrasts, as does Yellow-Red-Blue in its left-right disposi-

tion of the yellow-blue polarity and its juxtaposition of opposites as accents.

The investigation of the phenomena of contrast in a number of the assign-
ments indicates their importance to Kandinsky. He valued these phenomena
for both their visual liveliness and expressive effect and, indeed, he con-
them to be crucial
sidered for modern painting and to supercede traditional
harmony in significance.
As preceding discussions of individual paintings indicate, the creation of
spatial effects was another kind of chromatic interrelationship that inter-
ested Kandinsky. Two watercolors exemplify the principles involved: the
contrast of warm and cool colors in Unstable, 1924 (cat. no. 216), shown in

its yellow and blue circles and use of orange and violet; and the sequence
of hues from warm to cool in Into the Dark, 1928 (cat. no. 217). This sequence
is demonstrated in the latter work in the progression from yellow and rose
in the lower area through violet in the middle to the cooler green and dark
blue toward the top. The movement into depth resulting from this progres-

sion is counteracted by the repetition of a set of triangular shapes that does

i4i- "The Value of a Concrete Work"
(XX Steele, 1939; English edition
e not decrease in size. Thus spatial ambiguity is created by the contradiction
XXth Century, 1939), Lindsay/Vergo of chromatic perspective by the relative flatness of the graphic element. Light-
II, p. 8x3. 1 have used the more literal
ness value as well as temperature participates in the production of chromatic
equivalent of relativite, the word that
appears in the French version, which effects, as seen in the color scales Kandinsky assigned as exercises. This is
Kandinsky himself wrote.
shown in the studies using concentric circles, where a tunnel-like illusion
143. "Reflections on Abstract Art," Lind-
involves recession from the white outer band through yellow, red and blue
say/Vergo, II, p. 758.
to the central black circle (see cat. no. 219). Other exercises investigate the
144. Sers, pp. 182, 271 (class of Feb. 1,

1926), 282 (class of July 13, 1927). yellow-blue contrast as the chief polarity in both temperature and value and

66
 thus the most active spatially. The caption for Thiemann's study (cat. no. zi8)
explains the effects:

Yellow forms on a blue ground and blue forms on a yellow ground ....
The yellow forms step forward, appear larger {eccentric) , whereas the
blue seems to lie behind the actual ground plane. In the second instance,
the yellow seems to lie in front of the actual ground; the blue forms stcl>

back and appear smaller.

Changes in size as well as spatial position occur due to the phenomenon

known as irradiation, whereby a bright object seems to expand beyond its

boundaries into the surrounding field. From sources such as Goethe and
145
von Helmholtz, this was well known as a perceptual effect. The eccentric
movement of colors Kandinsky discussed can be explained by irradiation,

and other writers he knew— the psychologist Lipps and the proponent of
chromotherapy A. Osborne Eaves— had elaborated on the concentric as well
146
as eccentric movement in colors. This aspect of Kandinsky's color theory,
therefore, shows the range of materials he had absorbed and adapted, a range
that extended from Goethe and perceptual psychology to occult science.
Kandinsky was well aware that the interrelationships of shape, size,

placement, and the exact hue and shade of the colors often prevent the
normative spatial effects from occurring in paintings. His interest in such
complexities is reflected in his assignments concerning the reversal of the

"natural" spatial effects of colors, in which, for instance, yellow may be

147
placed behind blue (see cat. no. 221). In certain exercises, the shapes, col-
145- Goethe, paragraphs 16, 88, 90, 91 and ored according to the correspondence theory, overlap each other causing am-
pi.Ha; Helmholtz, "Optisches iiber
biguous spatial readings: it is unclear which plane lies in front of which, and
Malerei," Populare wissenschaftliche
Vortrdge, pp. 85-87; English transla- some appear to be fused on the same level (see cat. no. 220). That Kandinsky
tion "On the Relation of Optics to
stressed the multiple and contradictory spatial effects created by colors and
Painting," Popular Scientific Lectures,
pp. 175-277; see Poling, Kandinsky — forms is attested to by the recollection of a painting student, who commented
Unterricbt, p. 53 and notes 39, 40. on his class:
146. Ibid., p. 54 and notes 41, 42, citing
Teuber, "Blue Night by Paul Klee," He has brought along a great variety of rectangles, squares, disks, and
p. 143, and Sixten Ringbom, The
triangles in various colors, which he holds in front of us to test and to
Sounding Cosmos, Abo, Finland,
J 97°)
PP- 86-87 an d fig. 23.
build our visual perception. In one combination, for instance, yellow is

147. Sers, p. 232 (end of 1929-30 semester). in front of blue in back. If I add what happens then? Etc. etc.
this black,
In formal design some of the exercises For the painter this is a never-tiring game, magic, and even torture, when
strongly resemble Kliun's Suprem-
atism: 3 Color Composition, ca. 1917 one, for instance, "cannot get something to the front." 148
(fig. n), and Udaltsova's Untitled,
ca. 1918-20 (cat. no. 59) These formal and chromatic interactions are among the "contrapuntal" ef-
149
148. Ursula Diederich Schuh, "In Kandin- fects Kandinsky valued in painting.
sky'sClassroom" in Eckhard Neu-
mann, ed., Bauhaus and Bauhaus
People, New York, 1970, pp. 161-162. Analytical Drawing and Free Studies
Painted paper shapes used by Kandin-
sky in his teaching have survived in
While Kandinsky's teaching of color theory as well as his analysis of form
the collection of Philippe Sers and in
theKandinsky Bequest at the Musee in Point and Line to Plane primarily concerned the elements and the visual
National d'Art Moderne, Centre and grouping,
effects produced through their juxtaposition in analytical
Georges Pompidou, Paris.
drawing he emphasized structural principles that could be applied to pic-
149. On the Spiritual in Art, Lindsay/
Vergo, I, pp. 171,195. torial composition. More complex and systematic in approach than the

67
 examples from the Weimar period (see figs. 20-23), the analytical drawings
from 1926 and after involve a three-stage process of simplification, analysis
and transformation of the formal characteristics and construction of the still-
life arrangements set up by the class. The general purposes of the enterprise
were explained by Kandinsky:

The teaching of drawing at the Bauhaus is an education in looking, pre-

cise observation, and the precise representation not of the external

appearance of an object, but of constructive elements, the laws that
govern the forces ( = tensions) that can be discovered in given objects,
and of their logical construction. 1 ™

In the first stage of the process the essential forms of the individual parts
of the subject were perceived and subordinated to a precisely depicted "sim-
ple over-all form." The drawings of this stage, accordingly, are highly sim-
plified renderings of the still-life setup in which the objects are usually
identifiable (cat. nos. 222, 223). Executed with line alone, the representations

emphasize geometric shapes and convey little or no sense of depth, so as to

maintain their clarity. Many of the studies include a small cypher-like di-
agram that interprets "the whole construction by means of the most concise
151
possible schema," as Kandinsky instructed. Often this graphic abbreviation
stresses the horizontal, vertical and diagonal orientation of the forms and
how these axes interrelate. Such summarizing devices are like more geometric
versions of the diagrammatic sketches Kandinsky made for the basic com-
positional relationships of paintings from the late Munich years and also
resemble some of the simplified diagrams Itten used in his analyses of old-

master paintings. This reduction to essentials prepared the way for the sec-
ond stage. Here, in a procedure that was central to the analysis, a structural
network was perceived in the arrangement of the forms. 152 Through lines of

varying color or thickness and sometimes dotted lines, the principal and
secondary tensions were indicated and the major contours and the axes of the
forms were emphasized. Charlotte Voepel-Neujahr's drawing based on a cir-

cular grindstone in its stand exemplifies this phase of the analysis (cat. no.
226).By winter 1929-30 the students began to employ tracing-paper overlays
to show the different stages. An example of the use of overlays is provided by
Thiemann's drawing, where different colored inks clarify the distinctions (cat.
150. "Analytical Drawing" ("Analytisches
Zeichnen," Bauhcius, 1918), Lindsay/ no. 224). On the base sheet is a first-stage representation in blue ink of an
Vergo, II, p. 729. arrangement that includes a three-legged stool, which is circumscribed by a
151. Ibid., p. 728. triangle drawn in green, indicating the "principal tension" identified in the
152. Itten also used geometric networks caption. This, a second-stage element, is elaborated on the overlay by the
in his analyses of old masters, and
Kandinsky used diagrams of earlier complex network of red ink-lines projected from and interconnecting the
paintings in his classes. Itten's teacher parts of the still life. These represent the "secondary tensions" generated in
Holzel influenced these practices; see
— Unterricht, pp. part from what Kandinsky called the "focal points" of the construction. 153
Poling, Kandinsky
128-129 and notes 44, 45. Regarding Freer and more abstract translations of the tensions and structural rela-
Holzel's early relevance to Kandinsky,
tions found in the still lifes were presented in the third stage of the analysis.
see Weiss, 1979, pp. 40 ff.
Here, the objects were "completely transformed into tensions between
153. "Analytical Drawing," Lindsay/
Vergo, II, p. 729. forces," rendered by complexes of lines, and sometimes, as in the second
154. Ibid., p. 727. stage, the intrinsic "larger structure is made visible by . . . dotted lines." 154

68
 In the developed exercises of about 1930, the top or third overlay often
shows a highly simplified diagram that is like an enlarged version of a
schema but emphasizes dramatic movement. The dynamic red S-curve with
diagonal spiked ends in Bella Ullmann-Broner's drawing based on a bicycle
(cat. no. 225) shows the degree to which these studies convey a sense of their
subject's overall form and inherent energy. The expressive character of such
drawings may be traced to Itten's rhythm studies and aspects of his old-master
analyses, as well as to the impulsive equality of Kandinsky's early composi-
tional diagrams. They also reveal the influence of the theories of energy in
visual forms articulated by Lipps and Endell. In the mid-twenties Kandinsky
produced simplified drawings comparable to the third-stage schemata: these
were analyses, based on photographs, of the movements of the modern
dancer Gret Palucca that translated the key contours and axes of the body
into dramatic lines (cat. no. 320, see p. 266).
Because they are highly abstract, the third-stage analytical drawings
could readily serve as the basis of pictorial compositions. Their clear struc-
ture, sense of overall form and division into primary and secondary axes and
areas could be pictorialized by the addition of color (see cat. no. 229). Indeed,
Kandinsky encouraged the use of the principles of analytical drawing in his

painting classes. 155 This derivation is apparent in paintings of quite different

styles executed for the class, such as Hermann Roseler's geometricized still

lifes (see cat. no. 232), and Karl Klode's canvas (featuring an abstract image
that resembles a schemata and floats in front of a shallow, shelf-like space
[cat. no. 233]). Kandinsky's ultimate goal in teaching analytical drawing was
to impart basic structural laws that could be applied in pictorial composition:
fig. 36 principles of equilibrium, parallel construction and the use of major con-
Vasily Kandinsky trasts. In applying these principles, the graphic features of the analytical
Fixed Points. 1929
drawings could be utilized: the large, overall form, the horizontal, vertical
Oil on board
and diagonal axes and the geometric networks with their nodal or focal
Present whereabouts unknown
points. 156 In Kandinsky's own art the character of the analytical drawings
is discernible not only in the schematic quality of many of the early Bauhaus
works, but more explicitly in paintings such as Black Triangle of 1925 (cat.
no. 159) and Fixed Points of 1929 (fig. 36). Images of geometric structures and
abstract figures, discussed below, often reflect the networks and schemata of
the drawings. Thus, as his color theory was reflected in his painting, so there

was a reciprocal relationship between Kandinsky's teaching of analytical

drawing and his painting.

'Pictures at an Exhibition" and the Bauhaus Theater

Theater was for Kandinsky the ultimate synthetic art, ideally uniting the
visual arts, music, dance and literature. Since his Munich years he had held
155. Sers, p. 374 (winter semester 1917-28)

156. Ibid., pp. 162 (Sept. 27, 1926), 271

this view, which was derived from the Romantics and Richard Wagner, and
(Feb. 1, 1926). in that early period he had written several works for the stage, including The
157. "Uber Buhnenkomposition" and Der Yellow Sound, as well as the essay "On Stage Composition" for the Blaue
Gelbe Klang, Der Blaue Reiter, Mu- 157
Reiter almanac. However, he had no direct involvement with the Bauhaus
nich, 1912, Lindsay/Vergo, I, pp.
157-165, 267-283. Stage, which was directed by Schlemmer. In the publications of the school,

69
 on the other hand, Kandinsky presented his ideas concerning theater. His
article "Abstract Synthesis on the Stage" appeared in the book published for
the 1923 Bauhaus Ausstellung and a portion of his stage play Violet was
included in the Bauhaus journal in 192.7. 158 This work, originally written in
1914, was announced as a forthcoming publication in the series of Bauhaus
159
Books, though it never appeared. Then, in 1928 the manager of the
Friedrich-Theater in Dessau, Georg von Hartmann, invited Kandinsky to
design a staged production of Modest Mussorgsky's Pictures at an Exhibition.
This was the only time in his career that he was able to realize his dream
of creating a synthetic stage work.
The development of a modern, non-narrative performance art by the
Bauhaus Stage offered much that Kandinsky must have appreciated and
much that influenced him. In 1922 and 1923 Schlemmer introduced elements
158. "Uber die abstrakte Biihnensynthese," that contributed to the abstract, antinaturalistic character of the new theater:
Staatliches Bauhaus Weimar, 1919- costumes made up of geometric components that often obscured parts of the
193}, Lindsay/Vergo, II, pp. 504-507;
"Aus romantisches Biihnen-
'Violett,' body, mechanical props and the use of colored settings to create expressive
stiick von Kandinsky," Bauhaus, 160
effects. (Colored settings had been envisioned much earlier by Kandinsky
1927, Lindsay/Vergo, II, pp. 719-721.
for The Yellow Sound. 161 Schlemmer's Triadic Ballet (see cat.
) no. 241), as
159. Prospectus for the Bauhaus Books,
1927, in Wingler, p. 130.
he described it in The Theater of the Bauhaus, consisted of:
160. Schlemmer reported that Kandinsky
. . . three parts which form a structure of stylized dance scenes, develop-
not only supported his work with the
Bauhaus Stage but felt that Schlem- ingfrom the humorous to the serious. The first is a gay burlesque with
mer had realized many of his own lemon-yellow drop curtains. The second, ceremonious and solemn, is on
ideas for theater: letter of Sept. 8,

1929, to Otto Meyer in The Letters a rose-colored stage. And the third is a mystical fantasy on a black
and Diaries of Oskar Schlemmer, Tut stage} 62
Schlemmer, ed., Middletown, Con-
necticut, 1972, p. 248.
The abstract and mechanical props and devices as well as the staging tech-
161. Weiss, 1979, chap. IX, has shown the
niques used in the Bauhaus theater undoubtedly gave Kandinsky ideas for
early influence of the Miinchner
Kunstlert heater (Munich Artists' his production. Students made significant contributions to the development
Theater), with its innovative use of of experimental theatrical practices. An example is the Mechanical Ballet
colored light, on Kandinsky's ideas
concerning abstract theater and in devised by students and performed in 1923 in which abstract figures assem-
particular his conception of The bled from geometric cutouts were carried across the stage by concealed
Yellow Sound.
dancers. 163 Working independently, beginning in 1922, Ludwig Hirschfeld-
162. Oskar Schlemmer, Die Biihne im
ed.,
Bauhaus, Bauhausbiicher 4, Munich, Mack developed abstract light-play compositions that featured moving col-
1925. Essays by Farkas Molnar, Laszlo ored lights projected through templates onto a screen accompanied by music.
Moholy-Nagy and Schlemmer; Eng-
lish translation, Walter Gropius, ed.,
On one occasion, in early 1925, a performance by Hirschfeld-Mack directly
The Theater of the Bauhaus. Middle- followed a lecture by Kandinsky on "The Synthetic Idea of the Bauhaus," as
town, Connecticut, 1961, p. 34. Such 164
though to illustrate it. Andrew Weininger's abstract mechanical stage pieces
expressive use of color would have
accounted in part for Kandinsky's from about 1926 and 1927 (cat. nos. 243-245) are especially relevant to Kan-
belief that his own ideas were realized dinsky. Most noteworthy are Weininger's colored stage wings and suspended
in Schlemmer's work.
colored strips that moved vertically, horizontally, forward and back, or ro-
163. This was staged during Bauhauswoche
as part of the activities in the opening tated. These elements created a stage environment like a constantly changing
days of the large Bauhaus Ausstellung three-dimensional abstract painting.
of 1923 and was created by Kurt
Schmidt with other students: Wingler,
Kandinsky's design for the production of Pictures at an Exhibition was
pp. 366-367. an ambitious one that made the visual performance equal to the music and
164. Ludwig Hirschfeld-Mack, Farben- at the same time responded to the changes in musical tempo and mood. He
Wesen, Ziele,
lichtspiele, Kritiken,
divided the score into sixteen scenes, including the introductory and inter-
Weimar, 1925, pp. 12-22; see also
Wingler, pp. 370-371. mediary Promenade sections as well as the ten Pictures. For these he designed

70
 '
Up

fig- 37
Vasily Kandinsky
Drawing for Scenes I, 111 and XVI of
Mussorgsky's "Pictures at an
Exhibition." 1928
Ink and pencil on paper
Collection Musee National d'Art
Moderne, Centre Georges Pompidou,
Paris, Kandinsky Bequest

fig. 38
Vasily Kandinsky
Drawing for Scenes V and XI of Mussorg- backdrops, props that were suspended or moved across the stage, costumes
sky's "Pictures at an Exhibition." 1918 for one of the scenes and lighting. Abstract shapes predominated in the
Ink and pencil on paper
images but representational elements also played an important role, for ex-
Collection Musee National d'Art
Moderne, Centre Georges Pompidou, ample, in The Marketplace Limoges and The Great Gate of Kiev (cat. nos.
in
Paris, Kandinsky Bequest 235, 239). In other scenes abstract elements produced architectural associa-
tions, as in Kandinsky's paintings of this period. Kandinsky asserted, how-
ever, that except for the two scenes in which dancers appeared, "the entire
setting was 'abstract.' " His use of quotation marks suggests a reference to
"the abstract stage," indicating the kind of production in which the stage
elements themselves create the non-narrative performance, as in a number of
Bauhaus theatrical works. In addition, he explained, the scenes he created
were not strictly "programmatic"; they were like his characterization of the

music, which did not "depict" the original pictures but rendered Mussorgsky's
impressions in "purely musical form." Kandinsky declared that he "used
forms that swam before [his] eyes on listening to the music," rather than
attempting to illustrate the music in an exact way. 165
165. "Pictures at an Exhibition" ("Modest
Mussorgsky: 'Bilder einer Ausstel- As production assistant for the theater, Paul Klee's son Felix helped
lung,' " Das Kunstblatt, 1930),
Kandinsky and made an annotated copy of the musical score. This fascinat-
Lindsay/Vergo, II, p. 750. Another
source concerning the performance is ing document records the cues for the lighting and the movement of the
Ludwig Grote, "Buhnenkomposition backdrops and props and thus reveals that the static images in the water-
von Kandinsky," iio: Internationale
Revue, vol. no. 13, 192.8, pp. 4-5,
II, color designs were actually made up of separate elements that moved dur-
which includes a reproduction of a ing the performance. 166 The simplest scenes were four of the Promenade
photograph showing the two dancers
flanking the backdrop in The Market-
sections, in two of which a disk measuring two meters in diameter (fig. 37)
place in Limoges scene. was lowered slowly in front of the black plush curtain and illuminated in
166. This score is in the Kandinsky Be- red or blue. In the other two scenes a two-meter-high white rectangle (fig. 38)
quest at the Musee National d'Art
Moderne, Centre Georges Pompidou,
simply traversed the stage. Scene VII, Bydlo (fig. 39) featured a more com-
Paris. plex use of basic geometric shapes. Here eight elements, most of which were

7i
fig- 39 rectangular, made from reflective colored and silver paper appeared; as they
Vasily Kandinsky
crossed the stage, each colored shape was illuminated by a light of a dis-
Scene VII, Bydlo. 1918
similar hue. The circle with black and white pie-shaped sections was rolled
Stage set for Mussorgsky's Pictures at
an Exhibition across the stage, suggesting the great wheel of the Polish cart that gives this
Gouache on paper scene its title. The two dancers in the production served quite different func-
Collection Theatermuseum der tions in the scenes in which they participated. In Scene XII, The Marketplace
Universitat Koln
in Limoges (cat. no. 235), they were costumed naturalistically and stood on or

fig. 40
near the small pedestals at the sides of the backdrop bearing a map image,
Vasily Kandinsky presumably gesticulating to indicate the haggling described in the program.
Scene X, Samuel Goldenberg and In Scene X, Samuel Goldenberg and Schmuyle (fig. 40), on the other hand,
Schmuyle. 19Z8
each stood behind a vertical rectangle of transparent material on which their
Stage set for Mussorgsky's Pictures at
an Exhibition
silhouettes were projected by backlighting. Circles in these props at times
Ink and pencil on paper were lit from the front while they rotated at different speeds, evoking the
Collection Musee National d'Art conversation of the two protagonists.
Moderne, Centre Georges Pompidou,
Kandinsky conceived other imaginative uses of lighting, for example, in
Paris, Kandinsky Bequest
Scenes VIII and IX, Promenade and Ballet of Unbatcbed Chickens, in which
flashlights were directed along wavy lines on the two-meter-square back-
drop. In Scene XV, The Hut ofBaba Yaga (cat. no. 23 8) the central portion of
the set was at first concealed by a black cover, while hand-held spotlights posi-
tioned behind the scenery illuminated the various patterns of dots and lines
cut into its left and right sides. When the central image, the hut of the witch
of Russian folklore, was revealed, the clockface glowed with a yellow back-
light while the single hand rotated. Among the most dramatic scenes must

have been those in which the images were built up gradually by assembling
the component elements before the audience's eyes, as, for example, in Scene
XIII, The Catacombs and The Great Gate of Kiev, the final scene {XVI) (cat.

nos. 237, 239, 240). The latter began with the side elements and twelve props
representing abstract figures, to which were added successively the arch, the
towered Russian city and the backdrop, each lowered slowly from above.
At the end these were raised, the lighting became a strong red and then was
completely extinguished and the transparent disk used at the beginning of

72.
 the performance was lowered. Quickly this was illuminated at full strength

from behind and the lights finally were extinguished once more. By turn
dramatic, comical and mysterious, Kandinsky's production encompassed a
wide range of expressive and visual effects. The flat forms and black back-
ground in conjunction with the lighting created an irreal space, similar to
that in his paintings, according to the contemporary account of Ludwig
167
Grote. Kandinsky united pictorial, theatrical and musical elements in this

production and thus achieved his goal of creating a synthetic work, which
extended his painting into a magical realm of spatial and temporal dimen-
sions.

Pictorial Themes, Late 1920s and Early 1930s

In the latter years of the Bauhaus period chronological development does not
play a major role in Kandinsky's artistic output; instead there is a diversi-

fication of imagery in the recurrent use of several pictorial modes and motifs:
architectonic structures, regular geometric shapes and arrangements, illu-

sions of space, abstract figures and signs, and organic forms. The paintings

are mostly small or of medium sizecompared to the major works of the pre-
ceding periods, which reinforces the sense that Kandinsky was working out
168
a variety of pictorial ideas concurrently. This diversity in part represents
a response to his Bauhaus colleagues, the environment at the school and his
association with the Blatie Vier (Blue Four) group in which he participated
with Klee, Feininger and Alexej Jawlensky. He was especially close to Klee
during the Dessau years— their relationship was strengthened because they
shared a Masters' House— and Klee's art influenced him in a number of
ways. 169 Albers's work bears comparison with Kandinsky's with regard to a
few specific motifs. However, only a more general relationship exists between
the work of Kandinsky and the partial abstraction of Feininger and Jaw-
lensky. Their work shows the continuing importance of geometry in an art
rooted in Expressionism; morever, they shared with Kandinsky and Klee a
belief in the expressive and intuitive aspects of art. This common philosophy
allowed the four to join together in a group despite their many stylistic dis-

similarities. Thoughwas formed in the spring of 1924 by Galka Scheyer

it

for the purposes of exhibitions and commercial representation in the United

167. "Biihnenkomposition," p. 5.
States, the Blaue Vier was given one important exhibition in Germany, in
168. In a letter of Sept. 26, 1932, Kan-
dinsky mentioned to Katherine Dreier
October 1929 at the Galerie Ferdinand Moller in Berlin. Scheyer's return to

that for themost part he had been Germany in the spring of 1928 for a stay of several months, her renewed con-
painting small pictures but had
tacts with the artists and the arrangements for the Berlin exhibition coincided
painted a few larger ones during
1932. with the emergence of certain parallels in the work of the members. 170
169. The changing relationship between Kandinsky's imagery of structures, geometric shapes and arrangements,
the two artists is the subject of Beeke
and space Bauhaus and the Constructivist move-
reflected tendencies at the
Sell Tower's Klee and Kandinsky in
Munich and at the Bauhaus, Ann ment in Germany. The architectural and technological orientation of the
Arbor, Michigan, 1981. later Bauhaus, particularly in evidence after the architecture department was
170. Jan Stedman, "Galka Scheyer" in instituted under Meyer in the spring of 1927, prompted him to create images
Norton Simon Museum of Art at
Pasadena, The Blue Four Galka of structures made up of simple geometric elements. Whether the reference
Scheyer Collection, n. d., p. 13. was to technical constructions or to the human form, his statement, like

73
 Klee's in comparable works of the same period, was one of artistic independ-
ence from utilitarian ends. 171 During the years of Meyer's directorship, in
fact, Kandinsky frequently discussed the relationship of functionalism and
art in a course on "Artistic Creation" he taught for fourth-semester stu-
172
dents. Using an approach similar to that involved in his analysis of the

visual and expressive qualities of modern chairs, mentioned above, he dis-

cussed examples of architecture. He cited a Mies van der Rohe skyscraper

project for the "spiritual" effect of its verticality and dematerialization of the
material. 173 He also compared the Gothic cathedral and a modern factory
building, stating that these exemplify a contrast between vertical and hori-
zontal "tensions" and varying qualities of light and axial arrangement; these
174
characteristics produced different aesthetic and psychological effects. Ulti-

mately, Kandinsky's view was that artistic criteria were pertinent to func-
tional designs and indeed were confirmed by successful examples of such
projects. His abstract analysis of utilitarian structures predated these peda-
gogical discussions. In Point and Line to Plane he had described the Eiffel

Tower as an "early attempt to create a particularly tall building out of lines"

and included a photograph by Moholy-Nagy of the Berlin Radio Tower
(fig. 41) as well as another picture of electric power-line pylons. He wrote,
fig-4 1 "The joints and screws are points in these linear constructions. These are line-
Laszlo Moholy-Nagy point constructions ... in space." 17 ' Kandinsky's perception of such struc-
Berlin Radio Tower, seen from below tures as networks of lines and points of intersection relates both to the
Photograph
analytical drawing exercises and to the paintings under consideration.
Figure 68 in Point and Line to Plane, 192.6,
see cat. no. 321
In fact, in a watercolor (cat. no. 252) Kandinsky quite literally depicts the

image of a pylon, abstracting its strutwork in the adjacent form. However,

allusions are freer in other works, where precarious vertical masts or lad-
ders are suggested by the lines and geometric shapes. In some examples the
constructions are completely abstract, but the vertical orientation and link-
age of the lines provide the generic reference to structures. Finally, a teetering
balance of diagonals is sometimes used to evoke the tension and dynamism
inherent in the building up of elements, thus making the analogy between
architectonic and pictorial composition. The major painting conveying this
idea, On Points of 1928 (cat. no. 247), offers a parallel to architectural
examples emphasizing upward movement that Kandinsky discussed in class.

In this class he referred to pylons that touch the ground on only one point,
171. This point was made by O. K. Werck- as well as to Ivan Leonidov's project of 1927 for the Lenin Institute, which
meister in "Paul Klee's Pictorial
included a spherical structure resting on a point. 176 Kandinsky's hovering
Architecture at the Bauhaus," lecture
given at Emory University, Atlanta, and dematerialized structural images contrast with Feininger's more earth-
Oct. 9, 1980.
bound depictions of medieval churches. Feininger's abstraction from actual
172. The course was taught from spring
buildings differs essentially from Kandinsky's synthesis of basic geometric
1928 to early 1930: Sers, pp. 274-278,
321-370; see Poling, Kandinsky — elements. Klee's insubstantial, floating and delicately balanced imaginary
Unterricht, pp. 35-36. structures are much more relevant to Kandinsky's imagery of engineering
173. Sers, p. 369 (class of Sept. 21, 1928). structures. For Kandinsky this pictorial theme combined personal artistic
174. Ibid., pp. 353 (class of Mar. 1, 1929), invention with a reference to modernity, expressed through the spatial open-
369.
ness and apparent weightlessness of the constructions.
175. Lindsay/Vergo, II, pp. 621, 623-625.
du 8C
At Dessau the Bauhaus artists continued to explore geometry and
176. Sers, pp. 349-351 ("Au sujet
cours," probably June 22, 1928). its ordering principles. In the late twenties and early thirties Kandinsky often

74
 based his pictures on additive assemblages of squares or triangles arranged
in groups, stacks or overlapping series. He produced a few compositions of
stark pictorial logic in which a single dominant triangle was placed in the

center of the canvas and oriented to the main axis of the picture (see cat. no.
266). Kandinsky assigned color studies using grid formats to explore contrast
relationships, and in some of his own watercolors he employed this structure

to display subtler ranges of color. In these, as in Klee's works that use the
grid as a vehicle to convey rich chromatic effects, geometry is manipulated
to enhance the sense of expansion and spatial play, thus contributing to the
feeling of immeasurability that is characteristic of color. Thirteen Rectangles
of 1930 (cat. no. 257), one of Kandinsky's most impressive pictures based on
rectangles, shows an overlapping sequence that creates an illusion of semi-
transparent planes. The spatial positions of these planes are made ambiguous
by contradictions of superimposition and color temperature. The "dramatic"
diagonal, extending from lower right to upper left, helps structure the com-
position.
Another picture from 1930 that explores rectangular forms is White on
Black (cat. no. 264), one of three paintings Kandinsky executed with the pal-

fig- 41 ette restricted to black and white. The work's visual energy depends in part
Vasily Kandinsky on this stark contrast, an energy that prompted Kandinsky to speak of the
Lightly Touching. 1931 inherent color in this relationship. 177 The optical effects here resemble those
(HL561)
explored by Albers in his flashed glass paintings (see cat. no. 263), which
Oil on cardboard
The Sidney and Harriet Jams Collection,
Kandinsky admired. 178 However, the variations in size and visual rhythm
Gift to The Museum of Modern Art, and the slightly diagonal contours in White on Black differ markedly from
New York the stricter geometry in Albers's grid-based works. Kandinsky's conception of
the movement in his composition is revealed by the schematic drawing for
the painting (cat. no. 265), which is similar to his students' analytical draw-
ings. Particularly surprising are the curves that course through the structure
of horizontal and vertical lines— evidence of his feeling for the "living" energy
in formal relationships, as opposed to the static quality of overly rigid appli-

cations of geometry.
Kandinsky demonstrated compositional arrangements in class with sets

of geometric shapes cut out of paper. 179 This aspect of his teaching is reflected
177. Extract from a letter published in the in the stacked arrangements of triangles that appear in a number of his paint-
catalogue of the exhibition Erich
—
Mendelsohn Wassily Kandinsky — ings. The precarious balancing of such elements is seen in Lightly Touching
Arno Breker, Staatliches Museum, of 193 1 (fig. 42). A larger-scale image that presents a more dynamic sense of
Saarbriicken, 193 1, Lindsay/Vergo,
balance is Gray (cat. no. 268), from the beginning of the same year. The refer-
II, p. 858.
ence to a fulcrum or seesaw and the equilibrium between simple geometric
178. Kandinsky praised these works by
Albers in a letter of May 19, 1932., shapes in this picture recalls Klee's Daringly Poised of 1930 (cat. no. 267).
to Grohmann. These works indicate that incipient movement and visual tension remain key
179. Small uncolored shapes of this sort
features of Kandinsky's use of regular geometric elements. The logical ar-
have survived in Sers's collection and
in theKandinsky Bequest at the Musee rangements of rectangular and triangular forms continued to characterize
National d'Art Moderne, Centre and indeed dominated the major works of his last years in Germany.
Georges Pompidou, Paris. The enve-
lope containing the examples in Sers's Spatial illusions and their contradiction continued to fascinate Kandin-
possession is marked "11. Semester," sky during his later Bauhaus period, and he utilized a wide range of devices
designating the course in which he
to create these effects. Examples include the superimposition of shapes and
focused on the subject of composi-
tion. chromatic tensions of Thirteen Rectangles, and the suggestion of a three-

75
fig- 43
Vastly Kandinsky
Sky Blue. 1940
(HL673)
Oil on canvas
Collection Musee National d'Art
Moderne, Centre Georges Pompidou,
Paris, Kandinsky Bequest

dimensional solid by the pyramid and the upward-floating movement of the

composition in Pink Sweet of 1929 (cat. no. 27Z). Horizontal stripes allude to
landscape space in Quiet Assertion, 1929 (cat. no. 271), where an additional
perspective element is seen on the right; and the broad expanse of Broit>nisb,
1931 (cat. no. 273), recalls the horizon-crossed seascapes of Feininger (see cat.
180. Teuber, pp. 141-144. The lectures oc-
curred between 1919 and 1931. Other no. 274). An illusion of aerial flotation is created by the dispersal of small
essays by Teuber also treat the in- shapes across the surface of Fixed Flight and Drawing No. 17 of 1932 (cat.
fluence of perceptual theories and
diagrams demonstrating optical illu- nos. 275, 276), anticipating the formal distribution and effect of certain works
sionson Klee and others at the Bau- of the Paris period, such as Sky Blue, 1940 (fig. 43).
haus: "New Aspects of Paul Klee's
Bauhaus Style," Ibid., pp. 6-17, and
Of particular interest is Kandinsky's occasional use in the early thirties

"Zwei friihe Quellen zu Paul Klees of optical illusions. Albers also began to employ such effects at about the
Theorie der Form: Eine Dokumen-
same time and Klee had done so for a number of years. The specific impetus
tation" in Stadtische Galerie im
Lenbachhaus, Munich, Paul Klee: for this development was provided by lectures given at the Bauhaus by
Das Fruhwerk, 1883-1922, exh. cat., Gestalt psychologists, a series that reflected Meyer's efforts to put the study
1979, PP- 261-296.
of visual phenomena on a more scientific basis. The reversible figures of
181. The two paintings were in the exhibi-
tion at the Galerie Moller, as were a perceptual psychology were of great interest to Klee, Kandinsky and Albers
number of other works by the Blaue because they were striking examples of spatial ambiguity (see fig. 44). These
Vier: see Blatter der Galerie Ferdi-
nand Moller, no. 5, Oct. 1929, pp. 10- two-dimensional line drawings, representing open books, cubes or steps,
11. This publication, which served as for example, produce a spatial illusion that flips when the viewer changes
the catalogue of the exhibition, in- 180
focus or shifts attention. Such visual devices emphasize the immeasurable
cluded a short introductory essay by
Ernst Kallai entitled "Das Geistige in and dynamic character of pictorial space, which, the artists felt, expressed
der Kunst," pp. 1-6. The other works
modernity. They also encourage an awareness of the viewer's own perceptual
in the present exhibitionwere Fein-
inger's Gaberndorf No. U, 1924, Kan- process, providing a participatory rather than passive experience of the work.
dinsky's Above and Left, 1925, and The ambiguous spatial positioning of shapes in Kandinsky's watercolor
On Points, 1928, and Klee's Threaten-
ing Snowstorm, 1927 (cat. nos. 133,
Glimmering, 1931 (cat. no. 277), exemplifies his use of the reversible figures,
158, 247, 249); Ibid. pp. 7, 11, 12. as do the folded planes in Noiv Upwards!, 193 1, and Second Etching for

76
 r t ^

% 44 "Cabiers d'Art," 1932 (cat. nos. 281, 282).

Paul Klee
Kandinsky's pictorial themes discussed so far reflect, often with wry
Hoi'ering (Before the Ascent). 1930
criticism or playfulness to be sure, the Bauhaus predilection for regularity,
Oil on canvas
Paul Klee-Stiftung, Kunstmuseum Bern rationality and technology. However, his depictions of figures and signs de-
part in an essential way from the prevailing attitudes at the school, in order
fig-
45 to create an independent and evocative imagery. Though they usually hover
Paul Klee
on the edge of complete abstraction, the pictures use geometric components
Senecio (Baldgreis). 192.2.
or, as will be seen, organic shapes to create formal constellations that have
Oil on canvas
associations with the natural or man-made world. The images of schematic
Collection Offentliche Kunstsammlung
Basel structures are also relevant here because they do not result from a process of

abstraction from real objects. The physiognomic potential of abstract geom-

etry had long interested Klee. Senecio (Baldgreis) of 1922 (fig. 45) is a para-

digmatic instance of his manipulation of a priori geometry by slight altera-

tions and additions to produce a human visage. At times Klee seems to have
discovered the natural image in an arrangement of abstract shapes at some
point during the creative process. This procedure of starting with geometric
forms and working towards representational imagery is the opposite of that
developed by Jawlensky in his Abstract Heads series, beginning about 1918.
Here Jawlensky, who initially used models, perceived regular geometric
shapes and structure in the human form. Dawn, 1928, and Frost, 1929 (cat.
nos. 284, 28 5), exemplify the abstract heads of the late twenties. 181 In this man-
ner he evolved a construction of elements that signifies the set of features:
eye, nose, mouth, eyebrow, hair and pendant curl. While often not quite
complete, the grouping of elements amply suggests the whole. Kandinsky's
physiognomic image Upward of 1929 (cat. no. 286) is closer to Klee's pictures
than to Jawlensky's in that the components are complete geometric shapes

77
 #
K-
Y1
•

fig. 46 that obviously provided the starting point for the composition. 182
Vasily Kandinsky In other works Kandinsky assembled geometric elements to create fig-
Two Sides Red. December 1928
ures suggestive of the whole human body, though sometimes these were
(HL437)
extremely reduced, for example, the image at the right in Jocular Sounds,
Oil on canvas
The Solomon
Collection R. Guggenheim 1929 (cat. no. 287). This element is very similar to the "figures" for The Great
Museum, New York Gate of Kiev scene (cat. no. 240) in Pictures at an Exhibition. Klee sometimes
used fully anthropomorphic figures assembled from geometric elements, such
fig- 47 Jumper, 1930 (cat. no. 289). This complete and explicit figure differs
as that in
Vasily Kandinsky
from Kandinsky's more cryptic and abstract forms, seen in Two Sides Red,
Succession. 1935
(HL617) 1928 (fig. 46), and other pictures. Klee's Six Kinds of 1930 (cat. no. 290) shows
Oil on canvas how abstract geometric forms can create an image of a figure. These forms
The Phillips Collection, Washington, D.C. do not function primarily as elements within a larger composition, but are
basically discrete, a characteristic that, together with the appended bars that
182. It is interesting that this painting
dates from October, the month of the resemble stems or handles, suggests a general analogy to real objects. As in
BLiue Vier exhibition at the Galerie certain of Kandinsky's works, the isolation of separate elements in space,
Moller, where Kandinsky would have
seen sixteen of Jawlensky's Abstract
their clarity of definition and idiosyncratic composite character create the
Heads, though, to be sure, he already sense of an abstract being. Kandinsky's Levels of 1929 (cat. no. 292) exhibits
knew works of the series. A later
such forms assembled in rows, as in an information table. Here and in Lines
painting by Kandinsky with a physi-
ognomic image comparable to that in of Marks of 193 1 (cat. no. 294) the figures are like abstract hieroglyphs or
Upward is Unsteady Balance (Un- signs set up in series. The boat elements in the latter painting and the worm-
fester Ausgleich), 1930 (HL 499).
like forms in Drawing No. 25, 1933 (cat. no. 299), are more direct in their
183. Weiss in "Encounters and Transfor- references and therefore are closer to pictographs. Like the crosses in For
mations" in Guggenheim Museum,
Kandinsky in Munich, shows as an Nina (for Christmas 1926) (cat. no. 291), the arrow in Green, 1931 (cat. no.
example of the Paris period the paint- 297), is a conventional symbol, as distinguished from the invented elements
ing Thirty, 1937, and discusses the
issue of "abstract hieroglyphs" in the
in the majority of Kandinsky's works of this genre. Most of the signs Kandin-
Munich period, p. 55, fig. 25. sky created in these pictures are abstract, such as the monumental cypher in

78
 < ft A ^

^ ^

fig. 48 Light of 1930 (cat. no. 293). This figure is full of energy and buoyancy and is

Vasily Kandinsky
like the cryptic schematic notations in the analytical drawings, enlarged and
Black Tension. 1925
pictorialized in treatment and context. Its quality of movement prefigures
Gouache on paper
the more organic signs of the Paris years, which, in addition, were sometimes
Present whereabouts unknown
arranged in ordered presentations like some of the works of the late twenties
183
%• 49 and early thirties (see fig. 47).
"Trichites" (Hair-like crystals) Already in Kandinsky's art from the Bauhaus, figures with freely
Figure 71 in Po;«r and Line to Plane, 1926,
contoured shapes appear. They are especially interesting because they par-
see cat. no. 321
allel the biomorphism of Surrealism as well as anticipate a prominent fea-

fig. 50 ture of his style of the Paris period. Organic forms occasionally are seen in
Swimming movements of plants created his works of the mid-twenties, such as Black Tension of 1925 (fig. 48) and
by flagellation
Calm of 1926 (cat. no. 295). In Point and Line to Plane illustrations of natural
Figure 73 in Point and Line to Plane, 1926,
see cat. no. 321
forms are included to demonstrate complexes of free lines or loose structures:

hair-like crystals, minute mobile plants with "tails" or flagella and wispy
184
fig- 51 clematis blossoms (figs. 49-5 1). In the early thirties organic elements appear
Blossom of the clematis more frequently: the leaf shape in Green (cat. no. 297) and the extraordinary
Figure 75 in Point and Line to Plane, 192.6, creature of the imagination that dominates Pointed Black (cat. no. 296) are
see cat. no. 321
examples in two pictures of 1931. The latter form is an inventive, highly
irregular complex of shapes, which is animated in its contours and diagonal
placement. In at least one instance, in Drawing No. 26, 1933 (fig. 52), Kandin-
184. Lindsay/Vergo, II, pp. 625-628, figs.
sky created a more literal and amusing fantasy image of amoeboid beings.
71,73.74-
Gloomy Situation (cat. no. 298), on the other hand, expresses the threatening
185. Other works by Kandinsky with ab-
stractamoeboid shapes are the dry- mood of Kandinsky's last year in Germany through its confrontation of two
point Fifth Annual Presentation to the 185
abstract personages.
Kandinsky Society, 193 1, and the
painting Floating Pressure (Schwe-
Despite their varied imagery, Kandinsky's characteristic paintings of the
bender Druck), 193 1 (HL 563). late twenties and early thirties share certain stylistic features that distinguish

79
 them from the major works of the Weimar and early Dessau years. These
characteristics pertain to the compositional structure, which is less complex
than before. The works of the Weimar period contain a diversity of forms
and are elaborately structured compositions that relate to the corners and
boundaries of the canvas. Pictorial complexity was maintained at the begin-

ning of the Dessau period, even where the formal variety was reduced, in
pictures such as Several Circles (cat. no. 188). This limitation to a single kind
of geometric form, however, initiates the later development. Although there
are earlier individual precedents, about 1928 a general tendency toward two
compositional types emerged. One involves the use of a large form or a com-
bination or series of simply structured forms placed against a uniform field

of color with only a relatively neutral or very obvious relationship to the

boundaries of the picture, as in White Sharpness and Thirteen Rectangles
(cat. nos. 266, 257). The rather straightforward figure-ground relationship
that results is sometimes modified to a certain extent by modulations of the
background color, which create a spatial environment, for example, On
Points and Pointed Black (cat. nos. 247, 296). The simplicity and clarity of the

fig- 5 - compositions set off the structures, figures, signs and self-contained spatial
Vasily Kandinsky images that are presented. Significantly, in these works Kandinsky depicts
Drawing No. 26. 1933 figures and forms, rather than integrating them into an overall pictorial
India ink on paper
structure. The second major compositional type evolved at this time, exem-
Present whereabouts unknown
plified by Brownish and White on Black (cat. nos. 273, 264), appears less

frequently. Here the entire picture is united by actual or implied grid struc-
tures or by bands or large background shapes that connect the boundaries.
These geometric devices are simpler than those used in the earlier Bauhaus
years, which were themselves schematizations of compositional structures
developed in the previous periods. Despite their relative simplicity they pro-
vide varied structures for resonant color compositions and thus play a major
role in several of Kandinsky's most impressive works from his last years

in Germany.

Music Room, Deutsche Bauausstellung, 193

During the period of Mies's directorship of the Bauhaus, Kandinsky was

given a final opportunity to create a large-scale work uniting painting with
its The project involved the design of ceramic murals
architectural context.
for three walls of a music room and was part of the Deutsche Bauausstellung
(German Building Exhibition) held in Berlin in late spring and summer 193 1.
It was included in the section of the exhibition supervised by Mies, which

was entitled Die Wohnung unserer Zeit (The Modern Dwelling). In addition
to a massive grand piano, the room contained a set of tubular metal furniture
originally designed by Mies for the Weissenhofsiedlung, the model housing
development in Stuttgart that was built for the Werkbund exhibition of 1927
(cat. nos. 304-306). The geometric shapes, elegance and spatial openness
of this International Style furniture complemented the monumental yet
simple shapes of the murals. Indeed, as already mentioned, Kandinsky par-
ticularly admired the armchair for its dematerialized and abstract quality.

80
 The chrome-plated steel tubing also accorded with the shiny surface of the
ceramic tile. The tile must have been chosen for its architectural qualities: its
hardness and relative permanence, as well as the measured, visually stable
and unifying effect of its grid of rectangular elements. The character of the
environment created by the murals can be judged not only from the gouache
maquettes (cat. nos. 301-303) and photographs of the original completed
work (cat. no. 300), but also from the careful reconstruction executed in 1975
and installed at Artcurial in Paris.
Kandinsky's imagery in the murals combines the geometric shapes and
abstract structures, figures and signs that preoccupied him during the late

twenties and early thirties. Each wall bears a composite of two or more major
images. The right wall is the most unified because its two structural motifs
are symmetrical. The long central wall is the most complex, as it includes
diverse motifs and sections, among them an area with three rows of small
sign-like elements. This motif is one of several semi-independent pictures
within the larger compositions. The underlying grid provides scale as well as
an armature for the compositions and varies from wall to wall because of the
changes in the proportions and size of the tiles. The left wall, which depicts
large, solid shapes, is comprised of small, rectangular tiles; the longer central
one has the largest tiles, also rectangular over most of its area; and the right

wall is made up of square tiles that provide particularly stable support for
its open and elongated forms. Also varied are the background colors: the

dark ground of the left wall is an especially effective foil for the rich hues
placed against it. The generally vivid colors are enhanced by the sheen of the
material, and the clarity of the forms and compositions, as well as the large
scale of the work, contributes to the engaging effect of the whole.
In the brochure published for the Deutsche Bauausstellung, Kandinsky
stated that he offered his project as an alternative to the "blank wall" charac-
teristic of modern architecture, but not as a merely decorative adjunct to the
room. A space intended to bring people together "for a special inner purpose
. . . must have a special energy." Since painting can serve as "a kind of tuning-
fork," it can thus affect or "tune" people to that special purpose. 186 This was
the goal he wished to accomplish in this space intended for the playing and
experiencing of music.

Final Years in Germany, 1932-1933

At the conclusion of his Bauhaus period, Kandinsky painted a number of

major pictures that brought together elements of his work of the previous
several years and exploited the range of visual effects and evocative values
of abstract geometry and color. In December 1928 he had written that fol-
lowing his "cool" period, which had culminated in the Weimar years, his
187
work was characterized by "great calm with strong inner tension." This
186. Amtlicher Katalog und Fuhrer: phrase aptly describes a painting such as Several Circles of 1926, which main-
Deutsche Bauausstellung, Berlin, 1931,
tains a sense of quiet energy by means of its vivid color and organization
9. Mai- 2. August, pp. 170-171.
along two diagonals. The compositional simplicity and clarity of structure
187. Letter of Dec. 10, 1928, to Will
Grohmann. of Kandinsky's work of the late Dessau period enhance this quality of calm
 and also allow a richness of effect. In his last two years in Germany Kan-
dinsky developed and intensified these characteristics through a somewhat
denser use of the elements. A vivid resonance of color within a grid-derived
composition is created in Layers of early 1932 (cat. no. 309), whose multiple
planes occupy various positions in the shallow space. Order is maintained
among the varied forms by the strict arrangement of the picture here and in
Decisive Rose, also of 1932 (cat. no. 310), where many small elements of dif-
ferent shapes are evenly distributed and, for the most part, aligned vertically.

The culminating work that displays this kind of clearly structured com-
plexity Balance Pink, of early 1933 (cat. no. 311). Kandinsky presents color
is

harmonies and chords in grid patterns and stripes, as Klee does in his strata
and checkerboard images (see cat. nos. 259, 131), but uses a greater variety of
geometric motifs. The internal framing device, the consistency of scale of the
larger grid and the continuation of some of the vertical and horizontal lines

across the picture provide structure in Balance Pmk. One of the spatial de-
vices here is the use of a primitive architectural allusion, shapes that resemble
abstract doorways or gateways; a similar element appeared at the left and,

in altered form, at the right of the stage set for The Great Gate of Kiev. How-
ever, the suggestions of depth in the painting are subtle and ambiguous, so
that a shallow space is maintained. The unification of the picture, to which
the compositional devices contribute, is accomplished above all by the use
The dominant ochres (repeated in Kandinsky's painted frame),
of color.
browns and tans provide a muted chromatic context for the pink square
just above the center and the pale, cooler colors. To the general balance of
warm versus cool colors is added the complementary relationship of the pink
and the pale green. Ultimately Balance Pink presents a strong image of or-
dered and subdued formal and chromatic multiplicity.
The creation of an imagery of restraint and calm was a meaningful
response to the conditions in Germany during 1932 and 1933. Already in
mid-December 193 1 Kandinsky expressed his uncertainty about political
developments in a letter to Galka Scheyer, in which he stated that if either the
Nazis or the Communists came to power he would be jobless. 188 The next
month the right-wing majority in the Dessau city legislature, led by the Nazis,
moved to dissolve the Bauhaus. In July the Nazi representatives toured the
school, confirming their hostility to its building and program, and in August
the legislature voted for dissolution. After it moved to Berlin and began to
operate as a private institute, the Bauhaus again encountered opposition,
and in April 1933 the Nazis, now in power at the national level, searched and
closed the building. Finally on July 20, after the failure of attempts at nego-
tiation, the faculty voted to close the institute permanently. Ironically, the
next day the Nazis' terms for allowing the Bauhaus to continue to exist were
delivered: they included the termination of Kandinsky as well as Ludwig
Hilbersheimer and their replacement by "individuals who guarantee to sup-
188. Letter of Dec. 14, 1931. port the principles of the National Socialist ideology." 189 Kandinsky felt

189. Letter to Mies van der Rohe from the acutely the difficulties of his situation, as he explained to Scheyer in letters of
P ° llCe (Gestapo) Wmg " 190
£^.^9" '
July and October. It was impossible him to exhibit or teach, and there
for

190. Letters of July 15 and Oct. 7, 1933. were three reasons for special concern: he was Russian (hence both a for-

82
 eigner and a suspected Communist), an abstract artist and a teacher at the
Bauhaus. Thus, early in the fall Kandinsky made arrangements to move to
191
Paris, and in December he left Germany for the final time.
In the context of these events the major works of the period convey a
feeling of grandeur expressive of Kandinsky's confidence in the validity of

his art. The somber mood of the time is felt particularly in several works
from July and August 1933. Such is the case in Gloomy Situation (cat. no.
298), where black abstract figures confront one another, and Similibei (cat.
no. 313), in which an ascending series of black and gray squares surmounted
by a dense black circle hovers against a nearly monochromatic sprayed back-
ground of dull red. Development Brown of 1933
in (cat. no. 314), the last
picture Kandinsky executed in Germany and one of the very few large can-
vases he had painted in about five years, represents a summation of this kind
of expression. It is very subdued and shows a rich range of colors dominated
by dark browns and other dark and muted hues placed against a medium
brown background. The large vertical and slightly slanting planes form ele-

ments that flank a contrasting central area whose white background supports
smaller triangles in a variety of brighter colors. It is as though the portal
image were rendered more abstract and monumentalized and opened on a

view into a somewhat distant, lighter space. Hope or threat— the image in-
vites both interpretations.
The two paintings of 1933 included in the present exhibition not only
register the historical moment in which they were executed but also reflect

important concerns of Kandinsky during his Bauhaus years. Balance Pink

subsumes the chromatic interrelationships and regular formats that were the
subjects of his teaching in a synthesis of structure and rich effect, to create an
image of imposing and serious character. Development in Brown is a testa-
ment to Kandinsky's conviction that geometric form and resonant color
express ineffable abstract meanings. Such had been his consistent belief since
at least about 1920, when he began to develop a geometric art in Russia. This
culminating work embodies the impressive effect and meditative qualities his
abstract imagery ultimately achieved.

191. Nina Kandinsky, pp. 150 ff.

83
 CATALOGUE

Titles are given only in English for works

executed during Kandinsky's years in
Russia (1915-1921).

For works executed during the years in

Germany, English titles precede the
German, which appear in parentheses.
When Kandirisky gave his paintings a
number in his Handlist (HL), this is cited
after the title and date.

Dimensions are given in inches and centi-

meters; height precedes width precedes
depth.

85
 I. KANDINSKY IN RUSSIA, 1915-1921

TRANSITION, 1915-1916

Vasily Kandinsky
i Untitled, Composition No. I. 1915
Watercolor on paper, 1314 x 9"
(33.6 x 22.9 cm.)
Collection Ulrich Pfander, Tegernsee

86
 Vasily Kandinsky
2 Untitled. 1915
Watercolor on paper, 1314 x 9"
(33.6 x 22.9 cm.)
Collection The Museum of Modern Art,
New York; Gift of Abby Aldrich
Rockefeller

87
 Vastly Kandinsky Vasily Kandinsky

3 Watercolor for Etching 1916-N0. ///. 4 Etching 1916-N0. ///. 1916

1916 Drypoint on paper, 5 14 x 6V4"
Pencil and watercolor on paper, (13.5 x 16 cm.)
5% x 6Vu" (13-5 x 16.2 cm.) Collection Stadtische Galerie im
Collection Stadtische Galerie im Lenbachhaus, Munich
Lenbachhaus, Munich
 Vasily Kandinsky

5 Etching 1916-N0. IV. 1916

Drypoint on paper, 3% x 3 V4"
(9.1 x 8.3 cm.)

Collection Stadtische Galerie im

Lenbachhaus, Munich

V<fP

Vasily Kandinsky
6 Trumpeting Angels. 19 16
Pen and ink and pencil on paper,
8W x ioH/ifi" (21 x 27.2 cm.)
Collection Stadtische Galerie im
Lenbachhaus, Munich

5> "^D"V tf m
l->^
7

^ '

89
 Vasily Kandinsky
7 The Horseman. 1916
Watercolor, wash, brush and ink and
pencil on paper, 12% x 9%"
(32.3 x 24.9 cm.)
The Museum of Modern Art, New York;
Joan and Lester Avnet Collection

90
 Vasily Kandinsky
8 Picnic. February 1916
Watercolor, India ink and pencil on paper,
13V2 x 13V2" (34-4 * 34- 2 cm ->
CollectionThe Solomon R. Guggenheim
Museum, New York

91
 Vasily Kandinsky

9 Painting on Light Ground. 1916

(HL203)
Oil on canvas, 39% x 30%" (100 x 78 cm.)
Collection Musee National d'ArtModerne,
Centre Georges Pompidou, Paris,
Gift of Mme Nina Kandinsky

91
 Vasily Kandinsky Vasily Kandinsky
10 Study for "Painting on Light Ground." 11 Drawing for "Painting with Border"
1916 (Painting on Light Ground). 1916
Pencil on paper, 4% x 3'/8 " (11. 8 x 7.8 cm.' India ink on brown paper, 9
li
/n x 7V2"
Collection Stadtische Galerie im (24.9 x 19 cm.)
Lenbachhaus, Munich Collection Stadtische Galerie im
Lenbachhaus, Munich

93
 Vasily Kandinsky
12 Untitled ("Ceiling"). October 1916
Watercolor and India ink on paper,
n7i6 x 9" (29 x 22.9 cm.)
Collection Musee National d'Art Moderne,
Centre Georges Pompidou, Paris,
Kandinsky Bequest

94
 Vasily Kandinsky
("To the
13 Untitled Unknown Voice").
September 1916
Watercolor and India ink on paper,
9 /is x 6y16 " (23.7 x J 5-8 cm.)
5

CollectionMusee National d'Art Moderne,

Centre Georges Pompidou, Paris,
Kandinsky Bequest

Vasily Kandinsky
14 Simple. 1916
Watercolor and India ink on paper,
8iyi 6xny "
16 (22.1x28.4 cm.)

CollectionMusee National d'Art Moderne,

Centre Georges Pompidou, Paris,
Kandinsky Bequest

/ —

95
THE REVOLUTIONARY Vasily Kandinsky

PERIOD, 1917-1921 15 Study for "Red Square." 1917

Pencil on cardboard, io n/l6 x SYk"
(17.1 x 20.7 cm.)

CollectionMusee National d'Art Moderne,

Centre Georges Pompidou, Paris,
Kandinsky Bequest

96
 Vasily Kandinsky
1 6 Untitled. 19 17
India ink and charcoal on paper,
I3%6 x ioi/16 " (34.5 x 25.5 cm.)
CollectionMusee National d'Art Moderne,
Centre Georges Pompidou, Paris,
Kandinsky Bequest

97
 Vasily Kandinsky
17 Untitled. October 24, 1917
Pencil, India ink and ink wash on paper,
10 x I3 7/16 " (25.4x34.1 cm.)
CollectionMusee National d'Art Moderne,
Centre Georges Pompidou, Paris,
Kandinsky Bequest

Vasily Kandinsky
18 Study for "Gray Oval." 1917
Watercolor, India ink and pencil on paper,
10 x n1
/^" (25.4 x 28.5 cm.)

The Solomon
Collection R. Guggenheim
Museum, New York

98
 Vasily Kandinsky
19 Untitled. 19 18
Watercolor and ink over graphite on
paper, n7 "
16 x 9Vi 6 (19 x 23 cm.)
Collection Busch-Reisinger Museum,
Harvard University, Cambridge,
Massachusetts, Anonymous Gift in
memory of Curt Valentin
 Vasily Kandinsky
20 Untitled. January 1918
Watercolor, India ink and pencil on paper,
10% x 15" (27.4 x 38 cm.)
Collection The Solomon R. Guggenheim
Museum, New York, Gift of Solomon
R. Guggenheim, 1941

'
-> 1

JV'

IOO
 Vasily Kandinsky
21 Untitled. February 1918
India ink on paper, 13% x 10"
(34 * 2-5-5 cm.)
CollectionMusee National d'Art Moderne,
Centre Georges Pompidou, Paris,
Kandinsky Bequest

Vasily Kandinsky
22 Untitled. March 1918
Watercolor, opaque white and India ink
on tracing paper mounted on cardboard,
ioVs x 13I//' (25.7 x 34.4 cm.)
Collection The Solomon R. Guggenheim
Museum, New York, Gift of Solomon
R. Guggenheim, 1941

IOI
 Vasily Kandinsky
23 Untitled. 19 18
Watercolor on paper, n'4 x 9V2"
(31. 1 X23.5 cm.)

Collection George Costakis, Athens

 Vasily Kandinsky
14 Red Border. June or July 1919
(HL 119)
Oil on canvas, 36^ x 2-7%"
(91 x 70.2 cm.)
Private Collection

103
104
 Vasily Kandinsky

25 In Gray. 1919
(HL222)
Oil on canvas, $o x Y\(, x 6^Y\i,"
(129 x 176 cm.)
CollectionMusee National d'Art Moderne,
Centre Georges Pompidou, Paris,
Kandinsky Bequest
lv
!

Vasily Kandinsky
26 Study for "In Cray." 1919
Pencil on paper, 7% x 10%" (20 x 26.9 cm.)
CollectionMusee National d'Art Moderne,
Centre Georges Pompidou, Paris,
Kandinsky Bequest

Vasily Kandinsky

27 Study for "In Cray." 1919

Watercolor and India ink on paper,
io7i 6 x i^/m," (26.5 x 34.4 cm.)
Collection Musee National d'Art Moderne,
Centre Georges Pompidou, Paris,
Kandinsky Bequest

105
 Vasily Kandinsky
28 Study for "Blue Segment." 1919
Watercolor on paper, 9V2 x izW
(24.2 x 31. 1 cm.)
Collection George Costakis, Athens

106
 Vasily Kandinsky
29 View from the Apartment Window in
Moscow. 1920
Oil on canvas, 15% x i4 3/i 6 " (39 x 36 cm.)
Collection Haags Gemeentemuseum,
The Hague, The Netherlands

30 View of a Square in Moscow Showing

Kandinsky's Apartment
Photograph
CollectionMusee National d'Art Modeme,
Centre Georges Pompidou, Paris

Olga Makhroff
31 View from a Window of Kandinsky's
Apartment in Moscow
Photograph
CollectionMusee National d'Art Moderne,
Centre Georges Pompidou, Paris

lllflM
311 II **•
mm 1 1 Ti I 1

,'"»»"
nun T»li m 1

m 1

107
 32 Kandinsky's Apartment House at No. i

Dolgii Street, Moscow. 1978

Photograph
CollectionMusee National d'Art Moderne,
Centre Georges Pompidou, Paris

Vasily Kandinsky

33 Red Oval. 1910

(HL 227)
Oil on canvas, 28% x i8i/g"
(71.5 x 71.2 cm.)
Collection The Solomon R. Guggenheim
Museum, New York

**--

108
I

109
 Vasily Kandinsky

34 Study for "Green Border." 1920

Watercolor and India ink on paper
mounted on board, io%<; x i^Vic"
(26.9 x 36.3 cm.)
Collection Musee National d'Art Moderne,
Centre Georges Pompidou, Paris

IIO
 Vasily Kandinsky

35 Points. 1920
(HL231)
Oil on canvas mounted on board,
43
5
X36" (110x91.5 cm.)
/i 6

Collection Ohara Museum of Art,

Kurashiki, Japan

III
 Vasily Kandinsky
36 White Stroke. 192.0

(HL232)
Oil on canvas, 38y8 x 31V2" (98 x 80 cm.
Collection Museum Ludwig, Cologne

112
 Vasily Kandinsky

37 Red Spot II. 1921

(HL234)
Oil on canvas, 51% x 71%" (131 x 181 cm.)
Collection Bayerische Hypotheken- und
Wechselbank, Munich, courtesy Stadtische
Galerie im Lenbachhaus, Munich

113
 Vasily Kandinsky
38 "White Center. 1911
(HL 2.36)

Oil on canvas, 46% x 53%" (118.7 x

136.5 cm.)
The Solomon R. Guggenheim Museum,
New York, Hilla Rebay Collection

114
 Vasily Kandinsky

39 Multicolored Circle. 1911

(HLZ38)
Oil on canvas, 54*4 x yo x ^/\i
(137.8 x 179.8 cm.)
Yale University Art Gallery, New Haven,
Collection Societe Anonyme

115
 Vasily Kandinsky
40 White Oval. 1921
(HL239)
Oil on canvas, 41% x 39%" (106 x 101 cm.;
Lent by Art Advisory SA, c/o Matthiesen
Fine Art Ltd., London

116
 Vasily Kandinsky
41 Black Spot. 192.1

(HL 240)
Oil on canvas, 54546 x 47V4"
(138 x 120 cm.)
Collection Kunsthaus Zurich

117
 Vasily Kandinsky
42 Circles on Black. 1921
(HL241)
Oil on canvas, 53% x 47%"
(136.5 x 120 cm.)
The Solomon
Collection R. Guggenheim
Museum, New York

lit
 Vasily Kandinsky

43 Untitled. 1921
Watercolor on paper, 7% x nVs"
(19.4 x 28.3 cm.)
Collection George Costakis, Athens

119
 KANDINSKY'S ROLE IN THE
RUSSIAN AVANT-GARDE

Vasily Kandinsky
44 Inkhuk Questionnaire. 1920
Multiple copy typeset on paper, printed
on 2 sides, 1
x 7%" (30.2 x 20 cm.) n ^
Collection George Costakis, Athens

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120
45 Members of RAKbN (Narkompros) 46 Members of RAKbN (Narkompros)
(Kandinsky fourth from left). (Kandinsky seated second from left).
Moscow, 192.1 Moscow, 1911
Photograph Photograph
Collection Musee National d'Art Moderne, Collection George Costakis, Athens
Centre Georges Pompidou, Paris

121
 Vasily Dmitrievich Bobrov
47 Untitled. 1921
Watercolor and ink on paper,
13% X9 13/i 6 " (33.4 x 25 cm.)
Collection George Costakis, Athens

Vasily Dmitrievich Bobrov

48 Untitled. 1911
Ink and watercolor on paper, 4 x 4'yi6"
(10.1 x 12.2 cm.)

Collection George Costakis, Athens

122
 Vasily Kandinsky

49 Design for Porcelain, n.d.

Pencil on lined paper, 7%$ x 5%"

(18.6 x 14.6 cm.)
CollectionMusee National d'Art Moderne,
Centre Georges Pompidou, Paris,
Kandinsky Bequest

12.3
 Vasily Kandinsky
50 Teacup and Saucer. 1911?
Leningrad Porcelain Factory
Porcelain, cup, 4Vi 6 " (10.3 cm.) d.;
saucer, 6 3/l6 " (16 cm.) d.
CollectionMusee National d'Art Moderne,
Centre Georges Pompidou, Paris

124
 Vasily Kandinsky

51 Cup and Saucer. 192.1?

Leningrad Porcelain Factory

Porcelain, cup, 2%" (7 cm.) d.;
saucer, $ /i6 "
7
(13.8 cm.) d.
Collection George Costakis, Athens

12.5
KANDINSKY'S RUSSIAN
CONTEMPORARIES

iz6
 5

Kazimir Malevich Kazimir Malevich

52. Suprematist Painting. 191 53 Suprematist Diagonal Construction 79.
Oil on canvas, 40 x z^Vk," 1917
(101.5 x 61 cm.) Pencil on paper, 13% x 20%"
Collection Stedelijk Museum, Amsterdam (35.3 x 51.5 cm.)
Collection The Museum of Modern Art,
New York; Purchase

12-7
 Kazimir Malevich
54 Suprematist Painting, Black Rectangle,
Blue Triangle. 19 15
Oil on canvas, z6Y\(, x az7is"
(66.5 x 57 cm.)

Collection Stedelijk Museum, Amsterdam

128
 Kazimir Malevich
55 Suprematist Element: Circle. 1915
Pencil on paper, 18V2 x nVt,"
(47 x 36.5 cm.)
Collection The Museum of Modern Art,
New York

1 29
 Ivan Kliun
56 Untitled, n.d.

Gouache on paper, I3 1 Y[ 6 x 13%"

(35.1 x 35.2 cm.)
Collection George Costakis, Athens

Ivan Kliun

57 Sheet of S Sketches, Oeavre Catalogue,

Sheet 14. n.d.

Watercolor on paper, 9 x i4%(,"

(22.8 x 37 cm.)

Collection George Costakis, Athens

% Kl

130
 Ivan Kliun
58 Untitled, ca. 1917
Pencil on paper, 5% x 4%"
(13.6 x 12 cm.)
Collection George Costakis, Athens

Nadezhda Udaltsova
59 Untitled, ca. 1918-20
Watercolor on paper, jYu, x 97k;"
(18.6 x 24 cm.)

Collection George Costakis, Athens

131
 Liubov Popova
60 Cover Design for the Society of Painters
Supremus. 1916-17
Ink on paper, 3V2 x 3Vs"
(8.8 x7.8 cm.)
Collection George Costakis, Athens

Liubov Popova
61 Architectonic Painting. 19 17
Oil on canvas, 31V2 x 38y8 "
(80 x 98 cm.)
Collection The Museum of Modern Art,
New York, Philip Johnson Fund, 1958

132
133
 Liubov Popova
62 Abstraction, n.d.

Watercolor and gouache on paper,

13% X9%" (33.7x24.8 cm.)
Collection Yale University Art Gallery,
New Haven, Gift from the Estate of
Katherine S. Dreier

134
 Liubov Popova
63 Cover Design for a Set of Linocuts.
ca. 1917-19
Linocut on paper, i6%6 x ii'Mg"
(41.8 x 30 cm.)
Private Collection

.yl.ffyflaBQvf.

135
 Liubov Popova
64 Untitled, ca. 1917-19
Watercolor, pencil and ink on paper,
i3 15/l6x83/4 " (35.3x21.1 cm.)
Collection George Costakis, Athens

136
 Liubov Popova Nadezhda Udaltsova
65 Untitled, ca. 1917-19 66 Untitled, ca. 1918-20
Linocut on paper, 13% x 10" Gouache and pencil on paper, 9 u/i6 x & }
A"
(35 x 2.5.5 cm.) (24.6 x 15.9 cm.)

Collection George Costakis, Athens Collection George Costakis, Athens

137
 Alexander Rodchenko
67 Composition, ca. 1918-20
Oil on cardboard, 18 x 14V8"
(45-7X35.9 cm.)
Collection Albright-Knox Art Gallery,
Buffalo, General Purchase Funds, 1978

138
 Alexander Rodchenko
68 Study of a Circle. 1919
Oil on wood, 17% x 15%"
(45.5 x 40 cm.)
Private Collection

139
 Alexander Rodchenko
69 Circles. 1919
Gouache on paper, 13^6 x 11 %s"
(33.5 x 29 cm.)
Collection Musee d'Art et d'Histoire,
Centre d'Initiation a l'Art Moderne,
Geneva

140
 Alexander Rodchenko
70 Non-Objective Painting. 1919
Oil on canvas, 3314 x 18"
(84.5 x 71. 1 cm.)

Collection The Museum of Modern Art,

New York, Gift of the artist, through
Jay Leyda, 1936

141
 Alexander Rodchenko
71 Linear Construction. 1919
Oil on paperboard, 17%^ x i^Yli"
(44x35 cm.)
Collection Musee d'Art et d'Histoire,
Centre d'Initiation a l'Art Moderne,
Geneva

Alexander Rodchenko
72 Line Composition. 1920
Pen and ink on paper, 12% x 7%"
(32.4 x 19.7 cm.)
Collection The Museum of Modern Art,
New York; Given anonymously

142
 El Lissitzky

73 Beat the Whites with the Red Wedge.

1919
Poster, color lithograph on paper,
18% x ziVt" (47-9 x 59 cm.)
CollectionVan Abbemuseum, Eindhoven,
The Netherlands

143
 El Lissitzky

74 Proun 12E. ca. 192.0

Oil on canvas, 22V2 x 16%"

(57.2x42.5 cm.)
Collection Busch-Reisinger Museum,
Harvard University, Cambridge, Massa-
chusetts, Purchase, Museum Association
Fund

144
 El Lissitzky

75 Proun }A. ca. 1920

Oil on canvas, 28 x 23"
(71. 1 x 58.4 cm.)

Courtesy Sidney Janis Gallery, New York

145
 El Lissitzky

76 Proun 6B. ca. 1919-zi

Lithograph on paper mounted on paper,
13% x I7 15/i 6 " (34.5 x 45.5 cm.)
Lent by Galerie Gmurzynska, Cologne

146
 El Lissitzky
—
77 Study for "A Supremacist Story About
Two Squares in 6 Constructions." 1920
Watercolor and pencil on cardboard,
10% x 8" (25.6 x 20.2 cm.)
The Museum of Modern Art, New York;
Sidney and Harriet Janis Collection

147
 II. KANDINSKY AT THE BAUHAUS
IN WEIMAR, 1922-1925

RETURN TO GERMANY

78 Kandmsky's Russian Passport Picture.

1921
Photograph
CollectionMusee National d'Art Moderne,
Centre Georges Pompidou, Paris

79 Kandinsky in Berlin. 1922

Photograph
CollectionMusee National d'Art Moderne,
Centre Georges Pompidou, Paris

TT
~^
n -—^ r

148
 Vasily Kandinsky
80 Blue Circle (Blatter Kreis). 1922
(HL142)
Oil on canvas, 43 x 39"
(109.2 x 99.2 cm.)
The Solomon
Collection R. Guggenheim
Museum, New York

fcs.

149
 Vasily Kandinsky
Si White Cross (Weisses Kreuz). 192.2.

(HL243)
Oil on canvas, 40% x 43 Vi"
(103 x 110.5 cm.)
The Peggy Guggenheim Collection, Venice

150
 Vasily Kandinsky
82 Untitled. 1922
Watercolor and India ink with pen and
brush over pencil on paper,
I2i'/16 x i8% 6 " (32.3 x 47.1 cm.)

CollectionMusee National d'Art Moderne,

Centre Georges Pompidou, Paris,
Kandinsky Bequest

Vasily Kandinsky

83 Untitled. 1922
Watercolor, India ink and pencil on paper,
12% x 18%" (32.8x47.8 cm.)
Collection The Solomon R. Guggenheim
Museum, New York

t/,

151
SMALL WORLDS, 1922 Vasily Kandinsky Vasily Kandinsky
84 Small Worlds 1 (Kleine Welten I). 1922 85 Small Worlds 11 (Kleine Welten 11). 1922.

Color lithograph on paper, 14 x n" Color lithograph on paper, 14'/) x n"

(36 x 28 cm.) (36.3 x 18.1 cm.)
The Solomon R. Guggenheim Museum, The Solomon R. Guggenheim Museum,
New York, Hilla Rebay Collection New York, Hilla Rebay Collection

152-
 Vasily Kandinsky Vasily Kandinsky
86 Small Worlds 111 (Kleine Welten 111). 1 911 87 Small Worlds IV (Kleine Welten IV). 1911
Color lithograph on paper, 14% x 11" Color lithograph on paper, 14 / 1
\ 1
1"

(36 x 28 cm.) (36 x 2.8 cm.)

The Solomon Guggenheim Museum,
R. The Solomon R. Guggenheim Museum,
New York, Hilla Rebav Collection New York, Hilla Rebav Collection

153
 Vasily Kandinsky Vasily Kandinsky
I Small Worlds V (Kleine Welten V). 1922 89 Small Worlds VU (Kleine Welten VII).

Color lithograph on paper, 14'/^ x n" 1922

(36.2. x 28 cm.) Color lithograph on paper, 14V4 x n'/s"
The Solomon R. Guggenheim Museum, (36.1 x 28.2 cm.)

New York, Hilla Rehay Collection The Solomon R. Guggenheim Museum,

New York, Hilla Rebay Collection

!s>": >f -V'.;^T<i>

154
 Vasily Kandinsky Vasily Kandinsky

90 Small Worlds Vlll (Kleine Welten Vlll). 91 Small Worlds IX (Kleine Welten IX).
1912 1921
Woodcut on p.ipcr, 15 x 10%" Drypoint on paper, 14% x n'/s"
(38 x 17.6 cm.) (37.7 x 28.2 cm.)

The Solomon R. Guggenheim Museum, The Solomon R. Guggenheim Museum,

New York, Hilla Rebay Collection New York, Hilla Rebay Collection

w&%>

Jr\^
**B P VV At m in /Ok ? Jr

155
JURYFREIE MURALS, 1922 92 a, b Bauhaus Students Executing
Murals for Juryfreie Exhibition.
192.2

Photographs
CollectionMusee National d'Art Moderne,
Centre Georges Pompidou, Paris

156
157
 a, b Mural for Juryfreie Exhibition. 192.1 Vasily Kandinsky Vasily Kandinsky
93
Photographs 94 Maquette for Mural for Juryfreie Exhi- 95 Maquette for Mural for juryfreie Exhi-
bition (Entwurf fiir das Wandbild in der bition (Entwurf fiir das Wandbild in der
Collection Musee National d'Art Moderne,
Juryfreien Kunstschau): Panel A. 1922 Juryfreien Kunstschau): Panel B. 1922
Centre Georges Pompidou, Paris
Gouache and white chalk on black paper Gouache and white chalk on black paper
mounted on cardboard, 13% x 23%" mounted on cardboard, 13% x 23 Yg"
(34.7 x 60 cm.) (34.7 x 60 cm.)
Collection Musee National d'Art Moderne, CollectionMusee National d'Art Moderne,
Centre Georges Pompidou, Paris, Centre Georges Pompidou, Paris,
Gift of Mme Nina Kandinsky Gift of Mme Nina Kandinsky

158
159
i6o
 Vasily Kandinsky Vasily Kandinsky Vasily Kandinsky
96 Maquette for Mural for Juryfreie Exhi- 97 Maquette for Mural for Juryfreie Exhi- 98 Maquette for Mural for Juryfreie Exhi-
bition (Entwurf fiir das Wandbild in der bition (Entwurf fiir das Wandbild in der bition (Entwurf fiir das Wandbild in der
Juryfreien Kunstschau): Panel C. 192.2. Juryfreien Kunstschau): Panel D. 1922 Juryfreien Kunstschau): The Four Corner
Gouache and white chalk on brown paper Gouache and white chalk on brown paper Panels, D-A,C-D,B-C,A-B. 1922
mounted on cardboard, I3yg x 23%" mounted on cardboard, I3 n/i6 x 22%" Gouache and white chalk on black paper
(34.7 x 60 cm.) (34.8 x 57.8 cm.) mounted on cardboard, I3 u/i6 x 22%"
CollectionMusee National d'Art Moderne, CollectionMusee National d'Art Moderne, (34.8x57.8 cm.)
Centre Georges Pompidou, Paris, Centre Georges Pompidou, Paris, CollectionMusee National d'Art Moderne,
Gift of Mme Nina Kandinsky Gift of Mme Nina Kandinsky Centre Georges Pompidou, Paris,
Gift of Mme Nina Kandinsky

161
 THE EARLY BAUHAUS

Lyonel Feininger
99 Untitled (Cathredral [Katbedrale]) for title
page of Programm des Staatlichen Bau-
bauses in Weimar. 1919
Woodcut on paper, iz x 7V2"
(30.5 x 19 cm.)
Collection The Art Institute of Chicago,
Department Purchase Fund 1966.41

162.
 Johannes Itten

ioo Encounter (Begegnung). 1916

Oil on canvas, 41% x 31 V2" (105 x 80 cm.)
Collection Kunsthaus Zurich

163
 Johannes Itten

101 Horizontal-Vertical (Horizontal-Vertikal).

1917
Colored pencils on paper, 87s x 87s"
(22.5 x 22.5 cm.)
Collection Anneliese Itten, Zurich

164
 Attributed to Johannes Itten
102 Chromatic Composition (Farbige
Komposition). ca. 1917
Tempera over pencil and colored papei on
paper, I3 13/Ux 878 " (35x 11.5 cm.)
Collection Bauhaus-Archiv, Berlin

Johannes Itten

103 Nude (Akt). 1923

Charcoal on paper, 17% x 12V2"
(45 x 31.8 cm.)
Collection Busch-Reisinger Museum,
Harvard University, Cambridge, Massa-
chusetts, Gift of Mr. and Mrs. Lyonel
Feininger

165
 w

Johannes Itten Johannes Itten

104 Analyses of Old Masters, Sheet (Analysen

1 105 Analyses of Old Masters, Sheet 6 (Analysen
alter Meister, Blatt 1) from Utopia. 1921 alter Meister, Blatt 6) from Utopia. 1921
Lithograph on paper, 12^16 x 9%" Lithograph on paper, I2 15/ls x yYz"
(32.8 x 24.5 cm.) (32.8x24.5 cm.)
Collection Anneliese Itten, Zurich Collection Anneliese Itten, Zurich

A I
JOHANNES ITTEN

ALTfR 1
*
Bescheidenheit
IHM -- UNBEGREIFLjCHEN
„«»„.,;.
cJje'Schwere
«™j grosse Demut

"^ EinsTcfi^ "^

v.,

— —= Hl^eie^i J

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w "^ w |
WWWW i !| lii:tl» ; :; ::::::;:::::i^-
:

:;;::::::iiiinit!::::::::::::i:;
P S 1C D« . 1H i; d 7 H A 1

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L. H. K IIIIJlll.llllllllIJl.ljj.lJlJjlj
'

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:::;:::!::n:::::::::::::^:;f:

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nuLiiiiiuiiiiiiiimiinmi..

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-Dcaken htint wicdftttinntrn' (PLATO)

Sihaflco heitil wlf derrnchaffrn
Geborcn wcrdcnhciiit wicdergeborcn wcrdfn
Peon fiott »dmf die Prta»tp*e» «ller Plate,

He» QctdmffcneM top

Anbe<lao Eln » «hrh»H dcokendcr Mciuch
wl/d nun Helc Folaerungto ktI-
Ikt ilthtn WmMrnrUm wlrd von
Irlit an nut ooch rnlereulerrn.
« < 1. h. I
v> ,, dieAnrrktnnunj
oMnrt Uh ~ 1 den bUdtodcn
Kfln.llrrh.

166
 Johannes Itten Johannes Itten

106 Analyses of Old Masters: Adoration of the 107 Meister Franks: Adoration of the Magi
Magi, Composition Analysis (Analysen (Reproduction and Diagram) (Meister
alter Meister, Anbetung der Konige, Kom- Franke: Anbetung der Konige [Repro-
positionsanalyse) from Utopia. 1921 duktion und Schema]) from Utopia. 1921
Lithograph on paper, i2>yi 6 x ^Ys" Collage of lithograph and paper on paper,
(32.8 x 24.5 cm.)
I2iy16 x 9%" (32.8 x 24.5 cm.)

Collection Anneliese Itten, Zurich Collection Anneliese Itten, Zurich

J<feefrn& ufca*f<r

y\. cf£<c istdal1otfaac!a<tcj)( A

^
W
3
ae.-ag:&?=

3 :

ad - ft = ititc ' A

167
 Johannes Itten

108 Color Sphere in Seven Gradations and

Twelve Colors (Farbenkugel in sieben
Lichtstufen und zwolj Tonen) from
Utopia. 1921
Color lithograph on paper, 18V2 x 12%"
(47 x 32 cm.)
Collection Anneliese Itten, Zurich

Werner Graeff
109 Rhythm Study from Itten' s Preliminary
Course (Rhythmus-Studie aus dem
Vorkurs Itten). 1920
"
Tempera on paper, 22V1,; x 28 l yi 6
(56x73.5 cm.)
Collection Bauhaus-Archiv, Berlin

Max Peiffer-Watenphul
no Nudes, Movements in Rhythm (Akte,
Bewegungen aus dem Rhythmus).
ca. 1920
Charcoal on paper, 97ls x 13%"
(14 x 35 cm.)
Collection Bauhaus-Archiv, Berlin

Farbenkugel
7 Lichtslufen ., 12 T6nen

168
I

169
 Friedl Dicker Vincent Weber
in Light-Dark Study (White and Black nz Color Contrasts (with Red) (Farbkon-
Circular Planes) (Hell-Dunkel-Studie traste [gegen Rotj). ca. 1920
[Weisse und schwarze Kreisflcichen]). Tempera on cut paper mounted on card-
ca. 1919 board, I2% 6 x 5
7 /16
" (31.5 x 18.5 cm.)
India ink and tempera over pencil Collection Bauhaus-Archiv, Berlin
on cut paper, ioV4 x 7Vs" (26 x 18 cm.)
Collection Bauhaus-Archiv, Berlin

170
 Ludwig Hirschfeld-Mack
113 Color Exercise —
Values Combined with
Yclloic, Blue,Green (Weiss-Schwarz
Stufen, im Cegensatz zu Gelb, Blan,
Griin). 1922
Gouache and collage on paper,
21% x i6'/8 " (55.2x42.2 cm.)
Collection Busch-Reisinger Museum,
Harvard University, Cambridge, Massa-
chusetts, Purchase, Germanic Museum
Association

"3 zi

171
 "

Ludwig Hirschfeld-Mack
1 14 Exercise in Advancing and Receding
Values (Gradationsstndie: raumliche
Wirkung). ca. 1922-23
Gouache on paper, 19% x 1 8 V4
(48.5 x 46.3 cm.)
Collection Busch-Reisinger Museum,
Harvard University, Cambridge, Massa-
chusetts

172-
 Ludwig Hirschfeld-Mack
1 15 a, b The Same Elements, Positive and Negative
(Gleicbe Elemente, positiv itnd
negativ). 1922
Spray technique on white paper and
black paper, 2. studies: white,
12% x •)">/% (32 x 24.5 cm.); black,
12x9%" (30.5 x 15 cm.)
Collection Bauhaus-Archiv, Berlin

173
 KANDINSKY'S THEORY OF
CORRESPONDENCES

Erl&uterung: Die 3 Grundlarben golb. rot. blau vertellt auf die zugehorlgen 3 Gn idformen glelchen
FIAchenlnhaltes, Dreleck, Quadrat, Kreis.
Daruntor die raumllchen Formen, Tetraeder, Kubus, Kugel.

Specie?Mat (Beruf)

GescMecht- ,.t. t _

Notional/fat; ^ Jr ',. « „

D'eWerk staff fur Wandmaterei im Staot/rchen Bauhaus

l&imor bitter ju experimenteften ftreciien der iferAstoff
um 8eoatw>rtung der fotgenden fnjge/)

t fJ/eJ Oufgezeichnersn formen mit 3 fhrben au^ufuffen-

ge/b. rot u btau und zwor so, Jo/? &ne tar/77 von e/ner
Forbe volistandig ausgefutff wrd-

2 Ifenn mogficfi eme Begryndung d/eser l/ertedungivgeoen

Begrundung: t'?-i < '.'Vrv

174
 Vasily Kandinsky
The Three Primary Colors Applied to the
Three Elementary Forms (Die drei Grund-
farben verteilt auf die drei Grundformen)
in Staatliches Bauhaus Weimar 1919-1923,
Weimar and Munich, 1913
Collection Bauhaus-Archiv, Berlin
(see cat. no. 319 for complete biblio-
graphical entry)

Vasily Kandinsky
116 Questionnaire from the Wall-Painting
Workshop, Filled Out by Alfred Arndt
(Fragebogen der Werkstatt fur Wandmale-
rei, ausgefiillt von Alfred Arndt). 1913
Multiple copy typeset on paper with lead
and colored pencils, 954 6 x ^Yu"
(23.3 x 15. 1 cm.)

Collection Bauhaus-Archiv, Berlin

Ludwig Hirschfeld-Mack
117 a-c Exercises in Basic Colors and Shapes
(Studien mit Grundfarben und- formen).
192.2

Gouache and collage on paper, 3 studies:

a. 11V2 x 17%" (29.2 x 45 cm.)
b. n 3/8 x 17%" (28.9 x 45.4 cm.)
c. 11% x 17%" (28.9x45 cm.)
Collection Busch-Reisinger Museum,
Harvard University, Cambridge, Massa-
chusetts, Purchase, Germanic Museum
Association

175
 Oskar Schlemmer Herbert Bayer
118 Atelier-Weimar. 1921-13 119 Design for Stairwell Mural, Weimar Bau-
Pencil on transparent paper, nx8 1
%e" haus (Entwurf fiir die Wandgestaltung des
(28 x 22.6 cm.) Nebentreppenhauses im Weimarer
Schlemmer Family Collection, Bauhaus-Gebaude). 1923
Staatsgalerie Stuttgart Gouache on paper, 26 x 15%"
{66 x 40 cm.)
Collection of the Artist

120 Stairivell Mural by Herbert Bayer, Weimar

Baubaus
Photograph
Collection of the Artist

176
v

-v, '-.,-<

SEKRETRRIHT

177
 EARLY BAUHAUS DESIGN

JULI -SEPTEMBER 1923.

b. 4?

178
li a-h Postcards for Bauhaus Exhibition (Post-
karten zur Baubaus-Ausstellung). 192.3

a. Lyonel Feininger b. Vasily Kandinsky

c. Paul Klce d. Ldszlo Moholy-Nagy
e. Rudolf Baschant f.,g. Herbert Bayer
h. Oskar Schlemmer
Lithographs on paper, each ca. $
1
Yic> x 4"
(15 x 10 cm.)

Collection Bauhaus-Archiv, Berlin

BAUHAUS
AUSSTELLUNG

AU55TELLUNG J
3ULI- SEPT. I92i A
W E I M A R SEPTEMBER

BAUHAUS-AUSSTELLUNG
WEIMAR. JUL -SEPT. 1923 I

179
 Oskar Schlemmer
122 Prospectus for Bauhaus Exhibition (Pros-
pekt fiir Bauhaus-Ausstellung). 1921
Lithograph on paper, 2 sheets, printed
on 2 sides, each 8 Vis x 1
n ^"
(20.5 x 30 cm.)

Collection Bauhaus-Archiv, Berlin

ERSTE
BAUHAUS-
AUSSTELLUNG
IN WEIMAR
HS SEPTEMBER J
f 1923 I

DAS STAATLICHB BAUHAUS

1st die ecste und bisher einzigo siaaiiicne Schule des Reicns wenn nlcht dec Well welche die icnopferischen Kratte blidonder
Kunsl autrult m
wlrken wahrend ste lebendig slnd und ruglelch mlt der Errlchtung ton Werksiailen au' handwerkllcher Grundlage dcren
••
Verblndung und fruchtbare Durchdrlngung ersirebt mil dem Zlel der Verclnlgung lm Bau. Oct Baugedanke soli die verlorene 1. >.

wlederbringen. die In elnem nrjrsaekien Akademikertum und elnem verbossellen Kunstgewerbi- jugrunde .{ing; er soil die grosse Be-
ziehung aula Ganie wiederhersleilen und in elnem hOchsIen Stnn das Gesamlkunslwerk ermoglichen Das Ideal 1st alt, seine Fassung
Jodoch Immer wleder neu, die Eriuilung 1st der Stll und nie war der Wllle ium SM machtiger als eben heuie. Aber die Verwlrrung der
Geisler und Begrirte macht, dnss Kampf und Strait um seln Wesen 1st, das aus dem Zusammenprall der Ideen heraus sieh bllden
wird als die neue Schbnhett. Elne solche Schule, bewegond und In slch selbsi bewegi, wird ungewollt ium Gradmesser der Er-
scbUtterungen des poMtlschen und gelstlgan Lebens der Zelt und die Geschlchte des Bauhauses wlrd zur Geschlchte gegent

iSPlI »"d Iur.iCr.lt ium Samme.punlrt MlW tile luHunttjainublg hlmmellturmend die Kathadrate des Sotia'llmwi boum wQllafl O'* tnuiYiph, ,on Indul
und lethnik vor dem Kneg und deren Orgie im Zoicban der Vemlchlung .•nrenddotsan. Helen |ene leidensehaWiche Romnntn. »«ch. die imrr. mender Pro
Ni gegen Maie'iaiumui und Meenonme'ung ion Kun» und leben Ore Not der Zeil mm auch dia Nol der Qeliler Eln Kuli de. Unoamunian. Undeuibai
•in Hang iu Mymk und Sekilere'ei enlipiang dem Snellen nnch dan lemon Oingen, die In eino Well >oll Zwollel und ZaMnenneii um IhfOn Sinn genu
iu warden drohian Dor Durchbrucn oer Benrke ktaniicner Anneiil. MrtUrkli die Gran lanloiigkeir det FUhiont. die in der Entdat hung dei Oiieni und der Kit'
der n™. Diucm. Kinder und Irren Nnhrung oder fieslllleung 'and Der Unprung kuniilerlicnen Scto-fani -urda aoanio geiuchl ole jam* Qremen >.

bang*" .r Ober 1" s,ni

eioliicher Luit am S10'

el *on Slondf grill GeoenOi

erglbl dat
tilhanismut aul Europe

I dar gelnne ^nba-renrten MOgl'chhei

"'<"' O-ganm
alur.gag/node, .en gagen H
n ium MaDilab

eft .Wonn die " "«"i slch verwirkhcnen. da&s die Menschen slch mil alien Ihren Kratlen. mlt Hen und Geisl, mil Versl.ind und -( . .l> 1

werelnigen und voneinander Kanntnis nelimen, so wlrd slch erelgnen, woran Jelzt noch koln Mensch denken kann Allah brauchl nichi m ^4^IIJ
scharlen, wir erschatfen seine Welt " Es 1st die Synthase, die Zusammenfaisung, Slelgeruni; und Vordliihtiing alles Poslllvon iur slorken Mlite^Jle
idee der Mine, torn iron Halbhelt und Schwacho, verslanden als Wage und Glelchgewicni wlrd zur Idee der deutschen Kunsl. Oeutschland, Land
der Mltte. und Weimar, Hen In dlesem. Is! nlcht turn ersten Mai WahlstaH gelstlger Entscheldung Es gent um die ErkenMnls dessen, was uns ge
mass 1st. um uns nlcM ;ie!1os iu verhersn Im Ausglelch der polaren Gegonsatie, lernste Vergangenheil wie fernste Zukuntt llebend. Reakllun wie
Anarchlsmus abgewandi, vom Selbsbweck. Elnzel-lch im Anmarsch aul das Typlsche. vom Prohlemalischon ium Gultlgen und Fesien so werdcn
wlr iu Tragcrn der Veiantworlung und ;um Gewlssen der Welt Eln Ideallsmus der Aktlvllal. der Kunsl und W>ssenschaH und Technik umlass!. durch-
drlngl und elnigt und der in Forschung Lohre - Arbeit wlrkl, wird den Kunst-Bau des Menschen auHOhren, der iu dem Weligobaude nur em

SINDI WIR WOLLENI m UND WIR SCHAFFEN'

Glelchnls 1st. Wlr konnen heute nlcht mehr tun, als den Plan des Ganzen
W R
bedenken, Grund :u Jegen und die Beusteme iu berelten. Aber

IN
I

W E I M R
180
DIE AUSSTELLUN6
zelgt Erzlehung und Biidung des Menschen auf dem Wege von Handwerk und Kuns! Die Schule
1923
AUSSTELLUNG VON
NATUR-STUOIEN
DIE will dan blldnerlsch Begabten aus dem nalven Basleln und Werken iu der Erkenntnis seine'
Mlttel und Ihrer (ja.sot.ie und daraus iur Frelhelt schopferlschen Gestaltens fuhren An Schul-
FORM- FARB- UND
MATERIE-STUDIEN
SCHULE belsp'elen soldier An mil besonderer Elnstellung aul das Werkmasslgo werden Lehrgange ga-
lelgt, die von programmallscher Bedeulung fUr den Kunstunterrlcht slnd.
MATERIALKOMPO-
SITIONEN
zelgen selbstandlge und auf den Bau beiogene Werkarbelt der TJschlerel, Holz- und Stelnblld- AUSSTELLUNG VON
DIE hauerel, WandmaTerel, Glas- und Metallwerktletlen, Tbpferel und Weberel Die Kenntnls des
Materials, seine Gesetze und Mogllchkelten, die Durchdrlngung des Handwerkllchen und f ormalen
EINZELERZEUGNI5SEN
(kUnstlerlsche Phantasle) soil aus dem Zusammenbruch des zunftmtisslgen Werkens von elnst und DER WERKSTATTEN
WERK- gelstloser Maschlnenarbell von haute lane Synthase herstellen, die ein Qebllde schtin, neu und
zweckmasslg macht. Auf dem Wege solcher Geslaltung 1st das Handwerk Im alten Slnne heute
FUR STEIN, HOLZ,
METALL, TON, GLAS,
STATTEN Uebergang, das die vollendele Mascnlne nlcht ausschllessL sondern erstrebt. Die Ueberleltung
der Schulwerkslatten In produktlve 1st elne Froge eber auch ein Oebot der Zelt.
FARBE. GEWEBE

lelgt das elnfache Haus und seine Elnrtchtung. Denn Sinn und Wesen der Bauhausarbelt 1st der EIN HAUS UND
Bau und unser unmlttelbares Zlel die Gestaltung unserer Wohnstatte nach den BedUrtnlssen und SEINE EINRICHTUNG
Mdgllchkellen heutlgen Lebens. Der Zusammenschlust elles werkmasslgen Gestaltens Im Dlenste SIEDLUNG5PLANE
DER elner Idee, der Bau- und Hausldee, die Zweckbezlehung und Blndung aller Telle macht kollektlve
Arbeit zur Notwendlgkelt und damlt den Bau lum Gemelnschaftswerk. Das Sledlungsgelande des
UND MAUSMODELLE
UTOPISCHES
BAU Bauhauses soil elnem weltgelessten Sledlungsplan dlenen, der Elnzelhauser, Bad, Spiel platz und
Garten umfassl. Das weltgasteckte Zlel das Bauhauses schllesst den metaphyslschen Bau nlcht
AUSSTELLUNG
INTERNATIONALER
aus. der liber die Schonhelt des Zweckvollen hlnaus als wahrharies Gesamthunstwerk die Ver-
wlrkllchung elner abstrakten monumentalen Schonhelt erstrebt ARCHITEKTEN

zeigen Elnzelwerke und Ihre Verelnlgung und Blndung durch Archltektur. Die Au'gabo der bil- INTERNATIONALE
MALEREI denden Kunst wer iu alien Zelten grossen Stlls elne ethlsche und sle wlrd es ternerhln seln. SloH
und Ideen der Darstellung haben slch gewandelt ebenso wle Hire Darstellungsmlttol. Mlt dai
KUNSTAUSSTELLUNG
AUSSTEUUNG VON
EINZEIWERKEN DER
UND Heraufkunft elner neuen Baukunst 1st die monumental^ Kunst heute wledor Im Werden. vorweg-
genommen oder vorbereltet Im Elnzelblld, das slch von archltektonlschen Vorslellungen leiten
BAUHAUSANGEHORi
GEN MALEREI UND
PLASTIK lasst oder auch liber Jegllche Bezlehung slch hlnwegsetzt. Solcrte Unabhanglgkclt schaftt Ihm
weltesten Splelraum und lasst es die Grenzen blldnerlschen Gestaltens kilhn erweltern.
PLASTIK IN RAUM-
LICHER BINDUNG

zeigl Schau-Splele, Splele zum Schauen verschledener Art, In denen die Ursprunge theatrallscher AUFFUHRUNGEN DER
DIE Kunsl zum Ausdruck kommen und zu neuen Wegen der Gestaltung luhren. Sle sollen elner neuen
8AUMAUSWOCHE
AUSSTELLUNG VON
Feslllchkell zum Siege helfen, die das Leben durchdnngt. Die Bunnenkunst glelch der Architefciur

D
BlIHNE

brlngt
Statt,
I

Vodrage
E
liber
Splelgango.Tanze. Ms
BAUHAUSW
elne synthetlsche Kunst 1st als Welt des Spiels und des Schems Zulluchtson des Irratlonalen

Bauha sbestrebungen, Uber Archltektur, Kunsl. Handwerk, Technlk. Industrie, Schule. Erzl
onetten- u Llchtsplele. Kino; Muslkallsche Voranstaltungcn; ein Fesl der Bauhausi n
FEN MO-

Park von Weimar oder Umgobung

DAS STAATLICHE BAUHAUS

LEITUNG
WALTER GROPIUS
SYNDIKUS
EMIL LAN6E
LEHRENDE MEISTER
FUR DIE FOBWIEHRE
LYONEL FEININGER, WALTER GROPIUS, JOHANNES ITTEN
WASSILY KANDINSKY. PAUL KLEE. GERHARD MARCKS
GEORG MUCHE. OSKAR SCHLEMMER, LOTHAR SCHREYER
GERTRUD GRUNOW. ADOLF MEYER
FUR DIE WEPKLEHRE
HEINRICH BEBERNISS. HELENS BORNER, CHRISTIAN DELL
ANTON HANDIK, JOSEF HARTWIG. MAX KREHAM
EMIL LANGE, CARL ZAUBITZER

181
 Alfred Arndt
123 Design for Advertisement (Entwurf fur
Anzeige). 1921
Tempera and ink on cardboard,
4V2 x 71/ns" (11.5 x 18 cm.)
Collection Bauhaus-Archiv, Berlin

1-/-2 .
S<

mi

182
 Wilhelm Wagenfeld and K.J. Jucker Metal Workshop, Weimar Bauhaus
124 GLiss Table Lamp (Glaslampe). Replica 125 Pot (Kanne). 1914
of 192.3-24 original
German silver, 6 1/\ ( " (17 cm.) h.
Glass and nickel-plated metal,
Collection Bauhaus-Archiv, Berlin
i4 3/i6 x 7V8 " (36 x 18 cm.)
Collection Lighting Associates, Inc.,
New York

183
 Josef Hartwig Marianne Brandt
126 Chess Set (Schach spiel). 1924 127 Ashtray (Aschenbecher). 1924
Wood board and 32 pieces, 13 x 13 x 3^" Brass and nickel-plated metal,
(33 x 33 x8.1cm.) 2'/bX4 s/i«" (6xii cm.)
Collection Busch-Reisinger Museum, Collection The Museum of Modern Art,
Harvard University, Cambridge, Massa- New York, Gift of John McAndrew
chusetts, Gift of Mrs. Lyonel Feininger

Marianne Brandt
128 Ashtray (Aschenbecher). 1924
Brass and nickel-plated brass,
2% 6 x 4 3/i 6 " (6.5 xn
cm.)
Collection Bauhaus-Archiv, Berlin

Marianne Brandt
129 Teapot (Tee-Extrakt-Kannchen). 1924
Brass, silver and ebony, 7.^Y\ 6 x 6V6
(7.5 x 15.5 cm.)
Collection Bauhaus-Archiv, Berlin

184
 1~**\

185
BAUHAUS MASTERS Paul Klee
130 Red Balloon (Roter Ballon). 192.2.

Oil (and drawing?) on chalk-

oil transfer
primed linen gauze mounted on board,
~lzV2 x 12.14" (3i-7 x 31. 1 cm.)

The Solomon
Collection R. Guggenheim
Museum, New York

186
 Paul Klee
131 Architecture (Arcbitektur). 1913
Oil on board, ziYm, x 14%" (57 x 37.5 cm.)
Collection Staatliche Musccn Preussischer
Kulturbesitz, Nationalgalerie Berlin

J 1 I

H I I H H

187
 "

Paul Klee
132 Tightrope Walker (Seiltanzer). 1923
Color lithograph on paper, 17V8 x io lA"
(43.5 x 26 cm.)
The Solomon
Collection R. Guggenheim
Museum, New York

Lyonel Feininger
133 Gaberndorf No. U. 1924
Oil on canvas, 39% x 301/2

(99-4 x 77-5 cm-)

Collection Nelson-Atkins Museum of Art,
Kansas City, Missouri, Gift of the Friends
of Art
HF^JrC?^ JS- ' WJBr ^»

189
190
 Oskar Schlemmer
134 Design for Two Figures from the Triadic
Bcillet (Yellow Sequence) (Zwei Figur inert
zum Triadischen Ballett [aus der Gelbcn
Reihejj. ca. 1919
Watercolor and pencil on paper,
"
8V2 x i2.3/8 (21.6 x 31.4 cm.)
Collection Graphisches Kahinett Kunst-
handel Wolfgang Werner KG, Bremen

Oskar Schlemmer
135 Figure Design Ki (Figttrenplan Ki). 1921
From Bauhaus Portfolio, Neue Europaische
GrafikI
Lithograph on paper, 15% x 7 9/h,"
(39.7x19.3 cm.)
Collection Bauhaus-Archiv, Berlin

Oskar Schlemmer
136 Figure Fiicing Right with Geometric
Forms (Figurine nach rechts mit
geomctrischcn Formen). 1923
Gouache on paper, 22I/8 x i6 9/\&"
(56.2 x 42.1 cm.)
Private Collection

191
 Laszlo Moholy-Nagy
137 Construction (Konstruktion). 1913
From Kestner Gesellschaft Portfolio
"
Lithograph on paper, 23 9/i S x i7 5/i S
(59.8 x44 cm.)
Collection University Art Museum,
University of California, Berkeley

192
 L.iszlo Moholy-Nagy
138 Construction (Konstritktion). 1923
From Kestner Gcsellschaft Portfolio
Lithograph on paper, 23% x ijYh"
(60.4 x 44 cm.)
Collection University Art Museum,
University of California, Berkeley

193
i 94
 Laszlo Moholy-Nagy
139 Z ///. 1912
Oil on canvas, 37 ! yi6 x 2.9%"
(96x75.5 cm.)
Private Collection, Rheinland

Laszlo Moholy-Nagy
140 Untitled Pbotogram (Fotogramm
ohne Titel). 1913 (?)
Photogram, i$Vs x 11" (38.5 x 2.8 cm.)
Collection Bauhaus-Archiv, Berlin

195
 Laszlo Moholy-Nagy
141 2 II. 1925
Oil on canvas, 37 % x 29 y8 "
(95-4x75.1 cm.)
Collection The Museum of Modern Art,
New York, Gift of Mrs. Sibyl
Moholy-Nagy, 1956

196
KANDINSKY'S ART, 1923-1925 142 Kandinsky with Wither Gropius and
J.J.P. Oud. Weimar, August r.923

Photograph
Collection Musee National d'Art Moderne,
Centre Georges Pompidou, Paris

197
 Vasily Kandinsky

143 In the Black Circle (hn schwarzen Kreis).

January 1913
(HL z 49 )

Oil on canvas, 51^6 x 51M6"

(130 x 130 cm.)
Collection Mr. and Mrs. Adrien Maeght

198
 Vasily Kandinsky

144 On White (Auf Weiss). February-April

1923
(HL 253)
g"
Oil on canvas, 41 V2 x 3 8 ^i
(105.5 x 98 cm.)
Collection Musee National d'Art Moderne,
Centre Georges Pompidou, Paris,
Gift of Mme Nina Kandinsky
 Vasily Kandinsky

145 Traversing Line (Ditrcbgebender Strich).

March 1923
(HL255)
Oil on canvas, 55V2 x 79 Vi" ( I4 I x 202 cm.)
Collection Kunstsammlung Nordrhein-
Westfalen, Diisseldorf

200
 Vasily Kandinsky
146 hi the Black Square {l»i schwarzem
Viereck). June 1913
(HL 259)
Oil on canvas, 38% x 36%" (97.5 x 93 cm/
Collection The Solomon R. Guggenheim
Museum, New York, Gift of Solomon
R. Guggenheim, 1937

20I
 Vasily Kandinsky

147 Composition 8 ({Composition 8). July 1923

(HL 160)
Oil on canvas, 55% x 79 1/s" (104 x zoi cm.)
The Solomon R. Guggenheim
Collection
Museum, New York, Gift of Solomon R.
Guggenheim, 1937

Z02
 Vasily Kandinsky
148 Study for "Composition 8" (Entivurf fiir

"Komposition 8"). 1923

Pencil, India ink and watercolor on paper,
14%" (27.8 x 37.7 cm.)
io 15/i 6 x
Collection Musee National d'Art Moderne,
Centre Georges Pompidou, Paris,
Kandinsky Bequest

Vasily Kandinsky

149 Free Relationship (Freie Beziehung).

July 192.3
Watercolor, India ink and pencil on paper,
14% x 14%" (37.3 x 36.5 cm.)
CollectionThe Hilla von Rebay Foundation

203
 Vasily Kandinsky
150 Circles in a Circle (Kreise im Kreis).
July 19Z3
(HL261)
Oil on canvas, 38% x ~ijy%' (98.5 x
95.6 cm.)
Philadelphia Museum of Art, The Louise
and Walter Arensberg Collection

ZO4
 Vasily Kandinsky
151 Drawing No. 1 (Zeichnung Nr. 1). 192-3

Conte crayon and India ink on cardboard,

I2,y8 x8>y16 " (31.5 x 11.7 cm.)
Collection Musee National d' Art Moderne,
Centre Georges Pompidou, Paris,
Kandinsky Bequest

o
o

205
 Vasily Kandinsky
152 Yellow Accompaniment (Gelbe
Begleitung). February-March 1914
(HL 269)
Oil on canvas, 39% x 38%"
(99.2x97.4 cm.)
The Solomon R. Guggenheim
Collection
Museum, New York, Gift of Solomon
R. Guggenheim, 1939

206
 Vasily Kandinsky

153 Bright Lucidity (Helle Klarheit).

May 1914
Watcrcolor, wash, gouache and India ink
on paper, 20 x 14%" (50.7 x 36.5 cm.)
Collection The Hilla von Rebay Foundation

2.0-,
 Vasily Kandinsky

154 One Center (Ein Zentrum). November-

December 1924
(HLz8 5 )

Oil on canvas, 55% x 39%"

(140.6 x 99.5 cm.)
The Solomon R. Guggenheim
Collection
Museum, New York, Gift of Solomon
R. Guggenheim, 1937

208
 Vasily Kandinsky
155 Elementary Effect (Elementare Wirkung).
December 1924
India ink and watercolor on brown-
washed paper mounted on cardboard,
i3%6 x 8iylf," (34.5 x zz.7 cm.)
Collection Musee National d'Art Moderne,
Centre Georges Pompidou, Paris,
Gift of Mme Nina Kandinsky

209
 Vasily Kandinsky
156 In Blue (Im Blau). January 192.5

(HL288)
Oil on paperboard, 31V2 x tfYu"
(80 x no cm.)
Collection Kunstsammlung Nordrhein-
Westfalen, Diisseldorf

2IO
 Vasily Kandinsky
157 Pointed and Round (Spitz nnd Rund).
February 1925
(HL 193)
Oil on board, 27V2 x i9 5/s" (69.8 x 50 cm.)
Collection The Solomon R. Guggenheim
Museum, New York, Gift of Solomon
R. Guggenheim, 1937

2.II
 Vasily Kandinsky
158 Above and Left (Oben und links).
March 1915
(HL z 94 )

Oil on wood, 2.7V2 x 19V2" (69.9 x 49.5 cm.)

Collection Fort Worth Art Museum

212
 Vasily Kandinsky

159 Black Triangle (Scbwarzes Dreieck).

June 192.5
(HL 320)
Oil on cardboard, 311/8 x ZlVts"
(79 x 53-5 cm-)
Collection Museum Boymans-van
Beuningen, Rotterdam

213
III. KANDINSKY AT THE BAUHAUS IN DESSAU
AND BERLIN, 1925-1933

Hugo Erfurt
160 Kandinsky: Dresden, 192.5

Photograph
CollectionMusee National d'Art Moderne,
Centre Georges Pompidou, Paris

161 Kandinsky's Bauhaus Identification Card.

Dessau, Summer 1927
Photograph
Collection Musee National d'Art Moderne,
Centre Georges Pompidou, Paris

162 Kandinsky in Class at Dessau Bauhaus.

1931
Photograph
Collection Bauhaus-Archiv, Berlin

214
 ausweis

bauhaus dessau

s-y

ist sl u wo r o wap des bauhauses in dessau

"5
 163 Aerial View of the Dessau Baubaus.
1925-26
Photograph
Collection Musee National d'Art Moderne,
Centre Georges Pompidou, Paris

216
164 Faculty at Dessau Bauhaus. 1926
Photograph
CollectionMusee National d'Art Moderne,
Centre Georges Pompidou, Paris

217
 165 Kandinsky and Klee Imitating the
Monument to Goethe and Schiller.
Hendaye-Plage, 1929
Photograph
CollectionMusee National d'Art Moderne,
Centre Georges Pompidou, Paris

218
KANDINSKYS APARTMENT, Lucia Moholy
BAUHAUS MASTERS' HOUSE 166 Bauhaus Masters' Houses, Dessdii. 1926
Photograph
Courtesy Lucia Moholy

ZI9
 Lucia Moholy
167 Vastly and Nina Kandinsky in Dessau
Dining Room. 1926
Photograph
Courtesy Lucia Moholy

220
i68 View into Kandinsky's Dessau Dining
Room with Marcel Bretier Furniture.
1932
Photograph
CollectionMusee National d'Art Moderne,
Centre Georges Pompidou, Paris

169 Kandinsky's Dessau Living Room with

Two Paintings by Henri Rousseau. 1932
Photograph
CollectionMusee National d"Art Moderne,
Centre Georges Pompidou, Paris

221
 170 Kandinsky and Klee. Dessau, 1930
Photograph
CollectionMusee National d'Art Moderne,
Centre Georges Pompidou, Paris

171 Kandinsky and Klee Seen from Above.

Dessau, 1930
Photograph
Collection Musee National d'Art Moderne,
Centre Georges Pompidou, Paris

172 Kandinsky in Lounge Chair. Dessau, 1931

Photograph
Collection Musee National d'Art Moderne,
Centre Georges Pompidou, Paris

222
2Z3
 173 Albers and Kandinsky. Dessau, Summer
1931
Photograph
Collection Musee National d'Art Moderne,
Centre Georges Pompidou, Paris

174 Kandinsky Seated on Balustrade.

Dessau, 1932
Photograph
CollectionMusee National d'Art Moderne,
Centre Georges Pompidou, Paris

2-2-4
 Marcel Breuer
175 a-e Kandinsky's Dessau Dining-Room Table
and Four Chairs. 1926
a. Table, white lacquered wood and metal,
x io 8 cm.); b.-e. chairs,
29VS1 x 42.V6" (74
wood, metal and black fabric, each 377k,"
(95 cm.) h.
CollectionMusee National d'Art Moderne,
Centre Georges Pompidou, Paris,
Kandinsky Bequest

225
 Marcel Breuer
176 "Wassily" Chair (Sessel "Wassily").
1925-16
Nickel-plated steel tube and canvas,
i9 lA" (74 cm.) h.
Collection Bauhaus-Archiv, Berlin

Vasily Kandinsky and Vladas Svipas

177 Design for Kandinsky's Dessau Studio

(Entwurf des Ateliers Kandinsky in
Dessau). 1926
Gustav Adolf Platz, Die Baukunst der
neuesten Zeit, Berlin, 1927, pi. xx
Collection Bauhaus-Archiv, Berlin

2.26
 Alfred Arndt
178 Color Design for the Exterior of the
Masters' Houses, Dessau (Ftirhpliine fur
die Aussengestaltung der Meisterhauser).
Dessau, 1926
Tempera and ink on paper
mounted on gray cardboard, 29 15/i6
x izVie" (76 x 56 cm.)
Collection Bauhaus-Archiv, Berlin

227
POINT AND LINE TO PLANE Oskar Schlemmer
179 Point-Line-Plane (Kandinsky) (Punkt-
Linie-Fliiche [Kandinsky j). 192.8

India ink and collage on paper,

15 x 7 15/l6" (io.i x 20.1 cm.)
7 /i6
Schlemmer Family Collection,
Staatsgalerie Stuttgart

2.2.!:
 Vasily Kandinsky Vasily Kandinsky
180 Jacket Design for Point and Line to Plane 181 Drawing No. 10 ("Centralized complex
(Umschlagentwurf fiir Ptmkt und Linie ztt 0/ free points") ("Zentraler Komplex
Flache). 1925 freier Ptinkte' ). 1925
India ink and gouache on paper, India ink on paper, sVu x sVs"
io 7/i6 x 7Yl6 " (16.5 x 18.5 cm.) (13.2 x 13. 1 cm.)
CollectionMusee National d'Art Moderne, CollectionMusee National d'Art Moderne,
Centre Georges Pompidou, Paris Centre Georges Pompidou, Paris,
Kandinsky Bequest

22<?
 Vasily Kandinsky
182 Drawing No. 9 ("Line: [Simple and unified
complex of a number of free lines], made
more complicated by a free spiral")
("Linie: [Einfacber und einheitlicher Kom-
plex einiger Freier], durch freie Spirale
verkompliziert"). 1925
India ink on paper, 15 x 9 u/u"
(38.1 x 24.5 cm.)
CollectionMusee National d'Art Moderne,
Centre Georges Pompidou, Paris,
Kandinsky Bequest

230
 Vasily Kandinsky Vasily Kandinsky

181 Drawing for Point and Line to Plane 184 Drawing for Point and Line to Plane
("Point: Cool tension toward center") ("Point: Progressive dissolution") (Zeich-
(Zeichnung fiir Punkt und Lime zu Fldche nung jiir Punkt und Linie zu Fldche
["Ptinkt: Kiihle Spawning zum Zen- ["Punkt: Vorsichgehende Aufl&sung"]).
trutn'l). 1925 1925
India ink, chalk and gouache on paper, Pencil, India ink and gouache on paper,
10x71/4" (15.6x18.5 cm.) 10 x 714" (25.6 x 18.5 cm.)
CollectionMusee National d'Art Moderne, CollectionMusee National d'Art Moderne,
Centre Georges Pompidou, Paris Centre Georges Pompidou, Paris

231
 Vasily Kandinsky
185 Drawing No. 1 ("Point: 9 Ascending
points") ("Punkt: 9 Punkte im Aujstieg").
1925
India ink and India ink wash on paper,
1211/16x8%" (31.2.x 2.1.3 cm.)
Collection Musee National d'Art Moderne,
Centre Georges Pompidou, Paris

232
 Herbert Bayer
1 86 Mignonette Green (Mignonette Griin).
1915
Watercolor on paper, 17V2 * 27"
(44.5 x 68.5 cm.)
Collection Busch-Reisinger Museum,
Harvard University, Cambridge, Massa-
chusetts, Gift of the Artist

2-33
 KANDINSKY'S ART, 1926-1927 Herbert Bayer Vasily Kandinsky
187 Poster for Kandinsky Exhibition (Plakat 188 Several Circles (Einige Kreise). January-
fiir Kandinsky Ausstellung). Dessau, 1926 February 1926
Letterpress gravure on paper, (HL "
323)
i8i/4 x 25W (46.3 x 65.5 cm.) on on canvaSi S5 y4 x 55 3/8
„
Collection The Museum of Modern Art, (140-3 x 140.7 cm.)
New York, Gift of Mr. and Mrs. Alfred PolW,;™ -ru„ c„i d r u
Collection 1 he Solomon R. Guggenheim
tt d T
Jr
Museum, New York,
-
'
Gift of Solomon R.
Guggenheim, 1941

!$uU ,ssTB 13 -

I
AQUARELLE
GEMALDE

aUMS.*U5STHU«H3
jUB1

GEBURTSTAG

2-34
*35
 Vasily Kandinsky

189 First Study for "Several Circles" (Erster

Entwurf fiir "Einige Kreise"). 1916
on paper,
Pencil and India ink
i4% 6 x 14%" x 37.4 cm.)
(36.6
Collection Musee National d'Art Moderne,
Centre Georges Pompidou, Paris,
Kandinsky Bequest

236
 Vasily Kandinsky
190 Accent in Pink (Akzent in Rosa). 1916
(HL 32.5)

Oil on canvas, 39%6 x 3i"/i6"

(100.5 x 8°-5 cm.)
CollectionMusee National d'Art Moderne,
Centre Georges Pompidou, Paris, Gift of
Mme Nina Kandinsky

2-37
 Vasily Kandinsky

191 Blue (Blau). April 19Z7

(HL393)
Oil on cardboard, 19% x 14V2"
(49.5 x 36.9 cm.)
Collection The Museum of Modern Art,
New York, Kathenne S. Dreier Bequest,
1953

238
 Vasily Kandinsky

192 Tension in Red (Spannung in Rot). 1926

(HL 326)
Oil on board, 26 x 21%"
(66 x 53.7 cm.)
Collection The Solomon R. Guggenheim
Museum, New York, Gift of Solomon R.
Guggenheim, 1938

239
 Vasily Kandinsky

193 Sharp Hardness (Scharfe Harte).

August 1926
(HL341)
Oil on paperhoard, z^Yk, x i3 n/i6"
(60.8 x 34.7 cm.)

Collection Wilhelm-Hack-Museum,
Ludwigshafen

wwwvyyw

240
 Vasily Kandinsky

194 Line-Spot (Linie-Fleck). 1927

(HL 409)
Oil on paperboard, iSYk, x 26%"
(45.8 x 65.4 cm.)
Collection The Santa Barhata Museum of
Art, Gift of Mr. and Mrs. Ira Gershwin

241
 Vasily Kandinsky

195 Hard but Soft (Hart, abet weich).

October 1927
Watercolor, opaque white and India ink
on paper, 19 x 12%" (48.3 x 32.2 cm.)
Collection The Solomon R. Guggenheim
Museum, New York, Gift of Solomon R.
Guggenheim, 1938

242.
COLOR THEORY Vasily Kandinsky

196 Yellow-Red-Blue (Gelb-Rot-Blau).

March-May 1925
(HL314)
Oil on canvas, 50% x 79%"
(128 x 201.5 cm -)
CollectionMusee National d'Art Moderne,
Centre Georges Pompidou, Paris

143
Color Systems and Sequences Eugen Batz Eugen Batz
197 Six-Part Color Circle (Sechsteiliger 198 Stepped Color-Scale (Getreppte farb-
Farbkreis). 1930 skala). 1930
Tempera over pencil on cardboard, Tempera over pencil on cardboard,
77i6X7 7/i 6 " (18.9x18.9 cm.) 9 9
7 /i6 x 7 /16
" (19.2. x 19.Z cm.)
Collection Bauhaus-Archiv, Berlin Collection Bauhaus-Archiv, Berlin

244
 Eugen Batz Lothar Lang
199 Color Scale (Farbleiler). 1930 200 Color Scale (Farbskahi). n.d.
Tempera over pencil on cardboard, Tempera over pencil on cardboard
ii 15/l S x 5i/16 " (30.3 x 12.8 cm.) mounted on black photographic paper,
Collection Bauhaus-Archiv, Berlin 11% x 17V2" (*9-8 x 44.5 cm.)
Collection Bauhaus-Archiv, Berlin

2-45
 Vasily Kandinsky
201 Cool Condensation (Kiible Verdichtung).
June 1930
(HL518)
Oil on cardboard, 19^5 x I4%6"
(49 x 37 cm.)
Private Collection, Switzerland

t ^ *

Z46
Correspondence of Color and Form Vasily Kandinsky
202 Three Sounds (Drei Kldnge).
August 1916
(HL343)
Oil on canvas, 23ys * ZIV2"
(S9-9 * 59-6 cm.)
The Solomon R. Guggenheim
Collection
Museum, New York, Gift of Solomon R.
Guggenheim, 1941

247
 Eugen Batz
203 Correspondence Between Colors and
Forms (Korrespondenz zwischen Farben
und Formen). 1929-30
Tempera over pencil on black paper,
i6 n/i6 x i3 15/i 6 " (4*-3 x 32-9 cm.)
Collection Bauhaus-Archiv, Berlin

248
 Friedly Kessinger-Petitpierre Friedly Kessinger-Petitpierre

104 Relationship of Angles to Colors (Die 205 Colored Angles and Basic Color Rela-
Winkel in Beziehung zur Farbe). 1929-30 tionship (Farbige Winkle und elementare
Farbbeziehung). 1929-30
Watercolor, colored pencils, ink and
typed texts on paper, 11% x 8%" Colored pencils and typed text on paper,
(30.Z x 2.2.-6 cm.) n /16 x 878 " (30-3 x 2i -4 cm ->
15

Collection Bauhaus-Archiv, Berlin Collection Bauhaus-Archiv, Berlin

di« wlnkel in b«zi«huiig zur fnrb«

IJiiiii

I riiijgffigrrr
1 1 n nn
f
farbipe «rtnk«l und •l«Dentnr« f arbb*ciehung

249
 Fritz Tschaschnig Hans Thiemann
206 Correspondence Between Colors and Lines 207 Representation of a Curve in Color (Far-
(Korrespondenz zwischen Farben und bige Darstellung einer Gebogenen).
Linien). 1931 ca. 1930

Tempera over pencil on black cardboard, Tempera over pencil and typed texts
i6"/i6 x 13" (41.4 x 33 cm.) on cardboard and paper, i^Ym x 13%"
Collection Bauhaus-Archiv, Berlin (49-3 x 34-9 cm.)
Collection Bauhaus-Archiv, Berlin

^H

1
. . 4; S,fflSP'%^'^HB&*'

250
 Color Interrelationships

Vasily Kandinsky
208 Chord (Zweiklang). June 1928
Gouache on paper, 19^ x 12-%"
(48.9 x 32.4 cm.)
CollectionMusee National d'Art Moderne,
Centre Georges Pompidou, Paris,
Kandinsky Bequest

Vasily Kandinsky
209 Two Squares (Zwei Quadrate). June 1930
(HL524)
Tempera on cardboard, 13 Vis x 9%s"
(33.2 x 23.6 cm.)
CollectionMusee National d'Art Moderne,
Centre Georges Pompidou, Paris,
Kandinsky Bequest

2-51
 Eugen Batz
210 a-c Color Studies (Farbstudien). 1929-30
Mixed media collage, 3 studies, each
n I3/i6 x 8i'/i 6 " (30 x 21.2 cm.)
Collection Bauhaus-Archiv, Berlin

L52
2-53
 Eugen Batz
zn Color Contrasts (Farbkontraste).
1929-30
Tempera over pencil on paper,
16% x I2iyi 6 " (42.3 x 32.9 cm.)

Collection Bauhaus-Archiv, Berlin

2-54
 Lothar Lang
212 Free Color Study (Freie Farbstudie).
1926
Tempera and ink over pencil on
cardboard, 15'^ x n %" (39.4 x 30.2 cm.]
Collection Bauhaus-Archiv, Berlin

is it-

I **-*

155
 Hans Thiemann
213 Accenting the Center; Balance, Above and
Below (Betonung des Zentrams, Ansgleich
von oben und unten). ca. 1930
Tempera and watercolor over pencil
with typed texts on paper mounted on
cardboard, i^Yi^ x i3 u/i6" (-19- 1 x 34-8 cm.)
Collection Bauhaus-Archiv, Berlin

256
 Lothar Lang
214 Center Accented by the Blue-Red Oppo-
sition (Mitte betont durcb Wettstreit
blau-rot). 1919
Tempera over pencil on cardboard,
12 x n 13
/i6" (30.5 x 30 cm.)
Collection Bauhaus-Archiv, Berlin

2-57
 Karl Klode
215 Transparent and Opaque Planes with
Weight Above (Durchsichtige and
undurchsichtige Fldchen mit Schiverge-
wicbt oh en). 1931
Tempera on cardboard mounted on card-
board, 11% x 14%" (30.Z x 37.7 cm.)
Collection Bauhaus-Archiv, Berlin

258
Color and Space Vasily Kandinsky
216 Unstable (Haltlos). November 1924
Watercolor, gouache, wash, India ink and
pencil on paper, nVi x io'/s"
(29.2 x 25.7 cm.)
CollectionThe Hilla von Rebay Foundation

2-59
z6o
 Vasily Kandinsky
217 Into the Dark (Ins Dunkel). May 1918
Watercolor on paper, 18% x 12 V2"
(48 x 31.8 cm.)
Collection The Hilla von Repay Foundation

Hans Thiemann
218 Yellow Forms on Blue Ground and Blue
Forms on Yellow Ground (Gelbe Formen
auf blatien Grund und blaue Formen auf
gelben Grund). ca. 1930

Colored papers over pencil with typed

texts on cardboard, 19% x 13M"
(49.2 x 34.9 cm.)
Collection Bauhaus-Archiv, Berlin

1
:

,: .

261
 Eugen Batz
219 Color Scale in Concentric Circles (Farb-
skala, angelegt ah konzentrische Kreise).
1930
Tempera over pencil on cardboard,
77l6X7l/2 " (19 x i9-i cm-)

Collection Bauhaus-Archiv, Berlin

z6z
 Eugen Batz
220 Spatial Effect of Colors and Forms (Raum-
liche Wirkung von Far ben und Formen).
1929-30
Tempera over pencil on paper,
i5 7
/ir, x I2'5/I6 " (39.2 x 32.9 cm.)
Collection Bauhaus-Archiv, Berlin

263
 Fritz Tschaschnig
221 Spatial Effect of Colors and Forms (Raum-
liche Wirkung von Farben und Formen).
1931
Tempera over pencil on paper,
i6 u/i6 x 13V16" (4M x 33-i cm.)
Collection Bauhaus-Archiv, Berlin

264
 :

ANALYTICAL DRAWING Vasily Kandinsky

AND FREE STUDIES Analytical Drawing (Analytisches Zeicb-

nen), Bauhaus, vol. z, no. 2-3, 1928
Collection Bauhaus-Archiv, Berlin
(see cat. no. 324 for complete biblio-
graphical entry)

n
^

2 unterrlcht
mi<iyilicn«<

4 untorrichi kandlnsky
analytisches zelchnen
zweKe itufo:
gegensiande erkannilich, hiupls Unnungen fluich firbe,
wesendicha gewlchte (lurch yen rkte Mnien beieiehnet,
ausgangspunkl des konstruktlven
links Oben: knappes schemi.
•rich Irltuche

3 untarricht Kandinsky:
analyttactiea zalchnan
drltt* stuls;
gegeniUnde vollkommen In ensfgiespjfuiungen ubersetzt,
_ " erschiebungen In olnielnen
roQir lulbBL
frltt flu

265
 Vasily Kandinsky
Dance Curves: The Dances of Palucca
(Tanzkurven: zu den Ta'nzen der Palucca),
Das Kunstblatt, vol. 10, March 1926
Collection The Museum of Modern Art
Library, New York
(see cat. no. 310 for complete biblio-
graphical entry)

z66
 Lothar Lang
222 Analytical Drawing (Analytische Zeicb-
nitng). 1926-27
Ink and pencil on cardboard,
ii«/i6 x SY8 " (29.6 x 21.8 cm.)
Collection Bauhaus-Archiv, Berlin

Lothar Lang
223 Analytical Drawing (Analytische Zeich-
nung). ca. 1926-27

Ink and pencil on cardboard,

9 /s x 7 A" (2-3-i x 18.4 cm.)
l X

Collection Bauhaus-Archiv, Berlin

267
 Hans Thiemann
224 Principal Tension (the Green Triangle),
Overlaid with Network of Secondary
Tensions (Eine Hauptspannung [das
griine Dreieck], dariiber ein Netz von
Nebenspannungen). ca. 1930
Colored inks on paper with transparent
paper with type mounted on cardboard,
2 layers, i9% 6 x 13%"
(49.3 x 34.9 cm.)
Collection Bauhaus-Archiv, Berlin

•
.

z68
 Bella Ullmann-Broner
225 Analytical Drawing (Analytische Zeicb-
nung). 1929-30
Tempera over pencil on cardboard and
colored inks on transparent paper, 3 layers,
8'/i x n'/s" (20.9 x 28.2 cm.)

Collection Bauhaus-Archiv, Berlin

269
 Charlotte Voepel-Neujahr
226 Analytical Drawing with Schema (Analy-
tische Zeichnung wit Schema). 1927-18
Colored and lead pencils on transparent
paper,7% 6 x 11" (19.2 x 27.9 cm.)
Collection Bauhaus-Archiv, Berlin

Charlotte Voepel-Neujahr
227 Analytical Drawing (Analytische Zeich-
nung). ca. 1927-28
Tempera over pencil on cardboard,
11% x 9V2" (2.9.9 x 2 4- T cm -)
Collection Bauhaus-Archiv, Berlin

*7 l

2.70
 .

Charlotte Vocpcl-Neujahr
228 Analytical Drawing with Schemata (Analy-
tiscbe Zeicbnung mil Schemata).
ca. 1927-18

Colored and lead pencils on transparent

paper, 7 9/i 6 x n" (19.2 x 27.9 cm.)
Collection Bauhaus-Archiv, Berlin

Charlotte Voepel-Neujahr
229 Color Composition After an Analytical
Drawing (Farbkomposition nach analy-
tischer Zeicbnung). ca. 1927-28

Tempera over pencil on cardboard,

I3 3/8X 9V4" (34x23.5 cm.)
Collection Bauhaus-Archiv, Berlin

271
 Friedly Kessinger-Petitpierre Friedly Kessinger-Petitpierre

230 The Square, Sheet $ (Das Quadrat, 231 The Square, Sheet 11 (Das Quadrat,
Blatt j). 1930 Blatt 11). 1930
Ink on cardboard, 10*4 x io-Vs" Ink on cardboard, 1014 x 10I4"
(26 x 26.4 cm.) (26.1 x 26 cm.)
Collection Bauhaus-Archiv, Berlin Collection Bauhaus-Archiv, Berlin

2.72.
 Hermann Roseler
>.}Z Composition ({Composition). 192.7
Oil on composition hoard,
15% xi$y4 " (40 x40 cm.)
Collection Bauhaus-Archiv, Berlin

2-73
 1

Karl Klode
233 Untitled Composition (Komposition ohne
Titel). 193
Oil on jute-covered plywood,
24% x 23V2" (62.8 x 59.7 cm.)
Collection Bauhaus-Archiv, Berlin

2-74
"PICTURES AT AN Vasily Kandinsky

EXHIBITION" AND THE 234 Scene II, Gnome (Bild II, Gnomus).
1928
BAUHAUS THEATER
Stage set for Mussorgsky's Pictures at an
Exhibition, Friedrich-Theater, Dessau
Tempera, watercolor and India ink on
paper, 8Vu x r4Vis" (10.5 x 35.8 cm.)
Collection Theatermuseum der Uni-
versitat Kbln

2-75
 Vasily Kandinsky

235 Scene XU, The Marketplace in Limoges

(Bild XII, Der Marktplatz in Limoges).
1928
Stage set for Mussorgsky's Pictures at an
Exhibition, Friedrich-Theater, Dessau
Tempera, watercolor and India ink on
paper, 6 l/2 x 14^16" (16.5 x 36 cm.)
Collection Theatermuseum der Uni-
verstat Koln

276
 Vasily Kandinsky

236 Figure for Scene XII, Markctwoman

(Figurine zu Bild XII, Marktfrau). 192.8

Figure/costume design for Mussorgsky's

an Exhibition, Friedrich-
Pictures at
Theater, Dessau
Tempera, watercolor and India ink on
paper, 6 13/i 6 x $VS " (17.3 x 13 cm.)
Collection Theatermuseum der Uni-
versitat Koln

Vasily Kandinsky

237 Scene Xlll, The Catacombs (Bild XIII,

Die Katakomben). 1928
Stage set for Mussorgsky's Pictures at an
Exhibition, Friedrich-Theater, Dessau
Tempera, watercolor and India ink on
paper, 9% 6 x 9 7/16 " (14 x 14 cm.)
Collection Theatermuseum der Uni-
versitat Koln

2-77
 Vasily Kandinsky
238 Scene XV, The Hut of Baba Yaga (Bild XV,
Die Hiitte der BabaYaga). 1928
Stage set for Mussorgsky's Pictures .it an
Exhibition, Friedrich-Theater, Dessau
Tempera, watercolor and India ink on
paper, y^/u x 11%" (i9-9 x 29-9 cm.) 0000 0000 00
Collection Theatermuseum der Uni-
versitat Koln O0ooooo C o
O

Vasily Kandinsky
o
°C°OU W
! , ;] ° ° O ° ° °

239 Scene XVI, The Great Gate of Kiev (Bild

XVI, Das grosse Tor von Kiev). 1928
Stage set for Mussorgsky's Pictures at an c
Exhibition, Friedrich-Theater, Dessau
0000
Tempera, watercolor and India ink on
paper, 8 3/8 x 10% " (21.2 x 27.3 cm.) 000 000
O °
o
Collection Theatermuseum der Uni-
versitat Koln

278
 Vasily Kandinsky

240 Figures for Scene XVI (Figurinen zu Bild

XVI). 1928
Figure/prop designs for Mussorgsky's
an Exhibition, Friedrich-
Pictures at
Theater, Dessau
Tempera, watercolor and India ink on
paper, %Y\ 6 x 14" (zo.8 x 34.5 cm.)
Collection Theatermuseum der Uni-
versitat Koln

2-79
 Oskar Schlemmer
241 Costume Designs for the "Triadic Ballet"
(Figurenplan fiir das "Triadische Ballett").
ca. 1922.

Watercolor, gouache and ink over graphite

and collage of typewritten legends on
paper, 15 x 21" (38.1 x 53.3 cm.)
Collection Busch-Reisinger Museum,
Harvard University, Cambridge, Massa-
chusetts, Museum Purchase

280
 Oskar Schlemmer
242 The Figural Cabinet (Das Figurale
Kabinctt). 1922
Watercolor, pencil and pen and ink on
paper, 12^ x 17%" (30.9 x 45.1 cm.)
The Museum of Modern Art, New York;
Joan and Lester Avnet Collection

281
 Andrew Weininger
243 Mechanical Stage Revue, Phase I (Revue
Mechanische Biihne, 1. Phase). 1926-27
Tempera, watercolor, pencil and ink on
paper, 4% x 778 " (n-7 x 20 cm.)
Collection Theatermuseum der Uni-
versitat Koln

Andrew Weininger
244 Mechanical Stage Revue, Phase 11 (Revue
Mechanische Biihne, 11. Phase). 1926-27
Tempera, watercolor, pencil and ink on
paper, 4% 6 x 7~>/g" (11.6 x 20 cm.)
Collection Theatermuseum der Uni-
versitat Koln

Andrew Weininger
245 Mechanical Stage Revue, Phase III (Revue
Mechanische Biihne, HI. Phase). 1926-27
Tempera, watercolor, pencil and ink on
paper, 4^x7%" (11.7 x20 cm.)
Collection Theatermuseum der Uni-
versitat Koln

282
PICTORIAL THEMES, LATE Structures Vasily Kandinsky

AND EARLY 1930s

1920s 246 Hard in Slack (Hart im Locker).
October 1927
Watercolor, gouache, India ink and pencil
on paper, 19 x 12%" (48.3 x 32.3 cm.)
Collection The Hilla von Rebay Foundation

283
 Vasily Kandinsky

247 On Points (Anf Spitzen). 1928

(HL433)
Oil on canvas, 55V& x SSVs"
(140 x 140 cm.)
CollectionMusee National d'Art Moderne,
Centre Georges Pompidou, Paris

284
 Vasily Kandinsky
248 Colored Sticks (Bunte Stiibchen).
1918
(HL 434)
Varnished tempera on board, 16% x
12%" (4-7 x 32-7 cm.)
Collection The Solomon R. Guggenheim
Museum, New York, Gift of Solomon R.
Guggenheim, 1938

285
 Paul Klee
249 Threatening Snoivstorm (Drobender
Schneesturm). 192.7

Tempera and ink on paper, 19I4 x 12%"

(48.9x31.4 cm.)
Collection Scottish National Gallery of
Modern Art, Edinburgh, Bequeathed by
Miss Anna Blair, 1952

286
 Paul Klcc
250 Portrait of an Equilibrist (Artistenbildnis).
1927
Oil and collage on cardboard over wood
with painted plaster border, 24% x 15%"
(63.2 x 40 cm.)
Collection The Museum of Modern Art,
New York, Mrs. Simon Guggenheim Fund

287
 Lyonel Feininger
251 Church at Gelmeroda (Gelmeroda XU).
1929
Oil on canvas, 39V2 x 31%"
(100.3x 80.3 cm.)
Collection Museum of Art, Rhode Island
School of Design, Providence; Gift of
Mrs. Murray S. Danforth

mmmmmmmm'Bmmmmm HHIHHHHM^HBHHHi
 Vasily Kandinsky
252 Vertical Accent (Vertikalakzent).
November 1928
Watercolor, wash and India ink on paper,
13V2 x 9%" (34.2 x 24.6 cm.)
Collection The Hilla von Rebay Foundation

289
 Vasily Kandinsky

253 Light in Heavy (Leicht im Scbiver).

May 1929
(HL457)
Oil on paperboard, 19V2 x 19V2"
(49-5 x 49-5 cm.)
Collection Museum Boymans-van
Beuningen, Rotterdam

290
 Vasily Kandinsky

254 Unshakeable (Wackelfest).

December 1929
Gouache on paper, 14V4 * 14%"
(36.1 x 36 cm.)
Collection The Hilla von Rebav Foundation

291
 Vasily Kandinsky

255 Horizontal Blue (Waagerecht-Blau).

December 1929
Watercolor, gouache and blue ink on
paper, 9V2 x 12V2" (24.2 x 31.7 cm.)
Collection The Hilla von Rebay Foundation

'M^m-m^.

[ 1
1 1 II 1

fe%\

292
 1

Vasily Kandinsky

256 Taut Line (Gespannte Linie). July 193

Watercolor and India ink on paper,
18% x ioVS" (48 x 25.9 cm.)
The Solomon
Collection R. Guggenheim
Museum, New York

293
 Geometry Vasily Kandinsky

257 Thirteen Rectangles (Dreizehn Rechtecke).

June 1930
(HL 525)
Oil on cardboard, 27% x z^Ad'
(69.5 x 59.5 cm.)
CollectionMusee National d'Art Moderne,
Centre Georges Pompidou, Paris,
Kandinsky Bequest

294
 Paul Klee
258 Castle (Schloss). 1930
Ink and vvatercolor on paper, 17W x
19" (43.8 x 48.1cm.)
Private Collection

2-95
 Paul Klee
259 In the Current Six Thresholds (In der
Stromung Sechs Schwellen). 192.9
Oil and tempera on canvas, 17% x 17%"
(43-5 x 43.5 cm.)
The Solomon
Collection R. Guggenheim
Museum, New York

I ,

B
296
 Vasily Kandinsky
260 Untitled. 1930
Watercolor, brown and India inks and
pencil on paper, 8% x 6%" (22.3 x
16. 1 cm.)

The Solomon R. Guggenheim Museum,

New York, Hilla Rebay Collection

Vasily Kandinsky
261 Drawing No. 22 (Zeichnung Nr. zz).
1931
India ink on paper, 11% x 14%"
(2-9-5 x 36.5 cm.)

CollectionMusee National d'Art Moderne,

Centre Georges Pompidou, Paris,
Kandinsky Bequest

297
 Vasily Kandinsky
262 Massive Structure (Massiver Bau).
June 1932
Gouache on paper mounted on board,
13x1914" (33x48.7 cm.)
Collection Kupferstichkabinett,
Kunstmuseum Basel

298
 Josef Albers
263 Pillars. 1918
Sandblasted flashed glass, 11% x ii'/S"
(29.8 x 31. 1 cm.)

Lent by The Metropolitan Museum of

Art,New York, George A. Hearn
Fund, 1970

299
 Vasily Kandinsky
264 White on Black (Weiss auf Schwarz).
1930
(HL531)
Oil on board, 27V2 x Z7V2" (70 x 70 cm.;
Collection Edward Albee, New York

300
 Vasily Kandinsky
265 Drawing No. zi, for "White on Black"
(Zeichnung Nr. 11, zu "Weiss auf
Schwarz"). 1930
India ink on paper, 10% x 8 n/i6"
(27.3 x 22.1 cm.)

CollectionMusee National d'Art Moderne,

Centre Georges Pompidou, Paris,
Kandinsky Bequest

Vasily Kandinsky
266 White Sharpness (Weiss Scharfe).
November 1930
(HL530)
Oil on cardboard, 27% x 19V2"
(69.5 x 49.5 cm.)
Collection Museum Boymans-van
Beuningen, Rotterdam

301
 Paul Klee
267 Daringly Poised (Getvagt wdgend). 1930
Watercolor, pen and India ink on paper,
izVa x 9%" (31 x 24.6 cm.)
Collection Kunstmuseum Bern

302.
 Vasily Kandinsky
268 Gray (Gran). January 1931
(HL547)
Oil on paperboard, 27I/2 x 2.3 V£*
(69.9x59.7 cm.)
Private Collection, Cologne

303
 Josef Albers
269 Untitled (K-Trio). 1932
Gouache on paper, 18 x 17^5"
(45.7 x44 cm.)
CollectionMusee National d'Art Moderne,
Centre Georges Pompidou, Paris,
Kandinsky Bequest

304
Space Vasily Kandinsky
270 Traversing (Durchgehend). July 1928
Watcrcolor and India ink on paper,
14% x i4 7/]f," (37.4 x 36.7 cm.)
CollectionMusce National d'Art Moderne,
Centre Georges Pompidou, Paris,
Kandinsky Bequest

3°5
 Vasily Kandinsky
271 Quiet Assertion (Ruhige Behauptung).
December 192.9

Watercolor and India ink on paper,

15% x 2.1 Va" (4°-5 * 53.8 cm.)
Collection The Hilla von Rebay Foundation

:
.

306
 Vasily Kandinsky
272 Pink Sweet (Rosa-Suss). December 1919
(HL481)
Oil on board, 17V4 x 18%"
(69.2 x 47.8 cm.)
The Solomon R. Guggenheim Museum,
New York, Hilla Rebay Collection

307
 Vasily Kandinsky

273 Brownish (Braanlich). February 1931

(HL 550)
Oil on Masonite, 19% x 2.7%"
(49.1 x 70.Z cm.)
San Francisco Museum of Modern Art,
William L. Gerstle Collection, Gift of
William L. Gerstle

308
 Lyonel Feininger
274 Clouds Above the Sea U (Wolketl am
Meer II). 1913
Oil on canvas, 1414 x 14" (36.2 x 61 cm.)
Collection Altonaer Museum, Hamburg

309
 Vasily Kandinsky

275 Fixed Flight (Fi.xierter Flug). February

1932
(HL 571)
Oil on wood, 19%,; x 27% 6" (49 x 70 cm.)
Collection Mr. and Mrs. Adrien Maeght

310
 Vasily Kandinsky

276 Drawing No. 17 (Zeichnung Nr. 17).

1932
Pen and India ink on yellow paper
mounted on cardboard, 13% x 9"
(34.9 x 12.8 cm.)
CollectionMusee National d'Art Moderne,
Centre Georges Pompidou, Paris

f»
K»

311
 Vasily Kandinsky

277 Glimmering (Flimmern). July 1931

Watercolor and colored inks on paper,
131/2 x 13%" (34.2 x 34.8 cm.)

Collection The Hilla von Rebay Foundation

..J

/
-

/
/

,
-4
1
-3_ .r-

312
 Paul Klee
278 Crystallization (Kristallisation). 1930
Water-color, pen and India ink on paper,
iz lA x I2. u/i 6 " (31 x 32.1 cm.)
Collection Kunstmuseum Bern

313
 Paul Klee
279 Open Book (Offenes Buch). 1930
Gouache over white lacquer on canvas,
18 x 16%" (45.7 x 42.5 cm.)
The Solomon
Collection R. Guggenheim
Museum, New York

"
"*
-> .

>;>,-;... :•;>.

f
•^. .

314
 Josef Albers
280 Steps (Stufen). 1931
Gouache with pencil on paper, x8 !
/i x
2314" (46.1 x 59 cm.)
Collection Hirshhorn Museum and
Sculpture Garden, Smithsonian
Institution, Washington, D.C.

315
 1

Vasily Kandinsky
281 Now Upwards! (Jetzt Atif!). June 193
Watercolor, wash and ink on paper,
19 x 24" (48.1 x 61 cm.)
Collection The Hilla von Rebay Foundation

316
 Vasily Kandinsky
282 Second Etching for "Cabiers d'Ait"
(Zweite Kadierung fiir die Editions
"Cabiers d' Art"). 1932
Drypoint on wove paper, 15% x 12V2"
(39.9 x 31.6 cm.)
The Solomon
Collection R. Guggenheim
Museum, New York

317
 Figures and Signs Vasily Kandinsky
283 Pink (Rosa). June 1928
Watercolor and ink on paper, i2 5/8 x
i9 3/s" (31x49.3 cm.)
Philadelphia Museum of Art, The Louise
and Walter Arensberg Collection

318
 Alexej Jawlensky
284 Dawn (Morgengrauen). 1928
"
Oil on cardboard, sight 16% x I2% 6
(42.6 x 31.9 cm.)

CollectionMusee National d'Art Moderne,

Centre Georges Pompidou, Paris,
Kandinsky Bequest

319
 Alexej Jawlensky
285 Frost. 1929
Oil on paperboard, 16% x 13V6"
(42.9 x 33.3 cm.)
The Milton Wichner Collection Bequest,
Long Beach Museum of Art, California

320
 Vasily Kandinsky
286 Upward (Empor). October 1929
(HL 470)
Oil on board, 17V2 * 19 1/!" (70 x 49 cm.)
The Peggy Guggenheim Collection, Venice

321
 Vasily Kandinsky

287 Jocular Sounds (Scherzklange).

December 192.9

(HL485)
Oil on cardboard, 13% x 19V4"
(34.9x48.9 cm.)
Collection Busch-Reisinger Museum,
Harvard University, Cambridge, Massa-
chusetts, Purchase, Museum Association
Fund and in memory of Eda K. Loeb

II

32.2
 Vasily Kandinsky
288 Serious-Joke (Ernst-Spass). May 1930
(HL514)
Oil on wood, 19^6 x z-j% b " (49 x 70 cm.)
Private Collection

3 23
 Paul Klee
289 jumper (Springer). 1930
Watercolor and varnish on unprimed
canvas on wood, 20V16 x 20%"
(51x53 cm.)
Private Collection, Switzerland

.:

mmm

3 M
 Paul Klee
290 Six Kinds (Seeks Arten). 1930
"
Watercolor on canvas, 11% x i8'yi 6
(2.9.5 x 48 cm.)

Private Collection, Switzerland

Vasily Kandinsky
291 For Nina (for Christmas 192.6) (Fiir Nina
[fiir Weihnacht 1926J). November 1926
(HL 364)
Oil on cardboard, li 1 ^x ij 9/u"
(32.8 x 44.6 cm.)

Collection Musee National d'Art Moderne,

Centre Georges Pompidou, Paris,
Kandinsky Bequest

32.5
 Vasily Kandinsky
292 Levels (Etagenj. March 1929
(HL452)
Oil on board, 2214 x 16" (56.6 x 40.6 cm.)
Collection The Solomon R. Guggenheim
Museum, New York

326
 Vasily Kandinsky

293 Light (Leichtes). April 1930

(HL 504)
Oil on wood, zjY\g x l8 1 %s" (69 x 48 cm.)
CollectionMusee National d'Art Moderne,
Centre Georges Pompidou, Pans

327
 Vasily Kandinsky

294 Lines of Marks (Zeichenreihen). 1931

Tempera and India ink on paper,
i67i 6 x 19W16" (41-7 x 5°-3 cm -)

Collection Kunstmuseum Basel

3 z8
Organic Form Vasily Kandinsky

295 Calm (Stilles). 19x6

(HL357)
Oil on wood panel, 19 x 1814"
(48.3 x 46.3 cm.)
Collection The Solomon R. Guggenheim
Museum, New York, Gift of Solomon R.
Guggenheim, 1941

329
 Vasily Kandinsky
296 Pointed Black (Spitzes Schwarz).
January 1931
(HL545)
Oil on board, 27% 6 x 23 %" (70 x 60 cm.)
Collection Kunstmuseum Basel

330
 Vasily Kandinsky
297 Green (Griin). May 1931
(HL557)
Oil on paperboard, 23V2 x 2.7V2"
(59.7x69.9 cm.)
Lent by Galerie Beyeler, Basel

331
 Vasily Kandinsky
298 Gloomy Situation (Triibe Lage).
July 1933
Watercolor, gouache and pencil on paper,
18% x z6Ys " (47.3 x 66.8 cm.)
The Solomon R. Guggenheim Museum,
New York, Hilla Rebay Collection

332
 Vasily Kandinsky

299 Drawing No. z$ (Zeichnung Nr. 1;).

1933
India ink on paper, i}, x
V\(, x i6 li/\&"
(35.1 x 42.7 cm.)
CollectionMusee National d'Art Moderne,
Centre Georges Pompidou, Paris,
Kandinsky Bequest

1%

333
 MUSIC ROOM, DEUTSCHE
BAUAUSSTELLUNG, 1931

300 a-c Music Room at the German Building

Exhibition. Berlin, May 9-August 2,
1931
Photographs
Collection Bauhaus-Archiv, Berlin

Facing page:

Vastly Kandinsky
301 Maquette for Ceramic Mural for the
Music Room, German Building Exhibi-
tion, Berlin [Entwurf zu keramischem
Wandbild fiir den Musikraum, Deutsche
Bauausstellung, Berlin). March 1931
Gouache No. 1 (HL 554A)
Gouache on paper, 17% x Z9 9/u"
(45 x 75 cm.)
Collection Artcurial, Paris

Vasily Kandinsky
302 Maquette for Ceramic Mural for the
Music Room, German Building Exhibi-
tion, Berlin (Entwurf zu keramischem
Wandbild fiir den Musikraum, Deutsche
Bauausstellung, Berlin).March 1931
Gouache No. 2 (HL 554B)
Gouache on paper, 17% x 39^6"
(45X99-5 cm.)
Collection Artcurial, Paris

Vasily Kandinsky
303 Maquette for Ceramic Mural for the
Music Room, German Building Exhibi-
tion, Berlin (Entwurf zu keramischem
Wandbild fiir den Musikraum, Deutsche
Bauausstellung, Berlin). March 1931
Gouache No. 3 (HL 554C)
Gouache on paper, 17% x 19 9/m,"
(45x75 cm.)
Collection Artcurial, Paris

334
.M^ii-fc
>
=i^i B

335
 Ludwig Mies van der Rohe Ludwig Mies van der Rohe
304 Side Chair (Stubl). 1927 Arms (Sessel).
305 Side Chair with 1927
Chrome-plated steel and leather, 31" Nickel-plated steel tubes and wicker,
(78.7 cm.) h. 3° 15/i6" (78-5 cm.) h.
Collection The Museum of Modern Art, Collection Bauhaus-Archiv, Berlin
New York, Gift of Edgar Kaufmann, Jr.

"*

336
 Ludwig Mies van der Rohe
306 Table (Tisch). 1917
Chrome-plated steel tubes and plywood
board, 24 x z3 5/s" (61 x 60 cm.)
Collection Bauhaus-Archiv, Berlin

337
 FINAL YEARS IN GERMANY,
1932-1933

**^%^
,
307 KimJinsky in His Studio. Berlin, 1933

Photograph
Collection,Musee National d'Art Moderne,
Centre Georges Pompidou, Pans

Hugo Erfurt
308 Portrait of Kandinsky. Dresden, 1933
Photograph
Musee National d'Art Moderne,
Collection,
Centre Georges Pompidou, Paris

339
 Vasily Kandinsky

309 Layers (Scbichten). February 1932

(HL569)
Tempera and oil on wood, 19% x 15%"
(50.1 x 39.7 cm.)

Collection Nathan Cummings, New York

T^\

340
 Vasily Kandinsky
310 Decisive Rose (Entscheidendes Rosii).
March 1932
(HL573)
Oil on canvas, 31% x i9Ys"
(80.9 x 100 cm.)
The Solomon
Collection R. Guggenheim
Museum, New York

341
342-
 Vasily Kandinsky
311 Balance Pink (Ausgleich Rosa).
January 1933
(HL583)
Oil and tempera on canvas, 36'/^ x 28%"
(92 x 73 cm.)
Collection Musee National d'Art
Moderne, Centre Georges Pompidou,
Paris, Kandinsky Bequest

Vasily Kandinsky
312 Left-Center-Rigbt (Links-Mitte-Rechts).
June 1933
Watercolor, opaque white, wash and
India ink on paper, 15% x 22%"
(39.8 x 57.8 cm.)
Collection The Hilla von Rebay
Foundation

343
 Vasily Kandinsky

313 Similibei. August 1933

Watercolor on paper, 15*4 x 12I4''

(38.7x31 cm.)
Lent by Galerie Beyeler, Basel

344
 Vasily Kandinsky

314 Development in Brown (Entwicklung

in Braun), August 1933
(HL 594)
Oil on canvas, 39 13/i 6 x 47 7A & "
(101 x 120.5 cm.)
Collection Musee National d'Art
Moderne, Centre Georges Pompidou, Paris

345
 DOCUMENTS

Vasily Kandinsky

315 "O dukhovnom ("On The

v iskusstve"
Trudy vserossiiskago
Spiritual in Art"),
s'ezda Khudozhnikov, Dekabr '1911-
lanvar 'iyiigg, vol. I, Petrograd, Golike
and Vilborg, October 1914
Not in exhibition

Vasily Kandinsky
316 Om Konstnaren (On the Artist), Stock-
holm, Gummesons Konsthandels
Forlog, 1916
Collection Bauhaus-Archiv, Berlin

Vasily Kandinsky

317 "Stupeni." Tekst khitdozhnika ("Steps."

Text of the Artist), Moscow, IZO NKP,
1918
Collection Professor K.P. Zygas, Los
Angeles

318 Erste russische Kunstausstellung (First

Russian Art Exhibition), exhibition cata-
logue, Galerie Van Diemen, Berlin, 1922
319b Cover design by El Lissitzky
Collection Leonard Hutton Galleries,
New York

319 Staatliches Bauhaus Weimar, 1919-1923

(Bauhaus, 1919-1923), Weimar and
Munich, Bauhausverlag, 1923
Cover design by Herbert Bayer; typogra-
phy by Laszlo Moholy-Nagy
a.) Collection Bauhaus-Archiv, Berlin
b.) The Robert Gore Rifkind
Collection
Center for German Expressionist Studies,
Gift of The Robert Gore Rifkind Foun-
dation, The Los Angeles County Museum
of Art

Vasily Kandinsky

320 "Tanzkurven: Zu den Tanzen der Palucca"

("Dance Curves: The Dances of Palucca"),
Das Kunstblatt, Potsdam, vol. 10, March
1926
Collection The Museum of Modern Art
Library, New York
346
 Vasily Kandinsky Ludwig Grote
321 Pwikt and Lime zu Fldche. Beitrag zur 326 "Biihnenkompositionen von Kandinsky"
Analyse der malerischen Elemente (Point ("Stage Compositions by Kandinsky"),
and Line to Plane. A Contribution to the ho; Internationale Revue, Amsterdam,
Analysis of Pictorial Elements), Bauhaus vol. 2 [July], 1928
Book No. 9, Munich, Albert Langen, 1916 Collection The Museum of Modern Art
a.) The Solomon R. Guggen-
Collection Library, New York
heim Museum, New York
b,c.) Collection The Hilla von Rebay
Foundation Vasily Kandinsky

327 "Modest Mussorgsky: 'Bilder einer Aus-

stellung' " ("Modest Mussorgsky: 'Pic-
322 Kandinsky Jubilaums-Ausstellung zwn 60. tures at an Exhibition' "), Das Kunstblatt,
Geburtstage (Kandinsky Jubilee Exhibition Potsdam, vol. 14, August 1930
on His 60th Birthday), exhibition cata- Collection The Museum of Modern Art
logue, Galerie Neumann &
Nierendorf, Library, New York
Berlin, October-November 1916

Collection The Hilla von Rebay

Foundation

Vasily Kandinsky

323 "Und, Einiges iiber synthetische Kunst"

("And, Some Remarks on Synthetic Art")
iio; Internationale Revue, Amsterdam,
vol. I, January 1927

Collection The Museum of Modern Art

Library, New York

Vasily Kandinsky

324 "Analytisches Zeichnen" ("Analytical

Drawing"), Bauhaus, Dessau, vol. 2, no.
2-3, 1928
Collection Bauhaus-Archiv, Berlin

Ludwig Grote
325 "Junge Bauhausmaler" ("Young Bauhaus
Painters"), Bauhaus, Dessau, vol. 2, no. 2-3,
1928
Not in exhibition

347
 CHRONOLOGY
By Vivian Endicott Barnett with Susan B.
Hirschfeld, Lewis Kachur, Clark V. Pol-
ing, Jane Sharp and Susan Alyson Stein

The following is a modified version of the

chronology in Kandinsky at the Guggen-
heim, New York, 1983.

1866 1897
December 4. Vasilii Vasilievich Kandinsky Meets Alexej Jawlensky and Marianne
born in Moscow to Vasilii, a tea merchant, von Werefkin as well as other Russian art-
and Lidia Tikheeva Kandinsky. ists Igor Grabar and Dmitrii Kardovsky,

who spend time in Munich and study with

1871
Azbe.
Family moves to Odessa. Parents are
divorced.
1898-99
1876 examination to Munich
Fails entrance
Attends Gymnasium where he learns to Academy; works independently.
play piano and cello. First of yearly trips,
made until 1885, to Moscow with father.
1900

1886 Student of Franz von Stuck at Academy in

Munich.
Studies economics and law at University
of Moscow. Participates in Moskovskoe tovarishche-
stvo khudozhnikov (Moscow Association
1889 of Artists) annual; shows with them yearly
May 28-June 30. Makes expedition to until 1908.
Vologda province sponsored by Society of
Natural Science and Anthropology. Subse-
1901
quently publishes two articles on tribal
April. His first art review, "Kritika kriti-
religious beliefs and peasant law.
kov" ("Critique of Critics"), published in

Travels to Paris.
Novosti dnia (News of the Day), Moscow.
May. Cofounds Phalanx exhibition society;
1892 becomes its president later this year.
Completes university studies and passes August 15-November. First Phalanx exhi-
law examination. Marries cousin Ania bition. Eleven more are held until 1904.

Shemiakina. Exhibition of the

Fall. Participates in

Second trip to Paris.

Association of South Russian Artists,
Odessa.
1893 Trip to Odessa.
Writes dissertation "On the Legality of Phalanx art school established; Kandinsky
Laborer's Wages." Appointed teaching teaches drawing and painting there.
assistant at Faculty of Law, University of
Moscow.
1902
Meets Gabriele Miinter, a student in his
1895
KuSnerev painting class.
Becomes artistic director of
printing firm in Moscow. Designs covers Reviews contemporary art scene in
for chocolate boxes.
Munich, "Korrespondentsiia iz Miunk-
hena" ("Correspondence from Munich"),
1896 for periodical Mir Iskusstva (World of
Sees a Haystack by Monet at French In- Art), St. Petersburg.
dustrial and Art Exhibition in Moscow. Participates in Mir Iskusstva exhibition,
Declines lectureship at University of St. Peterburg.
Dorpat; instead moves to Munich to Spring. Participates in VI Berlin
study painting and soon enrolls in art Secession.
school of Anton Azbe. Meets David Burliuk.

348
i9°3 December. Participates in XII Berlin December 17, 1909-February 6, 1910.

Spring. Stops teaching; Phalanx school Secession. Participates in Izdebsky's first Interna-

closes. tional Salon, Odessa, which travels to

1906-07
Late August. Peter Behrens offers Kan- Kiev, St. Petersburg and Riga during 1910.
Winter. Participates in Briicke exhibition,
dinsky position teaching decorative Begins Kldnge prose poems.
Dresden.
painting at Diisseldorf Kunstgewer-
beschule (School of Arts and Crafts). By 1907
September declines offer. Spring. Participates in Salon des Inde- 1910
Meets Vladimir Izdebsky in Munich. pendants, Paris; exhibits there until 1912. January. Paints first Compositions.
May. Shows 109 works Le Musee du
in
September 1-14. Second NKVM exhibi-
1904 Peuple exhibition, Angers, sponsored by
tion at Thannhauser's Moderne Galerie,
Works on
April. theory of colors. Les Tendances Nouvelles.
Munich.
Summer. Participates in Munich Kunst- Mid-June. Returns to Munich.
October-December. Visits Weimar and
verein exhibition. Begins Kldnge woodcuts.
Berlin en route to Russia. Spends time in
Makes craft designs for Vercinigung fi'ir
September 1907-April 1908. Lives with St. Petersburg, Moscow and Odessa. In
angewandte Kunst (Society for Applied
Miinter in Berlin. contact with older avant-garde artists
Art), Munich.
December. Participates in XIV Berlin Izdebsky, Nikolai Kul'bin and Vladimir
June. Participates in inaugural exhibition
Secession. Markov.
of Les Tendances Nouvelles, Paris; begin-
December. Participates in Bubnovnyi
ning of association with this group. 1908
valet (Jack of Diamonds) exhibition,
September. Separates from wife. Mid-August-September. First sojourn
Moscow. Shows fifty-four works at Iz-
Fall. Participates in Salon d'Automne, inMurnau; spends summer with Miinter,
debsky's second International Salon,
Paris; exhibits there yearly until 1910. Jawlensky and Werefkin at Griesbrau Inn.
Odessa. Catalogue includes Kandinsky's
December. Last Phalanx exhibition; by
Meets Thomas de Hartmann; begins essay "Soderzhaniei forma" ("Content and

year's end association dissolves. Kandin-

collaborative work with him. Form"). Returns to Munich at end of year.
sky's Stikhi bez slov (Poems without
Completes manuscript of Uber das Geistige
Words), woodcuts, published by Stroga- 1908-09
in der Kunst (Concerning the Spiritual in
nov, Moscow. Winter. Participates in Sergei Makovsky's
Art).
Participates in first exhibition of New Salon, St. Petersburg.

Society of Artists, St. Petersburg, and

1909
XV Exhibition of the Association of South January. Cofounds Neue Kiinstlervereini-
1911
Russian Artists, Odessa; shows with latter January 2. Hears Arnold Schonberg's
gung Miinchen (NKVM) (New Artists'
five times, until 1909. music for the first time; he soon initiates
Society of Munich) and is elected its
Receives medal at Exposition Interna- correspondence with the composer.
president.
tionale de Paris.
Spring. Begins writing abstract stage
January 10. Resigns NKVM
presidency.
February 9. His essay "Kuda idet 'novoe'
compositions Der gelbe Klang, Griiner
1905 iskusstvo?" ("Whither the 'New' Art?")
Klang and Schwarz und Weiss (The Yel-
Joins Deutscher Kiinstlerbund. published in periodical Odesskie novosti
low Sound, Green Sound and Black and
Awarded medal by XII e Exposition du (Odessa News).
White).
Travail, Paris. June. Writes to Franz Marc about plans
Summer. His Xylographies, woodcuts,
Elected to jury of Salon d'Automne, Paris. for Der Blaue Reiter (The Blue Rider)
published by Les Tendances Nouvelles in
almanac.
Paris.
1906 Mid-September. Meets Schonberg.
Spring. Participates in XI Berlin Secession. July. Participates in Allied Artists' Associ-
Fall. Divorce from Ania Shemiakina
ation annual, Royal Albert Hall, London;
May 22. Arrives in Paris with Miinter. finalized.
Lives at 12, rue des Ursulines, Paris. At
shows with them until 1913.
Meets Paul Klee. Correspondence with
July-August. Miinter acquires house in
end of June moves to 4, petite rue des Bi- Robert Delaunay, Natalia Goncharova
where he and Miinter live
nelles, Sevres,
Murnau; she and Kandinsky often stay
and Mikhail Larionov.
one year. here until outbreak of World War I.
for December 2. Kandinsky, Marc, Miinter
Joins Union Internationale des Beaux-Arts First Hinterglasmalereien (glass paint- and Alfred Kubin leave NKVM after jury
rejects Kandinsky's Composition V.
et des Lettres, Paris, the organization that ings).

sponsored Les Tendances Nouvelles and First Improvisations. December 18. Erste Ausstellung der Redak-
October. Becomes Munich correspondent tion der Blaue Reiter (First Exhibition of
its exhibitions.
for journal Apollon (Apollo), Peters- the Editorial Board of the Blue Rider)
Summer. Participates in Ausstellung des St.

Deutschen Kiinstlerbund, Weimar. burg; writes reviews, "Pismo iz Miunk- opens at Thannhauser's Moderne Galerie,
hena" ("Letters from Munich"), for one Munich.
July. Participates in Exhibition of Signs
December. Uber das Geistige in der Kunst
and Posters organized by Leonardo da year.

Vinci Society, Moscow. December 1-15. First NKVM exhibition, published by Piper, Munich.

October-November. Participates in Heinrich Thannhauser's Moderne Galerie, December 29, 31. Shorter Russian version

Munich. of Uber das Geistige in der Kunst read by

Galerie Wertheim exhibition, Berlin.

349
Kul'bin at Seco?id All-Russian Congress of September 20-December 1. Participates in 1915
Artists, St. Petersburg. Herwarth Walden's Erster deutscher Executes no oil paintings this year.
Herbstsalon (First German Autumn Salon) Alexander Rodchenko and Varvara Stepa-
Writes essay "Uber Biihnenkomposition" at Galerie Der Sturm, Berlin. nova live temporarily in Kandinsky's
("On Stage Composition"). October. Album Kandinsky, 1901-1913 apartment.
published by Der Sturm, Berlin, includes March. David Burliuk rents studio next to
1912 "Riickblicke" ("Reminiscences") as well as Kandinsky's.
January. Participates in Jack of Diamonds his descriptions of paintings Composition Vystavka zhivopisi
April. Participates in
exhibition, Moscow. IV, Composition VI and Painting with 191; god (Exhibition of Painting: 1915),
February 12-April. Second Blaue Reiter White Border. Moscow, with Natan Altman, David and
exhibition held at Galerie Hans Goltz, November 7-December 8. Participates in Vladimir Burliuk, Goncharova, Larionov
Munich. Moderne Kunst Kring (Modern Art and others.
April. Second edition of Uber das Geistige Circle), Stedelijk Museum, Amsterdam. May. Spends three weeks in Odessa.
in dcr Kunst published by Piper, Munich. August 19-September 7. Visits Crimea.
May. Der Blaue Reiter almanac pub- December 23, 1915-March 1916. To
lished by Piper, Munich. Stockholm, where he meets Miinter for
1914
May 25-September 30. Participates in the last time for Christmas; he remains
January 1. One-man show opens at
Sonderbund Internationale Kunstausstel- there until March.
Thannhauser's Moderne Galerie, Munich.
lung, Cologne.
January. Invited to lecture at opening of
July 7-31. Participates in Moderncr Bund 1916
one-man exhibition at Kreis fur Kunst,
exhibition, Zurich. February 1. One-man exhibition of work
Cologne. Submits manuscript but does not
July. Extracts from Uber das Geistige in organized by Walden and Carl Gummeson
deliver lecture.
der Kunst published by Alfred Stieglitz in held at Gummesons Konsthandel,
March. Second edition of Der Blaue
Camera Work, New York. Stockholm.
Reiter almanac published by Piper,
Fall. Third edition of Uber das Geistige in
Munich. Hugo Ball plans book on the
February. Kandinsky's essay Om
Konst-
der Kunst published by Piper, Munich. naren (On the Artist) published as a bro-
new theater with participation of Kandin-
October 2-30. First one-man exhibition in chure by ForlagGummesons Konsthandel,
sky, Klee, Marc, de Hartmann and others.
Berlin at Galerie Der Sturm; exhibition Stockholm; statement "Konsten utan
War curtails production.
subsequently tours to other German cities. amne" ("Art Without Subject") published
April 23. English edition of Uber das
October 16-December 13. Travels in Rus- in periodical Konst, Stockholm.
Geistige in der Kunst published in London
sia, stays in Odessa and Moscow. March 17. Galerie Dada (formerly Galerie
and Boston; shorter Russian version pub-
November 5-18. One-man exhibition at Corray), Zurich, opens with exhibition of
lished later in Petrograd.
Gallery Oldenzeel, Rotterdam. works by Kandinsky and others.
Kandinsky's letters to Arthur Jerome
December 10. Kurdibowsky presents Eddy published in Eddy's book Cubists Leaves Stockholm for Moscow via
Kandinsky's art theories in lecture at and Post-hnpressionists in Chicago. Petrograd.
meeting of Society of Painters, St. Peters- May-August 1. For foyer of apartment of June. Klange poems read by Ball at Caba-
burg. Edwin A. Campbell, 635 Park Avenue, ret Voltaire, Zurich; poem "Sehen"
December. Several Klange poems pub- New York, executes four panels (now ("See") published in review Cabaret
lished without Kandinsky's consent in Collection The Museum of Modern Art, Voltaire, Zurich.
Russian vanguard publication Poshche- New York). Summer. Remains in Moscow with visits
china obshchestvennomu vkusu (A Slap in June. Extracts from Kandinsky's "Formen to Odessa and Kiev.
the Face of Public Taste), Moscow. — und Farben Sprache," translated by September. Meets Nina von Andreevskaia.
Klange, prose poems and woodcuts, pub- Edward Wadsworth, appear in Blast I, December 10, 1916-January 14, 1917. Par-
lished by Piper, Munich. London. ticipates in Vystavka sovremennoi russoi
August 3. After outbreak of World War I zhivopisi (Exhibition of Contemporary
1913 leaves Munich area with Miinter for Russian Painting), Petrograd, with Kazi-
Kandinsky and Marc prepare for second Switzerland. mir Malevich, Liubov Popova and others.
Der Blaue Reiter almanac, but volume August 6-November 16. Sojourn in
never appears. Goldach on Lake Constance, Switzerland. 1917
Begins work on notes that later form the February 11. Marries Nina von Andreev-
February 17-March 15. Shows one work,
basis for his Bauhaus Book, Punkt und skaia.
Improvisation 27 (Garden of Love), at
Armory Show, New York, which travels
Linie zu Flache (Point and Line to Plane), Trip to Finland.

to Chicago and Boston. of 1926. on Kandinsky at Ga-

April. Ball lectures
Writes stage composition Violetter Vor- Dada, Zurich; reads three poems by
lerie
Kandinsky, Erich Heckel, Klee, Oskar hang (Violet Curtain). Kandinsky at second Der Sturm soiree,
Kokoschka, Kubin and Marc plan to December. Returns to Russia, traveling Zurich.
collaborate on Bible illustrations. through Zurich and across Balkans. Ar- September. Birth of son Volodia (Lodia).
September. Kandinsky's essay "Malerei rives in Moscow after one-week stay in Fall. Narkompros (NKP) (People's Com-
als reineKunst" ("Painting as Pure Art") Odessa; resides at 1 Dolgii Street until missariat for Enlightenment) established
appears in Der Sturm, Berlin. December 1921. in Moscow shortly after October Revolu-

350
tion. Anatolii Lunacharsky is made Participates in Fifth State Exhibition of the December 19-25. Reports on activities of
Commissar of Enlightenment. Trade Union of Artist-Painters of the New Inkhuk at First Pan-Russian Conference
December. Kandinsky's work reproduced Art (From Impressionism to Nonobjectiv- of Heads of Art Sections operating under
in Dada, no. 2, Zurich. ity), Moscow, with Ivan Khun, Pevsner, NKP, Moscow. Kandinsky's program is
Popova, Rodchenko, Stepanova, Udaltsova rejected; at end of year he leaves Inkhuk.
1918 and others.
January 29. Department of Visual Arts Spring. Gropius founds Bauhaus in Wei- 1920-21
(IZO) established within NKP. Vladumr mar. Kandinsky is aware of this and other Designs cups and saucers for porcelain
Tatlin, Moscow division emissary for progressive arts organizations initiated factory.
Lunacharsky, Kandinsky and re-
visits after German Revolution through his
1921
quests his participation in IZO; Kandin- work with International Bureau of IZO.
May. Appointed to chair science and art
sky is named member of IZO NKP. June. Kandinsky's article "W. Kandinsky: committee, which includes Petr Kogan and
Selbstcharakteristik" ("Self-Characteriza-
Meets Popova, Olga Rozanova and A.M. Rodionov, to investigate possibility
Nadezhda Udaltsova through NKP. tion") published by Paul Westheim in
of establishing Russian Academy of Ar-
April. Svomas (Free State Art Studios), periodical Das Kttnstblatt, Potsdam.
tistic Sciences (RAKhN). Also serves as
innovative schools, established Moscow December. Participates in First State Exhi-
in chairman of subcommittee on physico-
and Petrograd. Antoine Pevsner, Malevich bition of Paintings by Local and Musco-
psychology and the visual arts.
and Tatlin teach at Svomas in Moscow. vite Artists, Vitebsk, with Altman, Chagall,
June. Kandinsky presents his plan for
One-man exhibition of Rodchenko's Kliun, El Lissitzky, Malevich and Rod-
Physicopsychological Department of
work, Five Years of Art, held at Club of chenko, among many others.
RAKhN, which is accepted by academy
the Leftist Federation, Moscow. commission, July 21.
July. Becomes director of theater and film 1919-20 July. Charles- Andre Julien interviews
sections of IZO NKP and is named editor Through his administrative duties, Kan- Kandinsky in Moscow for article on the
of journal Izobrazitel'noe hkusstvo dinsky brought into frequent contact
is arts in post-Revolutionary Russia; inter-
(Visual Art), published by IZO NKP, with Rodchenko, Stepanova and other view not published until 1969.
Petrograd. His article "O stesenicheskoi artists. Summer. Delivers lecture on "The Basic
kompozitsii" ("On Stage Composition") Elements of Painting" to science and art
appears in first issue (January 1919). committee of RAKhN; special department
1920
October. Becomes head of a studio at of fine arts is not established until January
January-April. Three articles by Kandin-
Moscow Svomas. "Stupeni" ("Steps"), 1922.
sky, including "Muzei zhivopisnoi kul'-
Russian edition of "Ruckblicke" pub- October. RAKhN opens with Kogan as
khudozhnika (Text of
tury" ("The Museum of the Culture of
lished in Tekst president and Kandinsky as vice-president.
Painting") and "O velikoi utopii" ("On
the Artist) by IZO NKP, Moscow. With Participates in his last exhibitions in Rus-
the Great Utopia") published in IZO NKP
critic Nikolai Punin and artists Tatlin sia, Mir Iskusstva and Third Traveling Art
journal Khudozhestvennaia zhizn' (Ar-
and David Shterenberg, appointed to Exhibition of the Soviet Regional Sub-
tistic Life), Moscow, which had replaced
committee in charge of International division of the Museum Directorship,
hkusstvo in 1919.
Bureau of IZO; Kandinsky initiates con- Sovetsk (Kirov Province).
May. Inkhuk (Institute of Artistic Cul-
tact with German artists and architect December. Kandinsky leaves Soviet Rus-
Walter Gropius.
ture) established in Moscow, with Kan-
sia for Berlin, where he stays in furnished
dinsky initially as head, affiliated
December 5. Commission on the Organi- room on Mottstrasse. Meets Lyonel
organizations founded soon thereafter in
zation of the Museums of Painterly Cul- Feininger.
Petrograd, Vitebsk and other cities in
ture, IZO NKP, proposes system of new
Soviet Union and Europe. 1922
museums; commission includes artists
June Death of son Volodia.
16. March. Gropius offers Kandinsky position
Altman and Aleksei Karev.
June. Kandinsky presents pedagogical at Weimar Bauhaus.
1919 program for Inkhuk at First Pan-Russian April 30-June 5. One-man exhibition at
February. "O tochke" ("On the Point") Conference of Teachers and Students, Galerie Goldschmidt-Wallerstein, Berlin.
and "O linii" ("On the Line") appear in Moscow Svomas. Named Honorary Pro- June. Moves to Weimar, lives in furnished
hkusstvo (Art), no. 3, February 1, and fessor at University of Moscow. room Kandinsky and
in Cranachstrasse.
no. 4, February 22. Participates in Exhibition of Four, Mos- Klee reunited. Teaches Theory of Form
Museums of Painterly Culture established cow, with Rodchenko, Stepanova and (Formlehre) in the preliminary course and
in Moscow, Petrograd and other cities. Nikolai Sinezubov. is Formmeister of Wall-Painting Work-

Working with Bureau and Purchasing September. Svomas replaced by Vkhu- shop at Bauhaus.
Fund, which Rodchenko heads, Kandin- temas (Higher State Art-Technical Stu- Summer. Designs wall paintings for en-
sky helps with acquisition of art and its dios), where Kandinsky teaches. trance room of projected art museum,
distribution to the newly instituted November-December. Participates in exhibited at Juryfreie Kunstschau, in
museums. Societe Anonyme exhibition, New York, Landesausstellungsgebaude, Berlin, in
Works on Entsiklopediia izobrazitel'nogo and Nineteenth Exhibition of the Pan-
in fall.

iskusstva (Encyclopedia of Fine Arts), Russian Central Exhibiting Bureau of the July 1-14. One-man exhibition, Thann-
which is never published. IZO Department of the NKP. hauser's Moderne Galerie, Munich.

351
 1

July. Offered teaching position at Art Curves: The Dances of Palucca") appears One-man exhibition at The Oakland Art
Academy in Tokyo, which he declines. in Das Kunst blatt. Gallery, California (until May 10).
September. Vacations with Feininger at Father dies in Odessa. Summer. Meets Hilla Rebay, Mr. and Mrs.
home of Gropius's mother at Timmen- May. Kandinsky's sixtieth birthday exhi- Solomon R. Guggenheim.
dorfer Strand near Liibeck. bition opens in Braunschweig, travels to August. Vacations with Klee at Hendaye
September i-October 15. One-man exhi- Dresden, Berlin, Dessau and other Euro- (Cote Basque); travels to Belgium, visits

bition at Gummesons Konsthandel, pean cities. James Ensor in Ostend.

Stockholm. Participates in Erste russische Mid-June. Moves to Burgkuhnauer Allee October. Blaue Vier exhibition held at
Kunstausstellung at Galerie van Diemen, 6 (later renamed Stresemann Allee) in Galerie Ferdinand Moller, Berlin.
Berlin. Dessau; occupies Masters' double house November. Visits Erich Mendelsohn and
Kleine Welten (Small Worlds), portfolio of with Klee. his wife in Berlin.
graphic works, printed in Weimar, pub- Summer. Vacations in Muritz.
lished by Propylaen-Verlag, Berlin. November. An Interna-
Participates in 1930
tional Exhibition ofModern Art, organ- January. Invited by Michel Seuphor to
1923 collaborate on periodical Cercle et Carre.
ized by Societe Anonyme at The
March 23-May 4. First one-man exhibi- March 1-15. One-man exhibition at Brax-
Brooklyn Museum.
tion in New York organized by Societe ton Gallery, Hollywood, the first in a
December. Periodical Bauhaus established.
Anonyme, of which he becomes first hon- series of shows of the Blaue Vier, contin-
First issue, dedicated to Kandinsky on his
orary vice-president; forms close associa- uing to May 15.
sixtieth birthday, includes his "Der Wert
tion with Katherine Dreier. March 14-31. One-man exhibition at
des theoretischen Unterrichts in der Ma-
April. Suggests thatSchonberg direct Galerie de France, Paris. Travels to Paris,
lerei" ("The Value of Theoretical Instruc-
Weimar Musikhochschule. Begins corre- meets Jean Helion and Gualtieri di San
tion in Painting").
spondence with Will Grohmann. Lazzaro.
August 15-September 30. Bauhaus Aus- Travels to Cattolica, Verona, Bologna,
1927
stellung in Weimar; Kandinsky's "Die
May. Begins to teach Free-Painting class. Urbino, Ravenna and Venice; is particu-
Grundelemente der Form" ("The Basic impressed by mosaics Ravenna.
Summer. Vacations in Austria and Switzer- larly in
Elements of Form"), "Farbkurs und Returns to Bauhaus by May
land, visiting the Schonbergs at Worther 4.
Seminar" ("Color Course and Seminar") April 18-May 1. Exhibits Tivo Sides
See.
and "Ober die abstrakte Buhnensynthese" Red and Right in Cercle et Carre exhi-
Fall. Friendship with Christian Zervos
("Abstract Synthesis on the Stage") pub- bition at Galerie 23, Paris.
begins.
lished in Bauhaus anthology. Paul Schultze-Naumburg removes works
September. Vacations at Muritz and Binz by Kandinsky, Klee and Oskar Schlemmer
1928
on Baltic Sea. from Weimar Museum.
March. Kandinskys become German
Fall. Lives in Siidstrasse, Weimar. August. Mies van der Rohe replaces Meyer
citizens.

1924 April 1. Hannes Meyer succeeds Gropius as director of Bauhaus.

March. Blaue Vier (Blue Four), exhibition as Director of Bauhaus.
193
group comprised of Feininger, Jawlensky, Designs and directs staging of Modest
February. One-man exhibition of paint-
Kandinsky and Klee, formed by Galka Mussorgsky's Pictures at an Exhibition,
ings and watercolors at Galerie Alfred
Scheyer who becomes Kandinsky's repre- which opens April 4 at Friedrich-Theater,
Flechtheim, Berlin.
sentative in United States. Dessau.
March. Receives offer of teaching position
August. Vacations in Wennigstedt auf Sylt Kandinsky's "Kunstpadagogik"; "Analy-
at Art Students League, New York, which
on North Sea. tisches Zeichnen" ("Art Pedagogy"; "Ana-
he declines.
lytical Drawing") published in Bauhaus
1925 Designs ceramic tiles for a music room at
magazine.
February. Visits Dresden and Dessau. Deutsche Bauausstellttng, Berlin, which
Summer. Vacations at Nice and Juan- opens May 9.
April Bauhaus at Weimar closes.
1.
les-Pins on French Riviera; Les Sables
June. Moves to Dessau where Bauhaus is May 26. Visits Klee in Worlitz; edits Bau-
d'Olonne, Paris.
relocated, rents furnished apartment at haus, vol. v, no. 3, issue dedicated to Klee,
October. Recent watercolors exhibited at
Moltkestrasse 7; sublets room to Klee. which includes his tribute to Klee.
Galerie Ferdinand Moller, Berlin.
Kandinsky's "Abstrakte Kunst" ("Ab- Summer. Visits Egypt, Palestine, Turkey,
October-November. One-man exhibition Greece and Italy on Mediterranean cruise.
stract Art") published in Der Cicerone.
at Neue Kunst Fides, Dresden.
Fall. First contribution to Zervos's Cahiers
Summer. Vacations in Binz. Otto Ralfs
forms Kandinsky Gesellschaft of eight d'Art: "Reflexions sur Part abstrait"
1929 ("Reflections on Abstract Art").
German art collectors.
January 15-31. First one-man exhibition
November. Completes manuscript of
in Paris of watercolors and gouaches at 1932
Punkt und Linie zu Flache.
Galerie Zak. February. One-man exhibition of water-
1926 April 20-May 9. Bauhaus artists exhibi- drawings and prints
colors, at Galerie

Punkt und Linie zu Flache published by tion at Kunsthalle Basel. Ferdinand Moller, Berlin.
Albert Langen, Munich, "Tanzkurven: Early May. Marcel Duchamp and Kath- April. Designs cover for transition, which
Zu den Tanzen der Palucca" ("Dance erine Dreier visit Kandinsky at Bauhaus. also publishes his poetry.

352-
August 22. Dessau city legislature, led by 1937 1944
National Socialist Party, decrees dissolu- Interviewed by art dealer Karl Nieren- January. Shows at Galerie Jeanne Bucher
Dessau Bauhaus,
tion of effective dorf, who mounts one-man show of his with Domela and Nicolas de Stael; exhi-
October i. work in New
York in March. bits with them and Alberto Magnelli at
September. Vacations in Dubrovmk, February 21-March 29. Kandinsky exhi- Galerie l'Esquisse, Paris, in April.
Yugoslavia. bition at Kunsthalle Bern; he sees it with March. Completes Tempered Elan, last
October. Bauhaus moves to outskirts of Klee. painting catalogued in Handlist (no. 738).
Berlin and operates as a private institute. Many of his works in German museums Becomes ill, but continues working until
November. Work exhibited at Valentine are confiscated by the Nazis. July.
Gallery, New York. Included in Entartete Kunst (Degenerate October 11-31. Four works included in
December 10. Moves to Bahnstrasse 19, Art) exhibition, which opens July 19 at exhibition of abstract art at Galerie Berri-
Berlin Siidende, where he lives for the next Haus der Kunst, Munich. Raspail.
year. July 30-October 1. Participates in November 7-December 15. Last one-man
Origines developpement de I'art inter-
et exhibition during his lifetime held at
J 933
national independant at Jeu de Paume, Galerie l'Esquisse.
April n. Bauhaus in Berlin closed by the
Paris. December 13. Dies in Neuilly from a
Nazis but negotiates to reopen.
sclerosis in cerebellum.
July 20. Bauhaus closes for good, with 1938
decision by faculty to dissolve. February. Writes "Abstract of Concreet?"
August. Paints last work in Germany, for catalogue of exhibition Abstracte
Development in Brown. Kunst at Stedelijk Museum, Amsterdam.
Visits Paris, vacations at Les Sablettes One-man show at Guggenheim Jeune
(Var) near Toulon. Gallery,London.
October. Stays at Hotel des Saints-Peres, March. Kandinsky's "L'Art Concret"
Paris. Sees Duchamp. published in first issue of San Lazzaro's
October 27-November 26. Guest of honor XX' Siecle.
in sixth exhibition of Association Ar- August. Kandinsky's German passport
tistique, Les Surindependants, Surrealist expires.
group exhibition.
October-early December. Returns to 1939
Berlin. January. Completes Composition X, his
Late December. Moves into sixth-floor last large canvas.

apartment at 135 boulevard de la Seine February. Negotiations for proposed re-

(now General Koenig), Neuilly-sur- trospective at Jeu de Paume, Paris.

Seine, suburb of Paris. French government purchases Compo-

sition IX.
1934 May 10-27. Participates in Abstract and
February. Resumes work. Works illus-
Concrete Art, Guggenheim Jeune Gallery,
trated in Abstraction-Creation, Paris.
London; writes statement for it.
May. Exhibition at Galerie Cahiers d'Art,
June 30-July 15. Included in first Realites
Paris.
Nouvelles exhibition at Galerie Charpen-
tier, Paris.
1935
February. Invited to serve as artist in resi-
French citizenship decreed.
dence at Black Mountain College, Black
September 3. War declared with Germany.

Mountain, North Carolina; he declines

1940
the offer.
May. German invasion of France.
February 24-March 31. Participates in

These, antitbe.se, synthese at Kunst-

1941
museum Lucerne.
May. On behalf of Centre Americain de
Shows with Max Weber and Klee at J.B. Secours and various Americans, Varian
Neumann's New Art Circle, New York: Fry arranges passage from Marseilles to
his first exhibition with Neumann, who New York for Kandinskys, but they decide

becomes his representative in eastern to remain in France.

United States in July.
1942
1936 From mid-year Kandinsky does only small
and Concrete,
Participates in Abstract paintings on wood or canvasboard.
Lefevre Gallery, London; Cubism and July 21-August 4. One-man exhibition at

Abstract Art, The Museum of Modern Galerie Jeanne Bucher, held clandestinely
Art, New York. because of Nazi occupation.

353
SELECTED BIBLIOGRAPHY

i. By Kandinsky Philippe Sers., ed., Milan, Feltrinelli, versity, Cambridge, Massachusetts, Con-
vol. 1, 1973; vol. 2, 1974 cepts of the Bauhaus: The Busch-Reisinger
Uber das Geistige in der Kunst. Insbe-
Collection, John David Farmer and
sondere in der Malerei [On the Spiritual Kandinsky: Die Gesammelten Schriften,
Geraldine Weiss, eds., 1971. Exhibition
in Art and Painting in Particular], Munich, Hans K. Roethel and Jelena Hahl-Koch,
catalogue
Piper, January 1912. Second edition, April eds., Bern, Benteli Verlag, vol. 1, 1980
1912. Third edition 1912 "Centenaire de Kandinsky," XX f Siecle,
Kandinsky: Complete Writings on Art,
Der Blaue Reiter, Kandinsky and Franz no. XXVII, December 1966. English edi-
Kenneth C. Lindsay and Peter Vergo,
Marc, eds., Munich, Piper, 1912. Second tion, Homage to Wassily Kandinsky,
eds., 2 vols., Boston, G.H. Hall &: Co., 1982
edition 1914. Documentary edition in Eng- New York, 1975
lish translation by Klaus Lankheit: The 2. On Kandinsky and his Contemporaries David Elliott, Rodchenko, New York, 1979
Blaite Reiter Almanac, New York,
Troels Andersen, "Some Unpublished Let-
L.D. Ettlinger, "Kandinsky's 'At Rest'
"
Viking, 1974
ters by Kandinsky," Artes: Periodical of in Charlton Lectures on Art at King's
Klangc [Sounds], Munich, Piper, 1913 the Fine Arts (Copenhagen), vol. II, College, London, 1961, pp. 3-21
"Riickhlicke" [Reminiscences"] in Kandin- October 1966, pp. 90-110
Julia and Lyonel Feininger, "Wassily Kan-
sky, 1901-1913, Berlin, Der Sturm, 191 3. Troels Andersen, Malevich, Amsterdam, dinsky" in Wassily Kandinsky, Concern-
French translation: "Regards sur le 1970 ing the Spiritual in Art, New York, 1947,
passe" in Wassily Kandinsky: Regards
Vivian Endicott Barnett, Kandinsky at pp. 12-14
sur le passe et autres textes, 1912-1922,
Paris,Hermann, 1974, pp. 87-132, with the Guggenheim, New York, 1983 Jonathan David Fineberg, Kandinsky in
introduction by Jean-Paul Bouillon Bauhaus-Archiv Museum, Sammlungs- Paris 1906-7, Ph.D. dissertation, Harvard

Katalog (Auswahl) Architektur. Design. University, Cambridge, Massachusetts,

"Stupeni" in Tekst khudozhnika ["Steps"
Malerei. Graphik. Kunstpddagogik, May 1975
in Text of the Artist], Moscow, IZO NKP,
1918. Russian version of "Ruckblicke" Berlin, 1981
Jonathan Fineberg, "Les Tendances Nou-
Max Bill, ed., Wassily Kandinsky, Paris, velles, The Union Internationale ., and
Punkt und Linie zu Flacbe: Beitrag zur . .

Analyse der malerischen Elemente [Point 1951 Kandinsky," Art History, vol. 2, June
and Line to Plane. A Contribution to the I979> PP- z.zi-246
Szymon Bojko, "Vkhutemas," Art and
Analysis of the Pictorial Elements], Marcel Franciscono, Walter Gropius and
Artists, vol. IX, December 1974, pp. 8-13
Bauhausbiicher9, Munich, Albert Langen,
the Creation of the Bauhaus in Weimar:
1926 John E. Bowlt, ed., Russian Art of the and Artistic Theories of its
the Ideals
"Zwolf Briefe von Wassily Kandinsky an Avant-Garde; Theory and Criticism, Founding Years, Urbana, Illinois, 1971
Hans Thiemann 1933-1939," Wallraf- 1902-1934, New York, 1976
Marcel Franciscono, "Paul Klee in the
Richartz Jahrbuch, vol. XXXVIII, 1976, John Bowlt and Rose-Carol Washton
E. Bauhaus: The Artist as Lawgiver," Arts
pp. 155-166 Long, eds., The Life of Vasilii Kandinsky Magazine, vol. LII, September 1977, pp.
in Russian Art: A Study of "On the 122-127
For Kandinsky's collected writings see:
Spiritual in Art," Newtonville, Massa-
Kandinsky: Essays Kunst und Kiinst-
iiber
chusetts, 1980
Christian Geelhaar, Paul Klee and the
ler, Max Bill, ed., Stuttgart, 1955. Contains Bauhaus, Greenwich, Connecticut, 1973
most of Kandinsky's articles published Marcel Brion, Kandinsky, London, 1961
Galerie Gmurzynska, Cologne, Die Kunst-
between I9i2and 1943
Klaus Brisch, Wassily Kandinsky, Unter- ismen in Russland, 1907-1930, 1977.
Wassily Kandinsky: Ecrits complets, suchungen zur Entstehung der gegen- Exhibition catalogue with text by John E.
Philippe Sers, ed., Paris, Denoel-Gonthier, standslosen Malerei an seinem Werk von Bowlt
vol. 2, 1970; vol. 3, 1975; vol. 1 in prepara- 1900-1921, Ph.D. dissertation, University
Galerie Gmurzynska, Cologne, Kiinst-
tion of Bonn, 1955
lerinnen der russischen Avantgarde, 1910-
Wassily Kandinsky: Tutti gli scritti, Busch-Reisinger Museum, Harvard Uni- I 93°> 1979- Exhibition catalogue with

354
 ,

texts by Szymon Bojko, J. E. Bowlt, Wassily Kandinsky: Briefe, Bilder und Richard Kostelanetz, ed., Moholy-Nagy,
Krystyna Rubinger, Larisa Zhadova ct al Dokumente eincr aussergeivohnlichen New York, 1970
Begegnung, Vienna, 1980
Eugen Gomringer, ]osef Albers, New Friedhelm Kroll, Bauhaus 1919-1933,
York, 1968 Erika Hanfstaengl, Wassily Kandinsky, Kiinstler zwischen Isolation und Kollek-
Zeichnungen und Aquarelle. Katalog der tiver Praxis, Diisseldorf, 1974
Camilla Gray, The Great Experiment:
Sammlung in der Stadtischen Galerie im
Russian Art, 1863-1922, New York, 1961 Herbert Kuhn, "Kandinsky: I. Fiir," Das
Lenbachhaus Miinchen, Munich, 1974
Kunstblatt, vol. Ill, 1919, p. 178; Willi
Will Grohmann, "Wassily Kandinsky,"
Haus der Kunst, Munich, Die Maler am Wolfradt, "II. Wider. (Die Kunst und das
Der Cicerone, Jg. XVI, September 192.4,
Bauhaus, 1950. Exhibition catalogue Absolut)," pp. 180-183
pp. 887-898
Haus der Kunst, Munich, Wassily Kandin- "Das Kunstprogratnm des Kommissariats
Will Grohmann, "Wassily Kandinsky,"
sky 1866-1944, 1976. Exhibition catalogue fiir Volksaufklarung in Russland," Das
Cahiers a" Art, 4e annee, 1919, pp. 311-32.9
Wulf Herzogenrath, Oskar Schlemmer: Kunstblatt, vol. Ill, March 1919, pp. 91-93
Will Grohmann, Wassily Kandinsky, Paris,
Die Wandgestaltung der neuen Architek- Kunsthalle Koln, Paul Klee: Das Werk der
1930
tur, Munich, 1973 Jabre 1919-1933, 1979. Exhibition
Will Grohmann, "Catalogue des oeuvres catalogue
graphiques," Selection, no. 14, July 1933,
Hans Hess, Lyonel Feininger, New York,
1961 Lothar Lang, Das Bauhaus 1919-1933:
pp. 28-31
The High Museum of Art, Atlanta, Bau- Idee und Wirklichkeit, Berlin, 1965
Will Grohmann, Paul Klee, New York,
haus Color, 1976. Exhibition catalogue Wilhelm-Lehmbruck-Museum der Stadt
1954
with text by Clark V. Poling Duisburg and Staatliche Kunsthalle Baden-
Will Grohmann, Wassily Kandinsky, Life
Ludwig Hirschfeld-Mack, The Bauhaus: Baden, Alexander Rodtschenko und
and Work, New York, 1958
An Introductory Survey, Victoria, Australia, Warwara Stepanova, t982. Exhibition
Will Grohmann, "Art into Architecture: 1963 catalogue
The Bauhaus Ethos," Apollo, vol. lxxvi,
Galleria del Levante, Munich, Junge
Ludwig Hirschfeld-Mack, "Letter from
March 1962, pp. 37-41 Maler am
Bauhaus, 1979. Exhibition
Ludwig Hirschfeld-Mack to Standish
Ludwig Grote, "Buhnenkompositionen Lawder, Form, Cambridge, England, no. 2, catalogue with text by Peter Hahn
von Kandinsky," iio; Internationale Re- September 1966, p. 13 Kenneth C. Lindsay, An Examination of
vue, Amsterdam, vol. II, no. 13, 1928,
Werner Hofmann, "Studien zur Kunsttheo- theFundamental Theories of Wassily
PP. 4-5 Kandinsky, Ph.D. dissertation, Univer-
rie des 20. Jahrhunderts," Zeitschrift fiir

Ludwig Grote "Junge Bauhausmaler," Kunstgeschichte, Munich, vol. 19, January sity of Wisconsin, Madison, 1951
Bauhaus, no. 2/3, 1918, p. 31 1956, pp. 136-150 Kenneth C. Lindsay, "Graphic Art in
The Solomon R. Guggenheim Museum, Werner Hofmann, "Kandinsky und Mon- Kandinsky's Oeuvre" in Prints, New
New York, Kandinsky Watercolors: A Se- drian, 'Gekritzel' und 'Schema' als graphi- York, 1962, pp. 235-252
lection from The Solomon R. Guggenheim sche Sprachmittel," 1. Internationale der
Rose-Carol Washton Long, Kandinsky:
Museum and The Hilla von Rebay Zeichnung, Darmstadt, 1964, pp. 13-17
The Development of an Abstract Style,
Foundation, New York, 1980. Exhibition
Karl Heinz Hiiter, Das Bauhaus in Wei- New York, 1980
catalogue with text by Vivian Endicott
mar: Studie zur gesellschaftspolitischen Long Beach Museum of Art, The Milton
Barnett
Geschichte einer deutschen Kunstschule Wichner Collection, Constance Fitzsim-
The Solomon R. Guggenheim Museum, Berlin, 1976 mons, ed., 1981. Exhibition catalogue
New York, Arr of the Avant-Garde in
with texts by Ida Katherine Rigby
Johannes Itten, "Analysen alter Meister,"
Russia: Selections from the George Costa-
Utopia: Dokumente der Wirklichkeit, Los Angeles County Museum of Art, The
kis Collection, 1981. Exhibition catalogue
with texts by Margit Rowell and Angelica
Bruno Adler, ed., Weimar, 192,1, pp. 28-78 Avant-Garde in Russia, 1910-1930: New
Zander Rudenstine Perspectives, Stephanie Barron and
Johannes Itten, Tagebuch: Beitrdge zu
einem Kontrapunkt der bildenden Kunst, Maurice Tuchman, eds., 1980. Exhibition
The Solomon R. Guggenheim Museum, catalogue
Berlin, 1930
New York, Kandinsky in Munich: 1896-

1914, 1982. Exhibition catalogue with texts Johannes Itten, The Art of Color: The Marlborough-Gerson Gallery, Inc., New
by Peg Weiss, Peter Jelavich and Carl E. Subjective Experience and Objective Ra- York, Kandinsky: The Bauhaus Years,
Schorske tionale of Color, New York, 1961 New York, 1966. Exhibition catalogue
with text by Will Grohmann
Werner Haftmann, "Kandinsky (1927- Johannes Itten, Design and Form: The Basic
1933)," Derriere le miroir, no. 154, No- Course at the Bauhaus, New York, 1964 Karin von Maur, Oskar Schlemmer, 2

vember 1965, pp. i-[i8] vols., Munich, 1979

Nina Kandinsky, Kandinsky und ich,

Werner Haftmann, The Mind and Work Munich, 1976 Hannes Meyer, Batten und Gesellschaft:

of Paul Klee, New York, 1967

German Kargmov, Rodchenko, London,
Scbriften, Briefe, Projekte, Dresden, 1980

Jelena Hahl-Koch, ed., Arnold Schonberg- 1979 Sibyl Moholy-Nagy, Moholy-Nagy: Ex-

355
 ,

periment in Totality, 2nd edition, Cam- and the Genesis of Abstract Painting, Abo, dinsky, Erinnerung an eine Kiinstler-
bridge, Massachusetts, 1969 Finland, 1970 freundschaft, 1979. Exhibition catalogue
by Magdalena Droste
Musee National d'Art Moderne, Centre Sixten Ringbom, "Paul Klee and the Inner
Georges Pompidou, Paris, Kandinsky Truth to Nature," Arts Magazine, vol. LII, Stadtische Galerie im Lenbachhaus,
trente peintures desmusees sovietiques, September 1977, pp. 112-117 Munich, Paul Klee: Das Fruhiverk, 1883-
1979. Exhibition catalogue with text by 1912, Armin Zweite, ed., 1979. Exhibition
Henning and the
Rischbeiter, ed., Art
Christian Derouet catalogue
Stage in the zoth Century: Painters and
Musee National d'Art Moderne, Centre Sculptors Work for the Theater, Green- [E.] Teriade, "Kandinsky," Le Centaure,
Georges Pompidou, Paris, Paris-Moscou, wich, Connecticut, 1969 3e annee, May 1929, pp. 220-223
1900-1930, 1979. Exhibition catalogue
Daniel Robbins, "Vasily Kandinsky: Ab- Marianne L. Teuber, "Blue Night by Paul
The Museum of Modern Art, New York, stractionand Image," Art journal, vol. Klee," Vision and Artifact, Mary Henle,
Bauhaus 1919-1918, Herbert Bayer, Ise XXII, Spring 1963, pp. i45-!47 ed., New York, 1976, pp. 131-151
Gropius and Walter Gropius, eds., 1938.
Hans Konrad Roethel, Kandinsky: Das Towards a New Art: essays on the back-
Exhibition catalogue
graphische Werk, Cologne, 1970 ground to abstract art 1910-20, London,
Andrei Nakov, Abstrait/Concret: art non- 1980. Texts by Peter Vergo et al
objectif rasse et polonais, Paris, 1981
Hans K. Roethel in collaboration with
Jean K. Benjamin, Kandinsky, New York, Beeke Sell Tower, Klee and Kandinsky in
Nationalgalerie, Akademie der Kiinste,
1979 Munich and at the Bauhaus, Ann Arbor,
Grossen Orangerie des Schlosses Char- Michigan, 1981
lottenburg, Berlin, Tendenzen der
Hans K. Roethel and Jean K. Benjamin,
Kandinsky: Catalogue Raisonne of the Konstantin Umanskij, "Russland IV: Kan-
Zwanziger Jahre: 15. Europaische Kun-
Oil-Paintings, 1900-191;, Ithaca, New dinskij's Rolle im russischen Kunstleben,"
stausstellung, 1977. Exhibition catalogue
York, 1982, vol. I Der Ararat, Jg. II, May-June 1920,
Gillian Naylor, Bauhaus, London, 1968 special issue, pp. 28-30
Eberhard Roters, Painters of the Bauhaus,
June L. Ness, Lyonel Feininger, New York, New York, 1969 Konstantin Umanskij, Neue Kunst in Russ-
1974 land 1914-1919, Potsdam and Munich,
Willy Rotzler, ed., Johannes ltten: Werke
Eckhard Neumann, ed., Bauhaus and 1920. Foreword by Leopold Zahn
und Schriften, Zurich, 1972
Bauhaus People, New York, 1970 Pierre Volboudt, Die Zeichnungen
Angelica Zander Rudenstine, The Gug-
Wassily Kandinskys, Cologne, 1974
Marisa Volpi Orlandini, Kandinsky: genheim Museum Collection: Paintings
Dall'art nouveau alia psicologia della 1880-194;, New York, 1976, vol. Peg Weiss, Kandinsky in Munich: The
I, pp.
forma, Rome, 1968 204-391 Formative Jugendstil Years, Princeton,
Paul Overy, Kandinsky: The Language of 1979
Angelica Zander Rudenstine, ed., The
the Eye, New York, 1969 George Costakis Collection: Russian Robert Welsh, "Abstraction at the Bau-
Avant-Garde Art, New York, 1981 haus," Artforum, vol. VIII, March 1970,
Clark V. Poling, Color Theories of the
Bauhaus Artists, Ph.D. dissertation, pp. 46-51
Walter Scheidig, Crafts of the Weimar
Columbia University, New York, 1973 Bauhaus, New York, 1967 Rainer Wick, Bauhaus-Padagogik,
Cologne, 1982
Clark V. Poling, "Kandinsky au Bauhaus: Oskar Schlemmer, ed., Die Biihne im
Theorie de la couleur et grammaire pic- Bauhaus, Bauhausbiicher Munich, 1925;
4,
Hans M. Wingler, The Bauhaus: Weimar,
turale," Change, vol. 26/27, February The
English edition, Walter Gropius, ed., Dessau, Berlin, Chicago, Cambridge,
1976, special issue, "La Peinture," pp. Theater of the Bauhaus, Middletown, Massachusetts, 1969
194-208 Connecticut, 1961 Hans M. Wingler, Graphic Work from
Clark V. Poling, Kandinsky — Unterricht The Letters and Diaries of Oskar Schlem-
the Bauhaus, Greenwich, Connecticut, 1969
am Bauhaus: Farbenseminar und analyti- mer, Tut Schlemmer, ed., Krishna Win- Wiirttembergischer Kunsrverein, Stutt-
sches Zeichnen dargestellt am Beispiel der Middletown, Connecticut, 1977
ston, trans., gart, and Bauhaus-Archiv, Darmstadt,
Sammlung des Bauhaus-Archivs, Berlin, ;o Jahre Bauhaus/ 50 Years Bauhaus, 1968.
Weingarten, 1982 Claude Schnaidt, Hannes Meyer: Bauen,
Catalogue for exhibition circulating in-
Projekte und Schriften, Teufen, Switzer-
Herbert Read, Kandinsky 1866-1944, ternationally 1968-70
land, 1965
London, 1959 Hugo Zehder, Wassily Kandinsky: Unter
Norton Simon Museum at Pasadena, The
Ringbom, "Art autorisierter Benutzung der russischen
Sixten in 'The Epoch of Blue Four Galka Scheyer Collection, Sara
Selbstbiographie, Dresden, 1920
the Great Spiritual': Occult Elements in Campbell, ed., n.d.
the EarlyTheory of Abstract Painting," Christian Zervos, "Notes sur Kandinsky,"
Journal of the Warburg and Courtauld
Werner Spies, Albers, New York, 1971
Cahiers d'Art, 9e annee, 1934, pp. 149-157
Institutes, vol. XXIX, 1966, pp. 386-418 Bauhaus Weimar 1919-1923,
Staatliches
Christian Zervos, "Wassily Kandinsky
Sixten Ringbom, The Sounding Cosmos: Weimar and Munich, 1923 1 866-1944," Cahiers d'Art, 2oe-2ie
A Study in the Spiritualism of Kandinsky Staatsgalerie Stuttgart, Klee und Kan- annees, 1945-1946, pp. 1 14-127

356
 1

INDEX OF ARTISTS IN THE CATALOGUE

Albers, Josef cat. nos. 263, 269, 280 Kliun, Ivan cat. nos. 56-58
Arndt, Alfred cat. nos. 123, 178 Klode, Karl cat. nos. 215, 233

Baschant, Rudolf cat. no. I2ie Lang, Lothar cat. nos. 200, 212, 214,

222, 223
Batz, Eugen cat. nos. 197-199, 203,
2ioa-c, in, 219, 220 Lissitzky, El cat. nos. 73-77
Bayer, Herbert cat. nos. 119, I2if,g, Makhroff, Olga cat. no. 31
186, 187
Malevich, Kazimir cat. nos. 52-55
Bobrov, Vastly Dmitrievich cat. nos.
Metal Workshop, Weimar, Bauhaus
47.48 cat. no. 125
Brandt, Marianne cat. nos. 127-129
Mies van der Rohe, Ludwig cat. nos.
Breuer, Marcel cat. nos. I75a-e, 176 304-306

Dicker, Friedl cat. no. 11 Moholy-Nagy, Laszlo cat. nos. I2id,

137-141
Erfurt, Hugo cat. nos. 160, 307
Moholy, Lucia cat. nos. 166, 167
Feininger, Lyonel cat. nos. 99, 121a,
Peiffer-Watenphul, Max cat. no. no
Graeff, Werner cat. no. 109 Popova, Liubov cat. nos. 60-65

Grote, Ludwig cat. nos. 325, 326 Rodchenko, Alexander cat. nos. 67-72

Hartwig, Josef cat. no. 126 Roseler, Hermann cat. no. 232

Hirschfeld-Mack, Ludwig cat. nos. Schlemmer, Oskar cat. nos. 118, I2ih,
ii3-H5a,b, ii7a-c 122, 134-136,179,241,242

Itten, Johannes cat. nos. 100, 101, Thiemann, Hans cat. nos. 207, 213,

103-108 218,224

Itten, Johannes, Attributed to cat. Tschaschnig, Fritz cat. nos. 206, 211
no. 102
Udaltsova, Nadezhda cat. nos. 59, 66
Javvlensky, Alexej cat. nos. 284, 285 Ullmann-Broner, Bella cat. no. 225
Kandinsky, Vasily cat. nos. 1-29, 33- Voepel-Neujahr, Charlotte cat. nos.
44, 49-51, 80-91, 94-98, 116, 121b, 226-229
143-159, 180-185, 188-196, 201, 202,
208, 209, 216, 217, 234-240, 246-248,
Wagenfeld, Wilhelm, and Jucker, K.J.

252-257, 260-262, 264-266, 268, 270- cat. no. 124

2 73> 2 75 _i 77. 281-283, 286-288, 291- Weber, Vincent cat. no. 112
299, 301-303, 309-317, 320-321,
Weininger, Andrew cat. nos. 243-245
323, 324, 327

Kandinsky, Vasily, and Svipas, Vladas

cat. no. 177

Kessinger-Petitpierre, Friedly cat. nos.

204, 205, 230, 231

Klee, Paul cat. nos. 121c, 130-132,

2-49. 150. 158, 259, 267, 279, 289, 290

357
 PHOTOGRAPHIC CREDITS

Color Black and White

Courtesy Altonaer Museum, Hamburg: Courtesy Albright-Knox Art Gallery,

cat. no. 274 Buffalo: fig. 25; cat. no. 67

Courtesy Bauhaus-Archiv, Berlin: Courtesy Art Advisory SA, c/o Matthiesen

cat. nos. noa-c, 211, 319a Fine Art Ltd., London: cat. no. 40
Walter Drayer, Zurich; courtesy Anneliese Courtesy Artcurial, Paris: cat. nos.

Itten, Zurich: cat. no. 101 301-303

Carmelo Guadagno: cat. nos. 146, 147, Courtesy The Art Institute of Chicago:
310 cat. no. 99
Carmelo Guadagno and David Heald: Courtesy Bauhaus-Archiv, Berlin:
cat. no. 188 figs. 20-23, 35> cat nos I0i 109-112,
- - >

ii5a,b, 116, i2ia-h, 122, 123, 125, 128,

David Heald: cat. no. 33
129, 135, 140, 162, 176-178, 197-200,
Hans Hinz, Basel; courtesy Kupferstich- 203-207, 212-215, 2I 8-233, 3ooa-c, 305,
kabinett, Kunstmuseum Basel:
306, 324
cat. no. 262
Courtesy Herbert Bayer: cat. nos. 119,
Courtesy Kunsthaus Zurich: cat. no. 41 120
Geri T. Mancini; courtesy Yale University van den Bichelaer; courtesy Van Abbe-
Art Gallery, New Haven: cat. no. 39 museum, Eindhoven: C3t. no. 73
Robert E. Mates: cat. nos. 202, 217 Courtesy Museum Boymans-van Beunin-
Robert E. Mates and Mary Donlon: gen, Rotterdam: cat. nos. 159, 253, 266
cat. no. 259 Rudolph Burckhardt: fig. 26
Courtesy Musee National d'Art Moderne, Courtesy Busch-Reisinger Museum, Har-
Centre Georges Pompidou, Paris: vard University, Cambridge, Massachu-
cat. nos. 9, 25, 50, 190, 196, 257, 311, 314 setts: cat. nos. 19, 74, 103, 113, 114,

Courtesy Museum Ludwig, Cologne: ii7a-c, 126, 186, 241, 287

cat. no. 36 Geoffrey Clements, Staten Island:

Courtesy The Museum of Modern Art, cat. no. 309
New York: cat. no. 61 Prudence Cumings, Providence:
Courtesy Staatliche Museen Preussischer cat. no. 68
Kulturbesitz, Nationalgalerie, Berlin: Walter Drayer, Zurich; courtesy Anneliese
cat. no. 131 Itten, Zurich: cat. nos. 104, 105, 107
Courtesy Philadelphia Museum of Art: Susan Einstein; courtesy Long Beach
cat. no. 150 Museum of Art: cat. no. 285
Courtesy Stadtische Galerie im Lenbach- Philip Frantzolas; courtesy George Cos-
haus, Munich: cat. no. 37 takis, Athens: cat. no. 51
Courtesy Stedelijk Museum, Amsterdam: Courtesy Galerie Beyeler, Basel:
cat. no. 52 cat. nos. 1, 268, 297, 313
Courtesy Galerie Gmurzynska, Cologne:
cat. no. 76

358
Courtesy Galerie Thomas, Munich: Robert E. Mates: figs. 2, 13, 46; cat. nos. Courtesy The Robert Gore Rifkind Center
cat. no. 136 8, 18, 20, 22, 38, 42, 81, 83, 130, 132, 149, for German Expressionist Studies, Gift of
152-154, 192, 195, 216, 246, 252, 254, 255, the Robert Gore Rifkind Foundation, The
Phillip Galgiani; courtesy San Francisco
260, 271, 272, 277, 279, 281, 286, 292, Los Angeles County Museum of Art:
Museum of Modern Art: cat. no. 273
298,312 cat. no. 319b

Courtesy Galleria Galatea, Turin: fig. 18

Robert E. Mates and Mary Donlon: Courtesy Santa Barbara Museum of Art:

Courtesy Graphische Sammlung, Staats- figs. 6, 11, 16-18, 84-91 cat. no. 194

galerie Stuttgart: cat. nos. 118, 179 Courtesy Scottish National Gallery of
Courtesy Lucia Moholy: cat. no. 167
Carmelo Guadagno: cat. no.
Modern Art, Edinburgh: cat. no. 249
43 Courtesy The Metropolitan Museum of
Art, New York: cat. no. 263 Courtesy Sotheby Parke Bernet, New
Carmelo Guadagno and David Heald:
York: fig. 48
cat. nos. 23, 28, 44 Courtesy Musee d'Art et d'Histoire,

Centre d'Initiation a l'Art Moderne, Courtesy Stadtische Galerie im Lenbach-

Courtesy Haags Gemeentemuseum, The haus, Munich
Geneva: cat. nos. 69,
fig. 27; cat. nos. 3-6, 10, 11
71
Hague: cat. no. 29
Courtesy Stedelijk Museum, Amsterdam:
Courtesy Musee National d'Art Moderne,
David Heald: cat. no. 258 cat. no. 54
Centre Georges Pompidou, Paris: figs.

Courtesy Hirshhorn Museum and Sculp- 8, 30-34, 37, 38, 40, 43; cat. nos. 12-17, Courtesy Theatermuseum der Universitat
ture Garden, Smithsonian Institution, 11, 26, 27, 30-32, 34, 45, 49, 78, 79, 82, Koln: fig. 39; cat. nos. 234-240, 243-245
Washington, D.C.: cat. no. 280 92a,b-98, 142, 148, 151, 155, 160, 161,
Courtesy University Art Museum, Univer-
163-165, i68-i75a-e, 180-185, 208, 209,
Courtesy Anneliese Itten, Zurich: sity of California, Berkeley: cat. nos.
247, 261, 265, 269, 270, 276, 284, 291, 293,
cat. nos. 106, 108 137,138
^99, 307, 3°8
Courtesy Sidney Janis Gallery, New York: Bob Wharton; courtesy Fort Worth Art
Courtesy Museum of Art, Rhode Island
Association: cat. no. 158
cat. no. 75 School of Design, Providence: cat. no. 251
Courtesy Wilhelm-Hack-Museum, Lud-
Courtesy Kabinett Kunsthandel Wolfgang Courtesy The Museum of Modern Art,
wigshafen: cat. no. 193
Werner, KG, Bremen: cat. no. 134 New York: figs. 29, 42; cat. nos. 2, 7, 53,
Courtesy Yale University Art Gallery,
Courtesy Kunstmuseum Basel: cat. nos. 55. 7°, 71. 77. 12-7, 141. l8 7- 191. M*. -5°.
New Haven: cat. no. 62
294, 296
304

Courtesy The Museum of Modern Art

Courtesy Kunstmuseum Bern: cat. nos.
Library, New York: cat. no. 320
267, 278
Akio Nakamura; courtesy Ohara Museum
Courtesy Paul Klee-Stiftung, Kunst-
of Art, Kurashiki, Japan: cat. no. 35
museum Bern; © COSMOPRESS, Geneva,
1983: fig. 44 Courtesy William Rockhill Nelson Gallery
of Art, Atkins Museum of Fine Arts,
Walter Klein; courtesy Kunstsammlung Kansas City, Missouri: cat. no. 133
Nordrhein-Westfalen, Diisseldorf:
Courtesy Offentliche Kunstsammlung
cat. nos. 145, 156
Basel;© COSMOPRESS, Geneva, and
Courtesy Kunsthaus Zurich: cat. no. 100 ADAGP, Paris, 1983: fig. 45

Courtesy Lighting Associates, Inc., New Courtesy Philadelphia Museum of Art:

York: cat. no. 124 cat. no. 283

Courtesy Mr. and Mrs. Adrien Maeght: Courtesy The Phillips Collection, Wash-
cat. nos. 143, 275 ington, D.C.: fig. 47

359
Exhibition 83/5

8,000 copies of this catalogue, designed

by Malcolm Grear Designers, typeset by
Craftsman Type Inc., have been printed by
Eastern Press in November 1983 for the
Trustees of The Solomon R. Guggenheim
Foundation on the occasion of the
exhibition Kandinsky: Russian and
Baubaus Years, 1915-1933-

360