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Wassily Kandinsky
1866 - 1944年
SCHWACHER BOGEN (WEAK ARC)
Signed with the artist's monogram and dated 29 (lower left); signed with the artist's monogram, titled, numbered no. 335 and dated 1929 (on the verso)
Watercolor and pen and ink on paper mounted on card
19 5/8 by 10 1/4 in.
50 by 26 cm
Executed in February 1929. 
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來源

Anatole Jakovski, Paris (acquired in February 1935)
Fernand Graindorge, Liège
Heinz Berggruen, Paris (acquired in 1955)
Kleeman Galleries, New York (acquired in 1956)
Dr. Robert Schnell, Zurich
Sale: Klipstein & Kornfeld, Bern, May 24, 1962, lot 80
Galerie Berggruen, Paris
Nantenshi Gallery, Tokyo
Acquired from the above by the present owner

展覽

Halle, Roter Turm, Hallischer Kunstverein & Städtisches Museum, Alte Garnisonskirche and Roter Turm, 1929, n.n.

出版

The artist's handlist, no. 335
Vivian Endicott Barnett, Kandinsky Watercolours, Catalogue Raisonné, 1922-1944, vol. II, London, 1994, no. 926, illustrated p. 246

相關資料

Kandinsky was probably introduced to the use of the spray technique in his watercolors by Klee, his close friend and neighbor at the Bauhaus. First used in 1927, it was a technique that characterized most of Kandinsky's works on paper from 1928-30. Vivian Endicott Barnett has written of the spray technique “the elements begin to hover and glide, become transparent, and seem even more immaterial than other works of the Bauhaus period” (Vivian Endicott Barnett, op. cit., p. 28).

Barnett writes further of Kandinsky, “Both in Russia and at the Bauhaus he set out...to furnish his own conception of art with what he regarded as a scientific basis, one that was transferable as a model to other arts. There were bound to be conflicts; and one of the reasons for Kandinsky's failure in Moscow was that the younger artists, such as Rodchenko and Stepanova, did not share his approach. The Bauhaus was very different: expressionist, theosophical, socioromantic, and oriental ideas played a major part in the prehistory and immediate origins of the institution. But above all, Kandinsky was not alone in Weimar and Dessau. There was his evident affinity with Klee, who...also regarded art as an analogy of creation itself” (Vivian Endicott Barnett & Armin Zweite, Kandinsky, Watercolors and Drawings, Munich, 1992, p. 28).

 

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