THE TRIUMPH OF COLOR: IMPORTANT WORKS FROM A PRIVATE EUROPEAN COLLECTION
In 1900 Kandinsky was accepted into the atelier of Franz von Stuck; it was here that he rejected the prevailing established Munich School of painting and begin to experiment with a more sensuous and symbolic content in his art. Using romantic fairy-tale subjects, such as mounted knights and Russian folk figures, to the right of the composition, he was able to nostalgically reference his homeland. The figures to the left of the composition however allude to a more contemporary source of inspiration. In 1906 Kandinsky and his partner Gabriele Munter left Munich to travel to Paris. The couple spent a year in France staying in the small town of Sèvres just beyond the city limits of Paris. Here Kandinsky became embedded in French artistic society, exhibiting alongside the Fauves and studying the work of van Gogh, Gauguin and Toulouse-Lautrec. The Catholic priest, caped drinker and dashing belle-époque rogue are clear references to this time spent in Paris, where the present work was executed.
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