The biomorphic forms which prevail throughout this body of work were a clear departure from the artist's decidedly geometric, linear output of the Bauhaus years, and they instead reveal the influences of the Surrealist group, with which Kandinsky came into closer contact in Paris in the 1930s. Whilst he was not drawn to the idea of automatism and the use of dreams and he was certain to discount any direct influence he may have drawn from his contemporaries working in France, his work was nevertheless transformed by exposure to Jean Arp's and Joan Miró's formal aesthetic. The gentler, more organic forms and shapes were almost certainly also informed by Kandinsky's interest in molecular biology during the 1930s, attested by the collection of magazine and newspaper clippings the artist kept on the subject. Ernst Heinrich Haeckel's Kunstformen der Natur of 1899-1904 (see fig. 2) is thought to have been another influence and a source of inspiration for this aesthetic.
Many of the forms populating works from this last decade, including those found in the present work, frequently resemble deep sea organisms. Their luminosity and at times playfulness obscure the great sense of unease and the hardship Kandinsky and his wife Nina experienced during this time. After the closure of the Dessau Bauhaus by the National Socialists in 1932, Kandinsky attempted to revive the school’s ethos in Berlin, before eventually moving to Paris in 1934, where he remained for the rest of his life.
Please call 1-800-555-5555 to order a print catalog for this sale.
Online Registration to Bid is Closed for this Sale. Would you like to watch the live sale?Watch Live Sale