Tag Archives: Kandinsky

Weekend Coffee Share…3rd March, 2019.

Rowena in art galleryWelcome to Another Weekend Coffee Share!

This week, I thought we’d backpedal a little and have coffee at the Pavilion Kiosk in Sydney’s Domain, across the road from the Art Gallery of NSW. I’ve chosen a table a bit out the back, which is under the shade of a Morton Bay Fig tree and for that rustic touch, we’re perching on leaf litter. Hard to believe this place is only a stone’s throw from the busy CBD.

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Brett Whiteley: Self-Portrait in the Studio at 36

I’ve brought you here, because I was here on Friday as I headed into the Art Gallery to see the Masters of Modern Art from  St Petersberg’s Hermitage Museum. I also wanted to squeeze in Brett Whiteley’s Exhibition:  Drawing Is Everything. Fortunately for you, I have my camera with me. So, as a whirled through these exhibitions like a cyclone, I committed what I could to “memory” and also bought the catalogue.

 

However, if you love and appreciate architecture, you might just want to rewind a little further and do a bit of a tour with me from St James’s Station on the edge of Hyde Park across the road to St James Banco Court and St James Church and then across the road to the Hyde Park Barracks, The Mint and Sydney Hospital.

I must admit that I was interested to note the statues of Queen Victoria and Prince Albert on opposite sides of Macquarie Street. They reminded me of John Keat’s: Ode to A Grecian Urn where the lovers are destined to spend eternity apart. I felt like giving Queen Victoria a bit of a shove across the road to be with Albert but then I saw what looked like a magic wand in her hand, which looked rather sinister and I decided to leave her alone. If she wants to be with Albert, she’ll have to find her own way there.

These buildings along Macquarie Street are among the very oldest public buildings in Australia and are well revered and loved. However, although I’ve admired them walking past, I had not been inside The Mint or Sydney Hospital and was gobsmacked by their stunning interiors with all their ornate design features. Naturally, they don’t make buildings like they used to and I love the high, lofty ceilings, incredible staircases and detailed touches like pressed tin and plaster ceilings etc. I could quite easily call one of these places “home”, even though you’d need an army to keep them clean.

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The other thing I’d like to share with you about my trip to the Art Gallery, is that I ran into an old uni friend I haven’t seen for over 20-25 years. I was absolutely stoked, because I’ve lost track of quite a few really close friends from uni and most of them haven’t gone onto Facebook and I haven’t been able to track them down. While many people have come and gone throughout my life, there’s something special about my school and uni friends which is different to the rest. I also feel they know the person I’d describe as the “real me” a lot better, as I feel that this person is often swamped by responsibilities and chronic health issues and can be in absentia. My friend and I had a coffee together at the art gallery cafe and went through the exhibition together. It felt so good to see her. Moreover, after all my walking around, I was getting quite tired and just like she used to do, she took me under her wing. I do have a bit of a Paddington “Please take care of this bear” aura about me.

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Above: Brett Whiteley: Head Studies 1971

It was good to get away, even just for the day, as I’ve been trying to get the house sorted. I have started out in the kitchen with what I’ve called: “The kitchen Revolution”. However,  my plans backfired. I might be wrong here, but it seems like order requires space. So, when you decompress everything in your cupboard and create space for what you put back, its a very clear case of: “Houston, we have a problem”. Just like many a backyard mechanic has found left over bit reassembling an engine, I have stacks and stacks of left over “crap” after I’ve removed the “really crappy crap”. While many might advise me to consult Marie Kondo on how to resolve my dilemma, I’m staying well away. Rather, I’m  secretly hoping that someone will accidentally knock the piles of leftover plates, bowls and what not, off the bench so I don’t have to make any more decisions. Yet, even then, I’d still need to find space in the bin. So, my troubles still wouldn’t be over. Indeed, it almost makes me wonder whether it would’ve been better to have left “well enough alone”.

As if I hadn’t done enough damage, I also made the mistake of buying two hibiscus plants at our local Bunnings Hardware store to add a splash of colour and Hawaiian delight to our decrepit front yard. However, given how many plants I’ve murdered, Geoff insisted that I plant them straight away. This meant that the kids and I were out under floodlights ripping out the long grass the mower had missed by the handful, while our resident orb spider was rebuilding its expansive network of web on the left of our letterbox and our daughter was trying to keep out. Not one to even do spontaneous gardening by halves, I trudged out to the worm farm and carried through buckets of squishy compost and a gazillion worms to give the hibiscus a fighting chance. This, of course, reminds me that it’s now Monday and I haven’t watered them since. Somehow, I’ve become a very bad and neglectful plant parent!

This coming week is going to be quite busy. Our son turns 15 on Friday and will be getting baptised on Sunday at Church. I’m quite stoked that our teenage son is choosing to get baptised rather than all the other things he could be getting up to. I take nothing for granted and parenting is a bit like going to the beach where “you never turn your back on the sea”. Yet, just as easily as one can be shocked, you can  also be pleasantly surprised. Not that his decision is a big surprise. He’s had his own faith for a long time and goes to youth every Friday night. This is something that I’ve felt has been between him and God and not just something thrust on him from Mum and Dad. I’ve decided to keep the celebrations fairly simple, because otherwise, I’ll get overwhelmed and fall in a screaming heap.

Well, after spending a lot of time turning around and editing photos, I’d better head back to the kitchen and see if I can knock off another pile. Oh yes…and water the plants on the way!

Hope you’ve had a great week.

This has been another Weekend Coffee Share, hosted by Eclectic Ali.

Best wishes,

Rowena

 

 

A-Z Weekly Round up…Letters to Dead Artists.

Welcome to Sunday, which is a day of rest in A-Z realms. Well, that is, if you’re not like me and somehow managed to mix N up with M and I ended up posting a letter to Sidney Nolan two days early, and to Edvard Munch, a day late. I think this is an alarm bell telling me I’ve taken on too much again this year and that I should heed some of the examples of my artists and not push myself too far. After all, Van Gogh cut off his ear and Munch shot off a finger, and I’m sure these two are just the tip of an expansive iceberg of troubled artists.
Thank fully, I have nothing to worry about. I’m a writer, not an artist.

Here’s a link to last week’s letters:

H- Hans Heysen

I- Isabel Bishop

J- Jackson Pollock

K- Wassily Kandinsky

L: Norman Lindsay

M- Edvard Munch

By the way, in case you missed any of the first week’s letters, here they are:

A- Alexandros of Antioch

B- Sandro Botticelli

C- Grace Cossington Smith

D-Edgar Degas

E- Eileen Agar

F- Frederick McCubbin

G- Vincent Van Gogh

Are you taking part in the A-Z Challenge this year? If so, please leave a link in the comments below and good luck. I think we’ve just passed half way, but I had prepared much of these before the challenge started, so I’m really needing to pump up the volume of research and writing, when it feels like I’ve blown up quite a few brain cells in the first two weeks. My kids also start two weeks of school holidays tomorrow. While they’re now 14 and 12 and more independent, I know I won’t be able to lock myself away for the next two weeks. I wouldn’t want to either. So, instead, I’ll be splitting the atom (or should I say myself) for the next two weeks.

I think I’m hearing something about fools step in where angels fear to thread…Rome wasn’t built in a day…and yet we have to try it, have a go, don’t we!!

Best wishes,

Rowena

 

K-Kandinsky- Letters to Dead Arts…A-Z Challenge.

Welcome Back to my A-Z Series: Letters to Dead Artists. Today, I’ve written to Russian artist, Wassily Kandinsky, one of the driving forces behind German Expressionism. Kandinsky will be accompanied by Arnold Schoenberg’s  Transfigured Night for String Quartet. Schoenberg and Kandinsky worked closely together and were very like-minded.

When I very first saw Kandinsky’s paintings in a German Expressionist Exhibition at the Art Gallery of NSW in 1990, all I saw was COLOUR!!! Bright colours and expressive forms. They were such a break from all the paintings I’d known growing up, with the dull greens and browns of the Australian landscape populated, as it were, by swagmen and sheep.

However, Kandinsky wasn’t just a man of bright, alluring colours and interior design. Rather through his book Concerning the Spiritual in Art, he expounded an entire theory about the emotions and spirituality of colour and devised a complex code of colours and symbols, which were also closely intertwined with music.

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When I saw the German Expressionist Exhibition, I was a 20 year old university student living in a crumbling terrace house in urban Glebe. Caught in all the lurid emotions of semi-requited love and paralyzing self-doubt, I was a living, breathing powder keg of angst. Indeed, I went to the exhibition with the source… someone I’ll simply call “Sunflower”.

As that paralyzed, love struck young woman, these paintings weren’t just something on the wall. They were ME spurting through the canvas wrestling with love, rejection and hope against all hope. I guess you could say this was a “turbulent period” for me, where I gouged my torment out with my pen, scrawling ink across the page. I then released my inner demons at poetry readings at Chippendale’s Reasonably Good Cafe, which I now consider fun.

As it turns out, there would’ve been better artists for a young woman struggling with semi-requited love to turn to, such as Gabriele Münter. She would’ve been very sympathetic, and could well have made me chicken soup. Indeed, I can even hear her reflecting on her relationship with Kandinsky…“He’s not the Messiah. He’s just a very naughty boy.” (Life of Brian).

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Gabriele Munter – Self Portrait in front of an Easel, 1909 at Princeton Art Museum, Princeton NJ

Kandinsky’s personal life was rather complicated. In 1892, he married his cousin, Anna Chemyakina. She took care of her husband and moved with him to Germany. However, in 1903 Kandinsky met and began a relationship with Gabriele Münter, one of his students at the Phalanx School. The two became inseparable. Kandinsky kept promising to divorce his wife and marry her, stringing love struck Münter along. Finally, in 1911, Kandinsky returned to Russia, and divorced his wife.

Yet, he still didn’t marry Gabriele Münter. Rather, he continued living with her as his lover. Unfortunately, when Germany declared war on Russia in August 1914, their relationship received a jolt. Kandinsky was considered an enemy alien and only had three days to get out. Since he couldn’t take much with him, he left the bulk of his paintings and possessions with Münter. The couple rushed to Switzerland and while in Zurich, Kandinsky broke up with her. For two years she urged a reunion. It took place in neutral Scandinavia in 1916, but failed. Well, that’s according to some of the sources I’ve read. Others are less clear about the breakup, suggesting he was still stringing her along.

Well, Kandinsky did get married, but it wasn’t to Gabriele Münter. Rather, he married 18 year old, Nina Andreievskaya, and he didn’t tell Münter. Indeed, he only came clean four years later when she received a letter from his lawyer demanding she return his personal effects and artworks. Not unsurprisingly, Gabriele didn’t return all his paintings, and kept these as “moral compensation”. While I’m very surprised Gabriel didn’t burn the lot, she actually kept them safe behind a secret wall in her basement during successive raids by the Nazis and Russians. Kandinsky never saw his paintings again. However, in 1957, Münter gave the stash to Munich, Stadtische Galerie in Lenbach. At least, the survival of this collection was a positive outcome of Gabriele’s grief.

Perhaps, there’s nothing about Kandinsky which is easy to understand. Indeed, for me, he’s an iceberg with only his head peering out above the waves. I even wonder whether he remains a mystery to experts who have studied him all their working lives, and know each and every millimetre of each work. I don’t know. Yet, despite the difficulties and also thanks to a sense of madness, I am still trying to fathom the unfathomable. Trying to unravel Kandinsky and his art.

POrtrait Kandinsky

So Who Was Wassily Kandinsky?

Wassily Wassilyevich Kandinsky was born in Moscow on the 4th December, 1866, the son of a wealthy tea merchant. He spent his childhood in Odessa, where he graduated from the Grekov Odessa Art school and enrolled at the University of Moscow, where he studied law and economics and was offered a professorship.

However, in 1896 at the age of thirty, Kandinsky and his trajectory permanently  changed.  Struck in a sense by lightning, he threw in his day job to become a professional    artist.

This was fueled by two events:

Firstly,he attended an Exhibition of French Impressionists in St Petersberg in 1896, where he was spellbound by Claude Monet’s painting: Haystacks in the Sunlight:

“So, I saw a painting for the first time. That it was a haystack the catalogue informed me. I could not recognize it. This non-recognition was painful to me. I considered that the painter had no right to paint indistinctly. I felt that the object of the painting was missing. And I noticed with surprise and confusion that the picture not only gripped me, but impressed itself ineradicably on my memory. Painting took on a fairy-tale power and splendour”.

Also in 1896, he attended Richard Wagner’s Lohengrin at the court (Bolshoi) Theatre in Moscow, which seemingly unleashed a moment of synesthetic apotheosis “which appeared to be the materialization of my fairytale Moscow. Violins, deep basses and wind instruments in the first place materialized my impression of evening hours in Moscow, I saw all the colours before my eyes – crazy, almost insane lines. I just could not admit that Wagner musically drew “my hour”. But I realized that art has much more power than I used to think about it and painting can have the same powers, as music”.

Music influenced Kandinsky’s art profoundly: he admired the way it could elicit an emotional response, without being tied to a recognisable subject matter. Painting, he believed, should aspire to be as abstract as music, with groups of colour in a picture relating to one another in a manner analogous to sequences of chords in music.

Kandinsky moved to Munich with his wife and studied at Anton Ažbe‘s private school and then at the Academy of Fine Arts.  It was here, that Kandinsky formed some artistic associations, which were to change the face of modern art. At Azbe’s school he met co-conspirators such as Alexei Jawlensky, who introduced Kandinsky to Munich’s artistic avant-garde. In 1901, along with three other young artists, Kandinsky co-founded “Phalanx” – an artist’s association opposed to the conservative views of the traditional art institutions. Phalanx expanded to include an art school, in which Kandinsky taught, and an exhibitions group.

In 1909, he was one of the founding members of Neue Kunstlervereinigung Munchen (NKVM, or New Artists Association of Munich), a group that sought to accommodate the avant-garde artists whose practices were too radical for the traditional organizations and academies. In 1911, after one of Kandinsky’s paintings was rejected from the annual NKVM exhibition, he and Franz Marc organized a rival exhibition and co-founded “Der Blaue Reiter” (The Blue Rider).

“Der Blaue Reiter” (The Blue Rider) initiated and deeply inspired the highly influential German Expressionist style. It was a loose association of nine Expressionist artists that included August Macke, Münter, and Jawlensky. As a group, they believed in the promotion of modern art and the possibility for spiritual experience through the symbolic associations of sound and colour – two issues very near and dear to Kandinsky’s heart. Despite the similarities between the group’s moniker and the title of Kandinsky’s 1903 painting, the artists actually arrived at the name “Der Blaue Reiter” as a result of the combination of Marc’s love of horses and Kandinsky’s interest in the symbolism of the rider, coupled with both artists’ passion for the colour blue. During their short existence, the group published an anthology (The Blue Rider Almanac) and held three exhibitions. Kandinsky also published Concerning the Spiritual in Art (1911), his first theoretical treatise on abstraction. It expounded that his theory that the artist was a spiritual being who communicated through and was affected by line, colour, and composition. He produced both abstract and figurative works, but expanded his interest in non-objective painting. Composition VII (1913) was an early example of his synthesis of spiritual, emotional, and non-referential form through complex patterns and brilliant colors. Unfortunately, the outbreak of World War I in 1914 led to the dissolution of the group.

Kandinsky returned to Moscow in 1914. Following the Russian Revolution, Kandinsky “became an insider in the cultural administration of Anatoly Lunacharsky”and helped establish the Museum of the Culture of Painting.However, by then “his spiritual outlook… was foreign to the argumentative materialism of Soviet society”[4], and opportunities beckoned in Germany, to which he returned in 1920. There, he taught at the Bauhaus school of art and architecture from 1922 until the Nazis closed it in 1933. He then moved to France, where he lived for the rest of his life, becoming a French citizen in 1939 and producing some of his most prominent art.

He died in Neuilly-sur-Seine in 1944.

So, without further ado, I’m off to write to Kandinsky and I promised myself that I wouldn’t mention his love life. Instead, I’m going to play it safe and stick to art and music.

A Letter to Kandinsky

Dear Kandinsky,

I’m burning the midnight oil trying to find the right words and my pen is stuttering away like the love struck uni student of days gone by. I’ve gone through sheet after sheet of paper, trying to find the right words and finally put together some kind of meaningful question to ask.

So, I’ll cut to the chase.

Could you please paint me playing my violin?

I know that’s a big ask when you’re world famous, and I pass right under all forms of radar. However, the world also needs to acknowledge the full scope of musicians, and not only honour those at the very pinnacle of success. Kandinsky, people forget that music doesn’t just refer to the maestros playing million dollar instruments. It also includes the beginners…the scratchy violinists, the annoying recorder players, the tone deaf, as well as the rhythmically challenged. Someone needs to represent the musical battler, and it might as well be me.

Of course, I can’t help wondering how my playing would affect your vision, and the corresponding relationship between colour and sound. Would you still paint my violin a relaxing tone of green? Or, would it all be reds, oranges, yellows? Maybe, somewhere in between?

Speaking about musical battlers, last weekend, I spotted this decrepit, dilapidated piano at the Scout Hall and I just had to play Moonlight Sonata on it. Moreover, I even asked my husband to record it. It sounded so bad, that it hurt your ears and we dubbed it: “The Sorry Sonata”…even “The Suicide Sonata”. Ironically, I usually play Moonlight Sonata on a Steinway Grand, but who hasn’t experienced the horrific twang of an old hall piano?  Well, I guess that’s changing because the piano is dying and you might be shocked to know that you can’t even give one away.

Anyway, why am I talking to you about pianos, when I wanted to talk about painting violins?

Getting back to my question, could please paint me playing my violin. It would really make me smile.

Best wishes,

Rowena

A Letter From Kandinsky

Dear Rowena,

Thank you very much for your letter. Jackson Pollock had insisted I’d be next, but you never can be sure. There must be plenty of other artists who you admire starting with K.

Nothing would delight me more than painting you playing your violin. However, I should warn you that I’ve developed a new minimalist style where nothing actually goes on the page. I know that sounds very much like Hans Christian Andersen’s classic: The Emperor’s New Clothes. However, please trust me. It’s been liberating…just like painting nude. John Lennon got me into that.

Let’s make a time.

Best wishes,

Kandinsky

Featured Image: Composition VII 1913– The State Tretyakov Gallery

References & Further Reading

https://en.wikipedia.org/wiki/Wassily_Kandinsky

http://www.artcenterinformation.com/2012/08/who-and-what-inspired-wassily-kandinsky/

http://viola.bz/wassily-kandinsky-and-his-women/

https://www.moma.org/documents/moma_catalogue_448_300063127.pdf

http://www.tate.org.uk/whats-on/tate-modern/exhibition/kandinsky-path-abstraction/kandinsky-path-abstraction-room-guide

Kandinsky,  “Steps”  an autobiographic novella