Marta Treffiletti

4.3.03

REL 295

Paper Assignment #2

Spirituality Through Simplicity

Abstract art does not describe any one particular style, but rather an attitude that values individuality and spontaneous improvisation. While conventional subjects and styles do not properly convey the vision of abstract expressionism, the idea of moving farther and farther away from these physical and representational objects does. With no set of rules, regulations, or restrictive boundaries, Wassily Kandinsky found that “interior necessity” alone could inspire true art. By moving away from the representation of reality, materialism, objects, and the physical world, Kandinsky discovered the spiritual power of abstraction through his own redefined and simplified representation of reality as he saw it. It was through the fundamentals of line, shape, color, contrast, and form that he was able to engage his own personal experience of the natural world into a more supernatural place. What Kandinsky saw as visible in reality, he recreated as invisible on canvas, by incorporating the emotion that he experienced within his soul during the observation. If Kandinsky observed something as sensible, he would experience it through his own soul as spiritual. (Kandinsky, 1-5)

Many have viewed Kandinsky’s theory of gaining spiritual power through the abstraction of art as excessive. However, through his own experiences, abilities, and observations, Kandinsky has simply attempted to move away from the material and physical world, a reality easy to depict through realistic portrayals of it. Kandinsky has chosen to challenge the notion of representing an observation or emotion, as most artists would picture it. By moving away from the literal representations of art, Kandinsky was simply challenging a new idea. According to Kandinsky, by observing and taking in the experience that has inspired one to design, create, draw or paint, one is able to feel the strength in emotion, and find a place for it within the soul. By feeling the emotion within oneself, reaction through non-objective representations of line, color, shape and form, is possible. This allows the artist to define the very emotional experience that he/she went through, while observing it. (Professor Braiterman, Lecture 2.25.03) “Composition VI” and “Composition VIII” are two examples of Kandinsky’s work that communicate this spiritual emotion represented through the artistic elements of color, line, shape, and form.

Tension, abrupt change, and clash may enter the mind when viewing Kandinsky’s, “Composition VI.” Color is the predominant use of form in this piece. While many areas emphasize high contrast with dark and light, and warm and cool colors, this particular use of color suggests some slightly recognizable objects, but still remains extremely unclear. The violent and inter-meshing of the color forms implies a struggle or painful battle to the viewer. Unclear of what the true meaning is, the audience is left to make assumptions from the emotional placement of the color, blending or separating itself with the use of line. If we were to divulge the truth behind “Composition VI,” we would learn that the colliding of the forms and colors represents an impending crash of a tidal wave. Kandinsky was clearly separating the composition into different areas so that the viewer could make a distinction between each part. First, the eye is drawn to the pink and white focus in the left center area. According to Long, an important element that draws one to the right part of the painting is the sharp lines representing “torrential rain.” (Long, 46) As the eye moves toward the right section of the composition, a dark area made up of opposing forms exists. Strong, thick, and dark lines, symbolizing the rain, add to the commotion and disorder of the piece. From this area, the eye slides down to the lower area of the composition where a white and bluish form outlined in black seems to cower below the rapids of rain and crashing waves. (Long, 45-47)

Color, is the superior focus in Kandinsky’s “Composition VI,” and has a much deeper meaning then the simplicity of the hue that we, as viewers, are observing. Kandinsky describes “their psychic effect” and how the colors that he uses produce a spiritual rhythm or pulsation within oneself. This, in turn, results in the colors holding a deeper, emotional meaning. This language behind the colors attempts to express the feeling of the experience that the painting is trying to convey to us. (Kandinsky, 24) Red symbolizes unbound warmth; blue relates to spirituality and depth; white suggests pure possibility and transcendence; green represents tranquility; yellow translates as ecstatic and cute; black characterizes nothingness. (Professor Braiterman, Lecture 2.25.03) Through the power and deeper meaning of color, one can begin to communicate and connect with the emotional representation of it.

Through the observations of “Composition VI,” we now have a better understanding of the power that color holds and how it can enrich a painting or drawing. Looking at a different angle, Kandinsky’s “Composition VIII” is driven through the intensity and power of form. While we still observe many different tones and hues in this piece, they are all contained by a clear, precise, and intentional black line.

Kandinsky’s “Composition VIII” is comprised of geometrical rhythm. The dominating compositional element of moving from color to form is obvious in this piece. Contrasting forms seem to provide the dynamic balance of the work. The large circle in the upper left corner, along with the smaller, floating circles that surround it, work as an important element that clashes with the dark, defined lines on the right side of the painting. Kandinsky is continuing to use color as a secondary element to balance the composition. To express more movement between the forms, he has used different colors to create a contrast between dark and light, which works toward a more balanced composition. We observe a yellow circle with a blue halo, versus a blue circle with a yellow halo. A larger, right angle is made up of blue; a smaller, acute angle is filled with pink. Long says, “The background also works to enhance the dynamism of the composition. The design does not appear as geometrical exercise on a flat plane, but seems to be taking place in an undefined space. Withdrawing and advancing within this depth, the forms work to create a dynamic push-pull effect.” (Long, 59-62)

Although we may not be able to understand the specific experience that Kandinsky was going through during the creation of “Composition VIII,” we can understand that “form is the outward expression of inner meaning.” Kandinsky is once again challenging his representation of the material world in the most simplistic of terms. Through his representation of a spiritual experience, Kandinsky has observed and then selected what is essential. Applying this idea to “Composition VIII,” Kandinsky has communicated his ideas predominately through the different confrontations in form, with color as a secondary element to further his concepts. (Kandinsky, 28-29)

Kandinsky was testing the expressions of reality, the materialistic world, and the interpretation of the viewer. Through the focus of his own investigation of personal intuition and through the spiritual responses he received during the creation of his artwork, Kandinsky was able to break down the barriers of realism. Feeling the energy and emotion within his soul, Kandinsky recreated that feeling through his own personal reaction of color and form on canvas. Learning and understanding the power and challenge this holds, perhaps everyone that considers himself/herself an artist should step back, put aside his/her struggle to represent something as it truly is, and feel it within his/her soul. I suggest everyone to become a child at heart, with simplistic approaches, a problem solver, and challenge that what exists before you.

“Composition VI”

“Composition VIII”

Sources:

Braiterman, Zachary. Religion and Art: Class Lecture. 2.25.03

Kandinsky, Wassily. Concerning the Spiritual in Art. New York, 1977.

Long, Rose-Carol Washton. Kandinsky, The Development of an Abstract Style. New

York, 1980.