precursor Wassily Kandinsky abstract art 
Vasilevich Wassily Kandinsky
(Russian: Василий Васильевич Кандинский) (Moscow, December 4, 1866 - Neuilly-sur-Seine, December 13, 1944) was a painter Russian pioneer of abstraction in painting and art theorist.
Early was born in Moscow in 1866 and in 1871 his family moved to Odessa. 1886th of 1889 studied Law in Moscow. In 1896 rejected a teaching position at the University of Dorpat to study art in Munich.
In 1901 he founded the Phalanx group, whose main purpose is to introduce the French avant-garde in the provincial environment Munich, which opens to a school where she teaches. His paintings of the early years of the century are executed with a palette knife landscapes, at first dark, then acquire an intensity almost fauve, also looks fantastic themes based on Russian traditions or in the German Middle Ages, this period is marked by technical experimentation In particular, the use of the temple on a dark paper to give an impression of transparent surface illuminated from behind. Chiaroscuro tonal consistency scheme emphasizes the blurring the distinction between figures and background, resulting in an almost abstract composition.
In 1902 he exhibited for the first time with the Berlin Secession and produced his first woodcuts. In 1903 and 1904 traveling through Italy, the Netherlands, Africa and visit Russia. In 1904 exhibits at the Salon d'Automne in Paris.
In 1909 he was elected president of the Neue Künstlervereinigung München (NKVM). The first group exhibition takes place at the Thannhauser Gallery in Munich that year. Towards the end of the decade, the paintings of Kandinsky denote a strong tendency to fullness by the equivalence intensity of the areas of color and shiny surface that destroys any illusion of depth. The series of pictures of riders in action starting in 1909 and, in them, the horizon gradually be eradicated, like other spatial reference.
Maturity In 1910 made his first abstract watercolor in which (...) in the darker spots dominated by two colors, red and blue, which are clearly related because they are always together. The Red is a warm color and tends to spread, the blue is cold and tends to contract. Kandinsky does not apply the law of simultaneous contrasts but the checks, served two-color manageable as two forces that can be added or subtracted and, as appropriate, ie according to the impulses they feel, takes advantage of both to limit or driving each other. There are also signs linear, filiform, are in a sense, signs of possible movements are strokes that suggest the direction and pace of the spots that wander through the paper. Set in motion the whole watercolor (...)" (Argan).
Composition IV In 1911, the figures are so simplified, the color is so arbitrary and so confusing that space is impossible to distinguish the subject without reference previous pictures in the series. especially confusing for the viewer is the way it uses the line, both as an independent element, or as a limit to the color.
In 1911 Kandinsky and Franz Marc NKVM and withdraw from the bases of Der Blaue Reiter, an almanac edited in 1912. The first exhibition takes place in December at the Galerie Thannhauser in Munich.
published in 1911 Kandinsky Concerning the Spiritual in Art , in 1912 published the calendar with works by Kandinsky and Marc, and takes place the second Blaue Reiter exhibition in the gallery Hans Goltz. This same year is the first solo exhibition of Kandinsky Der Sturm gallery in Berlin. Kandinsky favorite tracks from this era are violent and apocalyptic and have their origins in popular religious images of Germany and Russia. By 1912 his work has gone through several evolutions productive.
In 1913, when he paints black lines, and can not speak of abstraction from a subject, the color and line themselves have taken this expression that no longer follow a fixed format. Works like this are the first truly abstract.
Abstract Art
Improvisation 31 (Sea Battle), 1913, National Gallery of Art, Kandinsky WashingtonEl development towards abstraction finds its theoretical justification in "Abstraction and Empathy" Wilhelm Worringer, who had published in 1908. Worringer argues that the hierarchy of values \u200b\u200bto use based on the laws of the Renaissance, it is valid to consider the art of other cultures, many artists create from reality, but with an abstract impulse that makes the latest trends in art den in societies less materialistic.
Kandinsky, like Piet Mondrian, was interested in theosophy, understood as the fundamental truth that lies behind doctrines and rituals in all religions of the world, the belief in an essential reality hidden behind appearances, provides an obvious rationality to abstract art.
In Concerning the Spiritual in Art, talks about a new era of great spirituality and the contribution of painting it. The new art must be based on Kandinsky color language and provides guidelines on the emotional properties of each tone and each color, in contrast to theories about the oldest color, he is not interested in the spectrum but only in response soul. In 1913 one of his works presented in the Armory Show in New York and at the outbreak of World War I, returned to Russia, settling in Moscow until 1921.
From the October Revolution of 1917, Kandinsky develops administrative work for the People's Commissariat for Education, among the projects of the agency's reform education art schools. In 1920 he was one of the founders INKhUK Moscow (Institute for Artistic Culture), during this year came the conflict between Kandinsky, Malevich and other artists idealists against the productivist (or constructivist), Vladimir Tatlin and Alexander Rodchenko The latter group found strong support in "the plan of monumental propaganda" created by the political authorities of the Revolution. The status of output voltage suitable for the Russian Kandinsky.
In 1922 he moved to Weimar (Germany), where he gives lectures to the Bauhaus. In 1926 he published his book Point and Line to Plane. Contribution to analysis of the pictorial elements. An organic continuation of his earlier work On the Spiritual in Art. Remain at the Bauhaus until 1933 when the Third Reich closed the institution.
Since 1933 moved to Paris where he will continue his career as an artist until his death in 1944, at age 78, in Neuilly-sur-Seine (France).
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