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"I had the impression that here painting itself comes to the foreground; I wondered if it would not be possible to go further in this direction."
Thus did the young Russian painter Wassily Kandinsky (1866–1944) react to his first viewing of Monet's Haystack, included in an 1895 Moscow exhibit of French Impressionists. It was his first perception of the dematerialization of an object and presaged the later development of his influential theories of non-objective art.
During study and travel in Europe, the young artist breathed the heady atmosphere of artistic experimentation. Fauvism, Cubism, Symbolism, and other movements played an important role in the development of his own revolutionary approach to painting. Decrying literal representation, Kandinsky emphasized instead the importance of form, color, rhythm, and the artist's inner need in expressing reality.
In Point and Line to Plane, one of the most influential books in 20th-century art, Kandinsky presents a detailed exposition of the inner dynamics of non-objective painting. Relying on his own unique terminology, he develops the idea of point as the "proto-element" of painting, the role of point in nature, music, and other art, and the combination of point and line that results in a unique visual language. He then turns to an absorbing discussion of line — the influence of force on line, lyric and dramatic qualities, and the translation of various phenomena into forms of linear expression. With profound artistic insight, Kandinsky points out the organic relationship of the elements of painting, touching on the role of texture, the element of time, and the relationship of all these elements to the basic material plane called upon to receive the content of a work of art.
Originally published in 1926, this essay represents the mature flowering of ideas first expressed in Kandinsky's earlier seminal book, Concerning the Spiritual in Art. As an influential member of the Bauhaus school and a leading theoretician of abstract expressionism, Kandinsky helped formulate the modern artistic temperament. This book amply demonstrates the importance of his contribution and its profound effect on 20th-century art.
- Sales Rank: #217641 in eBooks
- Published on: 2012-03-15
- Released on: 2012-03-15
- Format: Kindle eBook
Language Notes
Text: English, German (translation)
From the Back Cover
"I had the impression that here painting itself comes to the foreground; I wondered if it would not be possible to go further in this direction."
Thus did the young Russian painter Wassily Kandinsky (1866–1944) react to his first viewing of Monet's Haystack, included in an 1895 Moscow exhibit of French Impressionists. It was his first perception of the dematerialization of an object and presaged the later development of his influential theories of non-objective art.
During study and travel in Europe, the young artist breathed the heady atmosphere of artistic experimentation. Fauvism, Cubism, Symbolism, and other movements played an important role in the development of his own revolutionary approach to painting. Decrying literal representation, Kandinsky emphasized instead the importance of form, color, rhythm, and the artist's inner need in expressing reality.
In Point and Line to Plane, one of the most influential books in 20th-century art, Kandinsky presents a detailed exposition of the inner dynamics of non-objective painting. Relying on his own unique terminology, he develops the idea of point as the "proto-element" of painting, the role of point in nature, music, and other art, and the combination of point and line that results in a unique visual language. He then turns to an absorbing discussion of line—the influence of force on line, lyric and dramatic qualities, and the translation of various phenomena into forms of linear expression. With profound artistic insight, Kandinsky points out the organic relationship of the elements of painting, touching on the role of texture, the element of time, and the relationship of all these elements to the basic material plane called upon to receive the content of a work of art.
Originally published in 1926, this essay represents the mature flowering of ideas first expressed in Kandinsky's earlier seminal book, Concerning the Spiritual in Art. As an influential member of the Bauhaus school and a leading theoretician of abstract expressionism, Kandinsky helped formulate the modern artistic temperament. This book amply demonstrates the importance of his contribution and its profound effect on 20th-century art.
About the Author
Wassily Kandinsky (1866-1944), whose works are contained in this book, not only practised art but also wrote on it extensively. He explored the theoretical aspects of the abstract art to which he ascribed, often drawing on his own work for examples, perhaps in an attempt to defend it by showing the care and thought he put into his art.
Most helpful customer reviews
59 of 62 people found the following review helpful.
Kandinsky Reveals Secrets of the Drawing Universe
By Camille Curran
Reading this book is like entering the sanctum sanctorum of mark making. It is a first class journey through the thought processes of a major 20th century innovator as he introduces, evaluates and places in relationship the elements of drawing and composition. While not for the faint of heart, Kandinsky writes with such endearing specificity about the exact function of each component (point, line, plane) the marks take on lives of their own. His simultaneous portrayal of the function of marks through words and the distillation of words through marks offers insights into the creative process for artists at every stage of development. The organization of the material is logical, as expected from a man who started out as a lawyer, as well as magical, coming from a man who ascribed to the spiritual in art. For all its apparent simplicity it is well worth the time to savor in small portions. I particularly like the layers of meaning to be found in his concepts. There is a cascading effect to reading a description, applying the principle to an art process and then revisiting the text to have further meaning reveal itself. He literally views drawing from the inside out.
17 of 17 people found the following review helpful.
About abstraction, or is it abstraction?
By wiredweird
Kandinsky's goal seems admirable, to create a vocabulary in which abstract visual art can be discussed. That would allow a theory of abstraction to develop, with the promise that art would advance as its theory advanced. He argues his case well, he was trained as a lawyer after all, using analogy to that most abstract of arts: music.
He presents his thoughts in three sections following logical progression: point, line, and plane. As one would expect in discussing visual impression, Kandinsky acknowledges the mathematical point but generalizes it to isolated, self-contained marks of many kinds. Already, in the zero-dimensional world, Kandinsky begins his conceptual whirl: a point is not just a point, but a tension, a temporal presence, and even a sound - though I'm not convinced that this "sound" relates to audible impressons. The point even manifests as a period in punctuation. Its presence and position changes or erases a sentence's meaning; presumably, one is to infer that it has similar meaning in visual compostion.
Moving on to Line, Kandinsky crams a huge number of concepts onto the page: temperature, hue plus white and black, movement and force, angle, sound and triple sound, and even the duality of male/active vs. female/passive. Certainly there is much to discuss in all of these things, but the color, sound, and sex of a specific diagonal angle elude me. They are clear enough to Kandinsky, though, who announces these relations with absolute certainty and inevitability. His writing makes me think of mysteries revealed with papal infallibility, and with internal reason beyond human reasoning. Discussion of Plane drives even deeper into thickets of interlaced concept. I admit that I was never able to hack a clear path for myself through his conceptual undergrowth.
In the end, Kandinsky's vision remains a statement of his own inner experience - not of thinking that could be shared and pushed forward by other minds. Instead of showing the world how to think, he shows the world how he thinks. Although I'm no great fan of his art, that glimpse fascinates me, and is reason enough for reading and experiencing this remarkable text.
-- wiredweird
11 of 13 people found the following review helpful.
this book shows how you can assign meaning to many aspects of art
By Patrick Regan
I think this book is useful for understanding Kandinsky's art but I think it is most useful for artists trying to form their own ideas about art. The reason for this is that in ascribing characteristics to many aspects of art for example lines curves and planes, the author makes us as artists think about how we use these aspects of art in our work. So, in other words, he gets you thinking about the meaning of all those marks on paper we make. I think most artists will find their own explanations of the various types of line, curve, color and plane, what this book does is give you the idea for doing so in the first place.
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