Concerning the Spiritual in Art, Wassily Kandinsky [reader novel TXT] 📗

C. Red Green = Third antithesis Movement of the spiritually extinguished First antithesis

Motion within itself [CIRCLE] = Potentiality of motion = Motionlessness

Red

Ex-and concentric movements are absent In optical blend = Gray In mechanical blend of white and black = Gray

D. Orange Violet = Fourth antithesis

Arise out of the first antithesis from:

1. Active element of the yellow in red = Orange 2. Passive element of the blue in red = Violet

<–Orange–Yellow<—<—<—Red—>—>—>Blue–Violet–>

In excentric Motion within In Concentric direction itself direction

As in a great circle, a serpent biting its own tail (the symbol of eternity, of something without end) the six colours appear that make up the three main antitheses. And to right and left stand the two great possibilities of silence—death and birth (see Fig. 3).

FIGURE III.

A Yellow / D C B Orange Green B White | | Black | | | | C D Red Violet A / Blue

The antitheses as a circle between two poles, i.e., the life of colours between birth and death.

(The capital letters designate the pairs of antitheses.)

It is clear that all I have said of these simple colours is very provisional and general, and so also are those feelings (joy, grief, etc.) which have been quoted as parallels of the colours. For these feelings are only the material expressions of the soul. Shades of colour, like those of sound, are of a much finer texture and awake in the soul emotions too fine to be expressed in words. Certainly each tone will find some probable expression in words, but it will always be incomplete, and that part which the word fails to express will not be unimportant but rather the very kernel of its existence. For this reason words are, and will always remain, only hints, mere suggestions of colours. In this impossibility of expressing colour in words with the consequent need for some other mode of expression lies the opportunity of the art of the future. In this art among innumerable rich and varied combinations there is one which is founded on firm fact, and that is as follows. The actual expression of colour can be achieved simultaneously by several forms of art, each art playing its separate part, and producing a whole which exceeds in richness and force any expression attainable by one art alone. The immense possibilities of depth and strength to be gained by combination or by discord between the various arts can be easily realized.

It is often said that admission of the possibility of one art helping another amounts to a denial of the necessary differences between the arts. This is, however, not the case. As has been said, an absolutely similar inner appeal cannot be achieved by two different arts. Even if it were possible the second version would differ at least outwardly. But suppose this were not the case, that is to say, suppose a repetition of the same appeal exactly alike both outwardly and inwardly could be achieved by different arts, such repetition would not be merely superfluous. To begin with, different people find sympathy in different forms of art (alike on the active and passive side among the creators or the receivers of the appeal); but further and more important, repetition of the same appeal thickens the spiritual atmosphere which is necessary for the maturing of the finest feelings, in the same way as the hot air of a greenhouse is necessary for the ripening of certain fruit. An example of this is the case of the individual who receives a powerful impression from constantly repeated actions, thoughts or feelings, although if they came singly they might have passed by unnoticed. [FOOTNOTE: This idea forms, of course, the fundamental reason for advertisement.] We must not, however, apply this rule only to the simple examples of the spiritual atmosphere. For this atmosphere is like air, which can be either pure or filled with various alien elements. Not only visible actions, thoughts and feelings, with outward expression, make up this atmosphere, but secret happenings of which no one knows, unspoken thoughts, hidden feelings are also elements in it. Suicide, murder, violence, low and unworthy thoughts, hate, hostility, egotism, envy, narrow “patriotism,” partisanship, are elements in the spiritual atmosphere.

[FOOTNOTE: Epidemics of suicide or of violent warlike feeling, etc., are products of this impure atmosphere.]

And conversely, self-sacrifice, mutual help, lofty thoughts, love, un-selfishness, joy in the success of others, humanity, justness, are the elements which slay those already enumerated as the sun slays the microbes, and restore the atmosphere to purity.

[FOOTNOTE: These elements likewise have their historical periods.]

The second and more complicated form of repetition is that in which several different elements make mutual use of different forms. In our case these elements are the different arts summed up in the art of the future. And this form of repetition is even more powerful, for the different natures of men respond to the different elements in the combination. For one the musical form is the most moving and impressive; for another the pictorial, for the third the literary, and so on. There reside, therefore, in arts which are outwardly different, hidden forces equally different, so that they may all work in one man towards a single result, even though each art may be working in isolation.

This sharply defined working of individual colours is the basis on which various values can be built up in harmony. Pictures will come to be painted—veritable artistic arrangements, planned in shades of one colour chosen according to artistic feeling. The carrying out of one colour, the binding together and admixture of two related colours, are the foundations of most coloured harmonies. From what has been said above about colour working, from the fact that we live in a time of questioning, experiment and contradiction, we can draw the easy conclusion that for a harmonization on the basis of individual colours our age is especially unsuitable. Perhaps with envy and with a mournful sympathy we listen to the music of Mozart. It acts as a welcome pause in the turmoil of our inner life, as a consolation and as a hope, but we hear it as the echo of something from another age long past and fundamentally strange to us. The strife of colours, the sense of balance we have lost, tottering principles, unexpected assaults, great questions, apparently useless striving, storm and tempest, broken chains, antitheses and contradictions, these make up our harmony. The composition arising from this harmony is a mingling of colour and form each with its separate existence, but each blended into a common life which is called a picture by the force of the inner need. Only these individual parts are vital. Everything else (such as surrounding conditions) is subsidiary. The combination of two colours is a logical outcome of modern conditions. The combination of colours hitherto considered discordant, is merely a further development. For example, the use, side by side, of red and blue, colours in themselves of no physical relationship, but from their very spiritual contrast of the strongest effect, is one of the most frequent occurrences in modern choice of harmony. [Footnote: Cf. Gauguin, Noa Noa, where the artist states his disinclination when he first arrived in Tahiti to juxtapose red and blue.] Harmony today rests chiefly on the principle of contrast which has for all time been one of the most important principles of art. But our contrast is an inner contrast which stands alone and rejects the help (for that help would mean destruction) of any other principles of harmony. It is interesting to note that this very placing together of red and blue was so beloved by the primitive both in Germany and Italy that it has till today survived, principally in folk pictures of religious subjects. One often sees in such pictures the Virgin in a red gown and a blue cloak. It seems that the artists wished to express the grace of heaven in terms of humanity, and humanity in terms of heaven. Legitimate and illegitimate combinations of colours, contrasts of various colours, the over-painting of one colour with another, the definition of coloured surfaces by boundaries of various forms, the overstepping of these boundaries, the mingling and the sharp separation of surfaces, all these open great vistas of artistic possibility.

One of the first steps in the turning away from material objects into the realm of the abstract was, to use the technical artistic term, the rejection of the third dimension, that is to say, the attempt to keep a picture on a single plane. Modelling was abandoned. In this way the material object was made more abstract and an important step forward was achieved—this step forward has, however, had the effect of limiting the possibilities of painting to one definite piece of canvas, and this limitation has not only introduced a very material element into painting, but has seriously lessened its possibilities.

Any attempt to free painting from this material limitation together with the striving after a new form of composition must concern itself first of all with the destruction of this theory of one single surface—attempts must be made to bring the picture on to some ideal plane which shall be expressed in terms of the material plane of the canvas. [Footnote: Compare the article by Le Fauconnier in the catalogue of the second exhibition of the Neue Kunstlervereinigung, Munich, 1910-11.] There has arisen out of the composition in flat triangles a composition with plastic three-dimensional triangles, that is to say with pyramids; and that is Cubism. But there has arisen here also the tendency to inertia, to a concentration on this form for its own sake, and consequently once more to an impoverishment of possibility. But that is the unavoidable result of the external application of an inner principle.

A further point of great importance must not be forgotten. There are other means of using the material plane as a space of three dimensions in order to create an ideal plane. The thinness or thickness of a line, the placing of the form on the surface, the overlaying of one form on another may be quoted as examples of artistic means that may be employed. Similar possibilities are offered by colour which, when rightly used, can advance or retreat, and can make of the picture a living thing, and so achieve an artistic expansion of space. The combination of both means of extension in harmony or concord is one of the richest and most powerful elements in purely artistic composition.

VII. THEORY

From the nature of modern harmony, it results that never has there been a time when it was more difficult than it is today to formulate a complete theory, [Footnote: Attempts have been made. Once more emphasis must be laid on the parallel with music. For example, cf. “Tendances Nouvelles,” No. 35, Henri Ravel: “The laws of harmony are the same for painting and music.”] or to lay down a firm artistic basis. All attempts to do so would have one result, namely, that already cited in the case of Leonardo and his system of little spoons. It would, however, be precipitate to say that there are no basic principles nor firm rules in painting, or that a search for them leads inevitably to academism. Even music has a grammar, which, although modified from time to time, is of continual help and value as a kind of dictionary.

Painting is, however, in a different position. The revolt from dependence on nature is only just beginning. Any realization of the inner working of colour and form is so far unconscious. The subjection of composition to some geometrical form is no new idea (of. the art of the Persians). Construction on a purely abstract basis is