The Bauhaus school was also marked by a period of artistic cohesion amongst those who shared Gropius’s campus. Works such as Geflecht and Schwarz-Rot (fig. 1) possessed a similar harmonious balance of forms as did Paul Klee’s more figurative elements in pictures produced during the same period (fig. 2). Kandinsky was also capable of integrating the poetic and spiritual elements of his earlier works and they remained the underlying force of his art throughout the 1920s.
The artist stated: 'Abstract art, despite its emancipation, is subject here also to 'natural laws' and is obliged to proceed in the same way that nature did proceed, when it started in a modest way with protoplasm and cells, progressing very gradually to increasingly complex organisms. Today, abstract art creates also primary or more or less primary art organisms, whose further development the artist today can predict only in uncertain outline, and which entice, excite him, but can also calm him when he stares into the prospect of the future that faces him' (quoted in Kenneth Lindsay & Peter Vergo (ed.), Kandinsky: Complete Writings on Art, New York, 1982, vol. II, p. 628).
In a letter to Will Grohmann Kandinsky wrote that he hoped that his audience would grasp 'what lies behind my painting, and are no longer content with the observation that I use triangles or circles [...] It must be finally understood that form for me is only a means to an end, and that I am so thoroughly and completely concerned with form - in my theories, too - because I want to penetrate its inner nature. You once mentioned the word 'Romantic', and I was delighted [...] Today there is a 'New Objectivity' - there ought to be a New Romanticism [...] The meaning, the content of art is Romantic' (quoted in Frank Whitford, Kandinsky: Watercolours and other Works on Paper (exhibition catalogue), The Royal Academy of Arts, London, 1999, p. 69).
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