From the Paper
"Wassily Kandinsky's Untitled Improvisation III (1914), a work owned by the Los Angeles County Museum of Art, was done in oil paint on cardboard. The painting measures approximately 25 by 20 inches. This work is one of a series Kandinsky painted in the first years of his experiments with purely non-objective art. Kandinsky theorized about abstract painting and Untitled Improvisation III can be studied with reference to his theories about color and spirituality in art.
Kandinsky was born in Russia in 1866. He became a lawyer and it was not until he was thirty years old that he gave up a career as a legal scholar to become a painter. In 1896 he moved to Munich to take up his new career and, with trips to Paris, became familiar with the current trends in painting. In 1907 he exhibited with the early German expressionist group Die Brucke (The Bridge). Sometime between 1910 and 1912 he painted his first non-objective work--a watercolor."

Abstract
This paper examines how artist Wassily Kandinsky used color as a means of symbolism and expression, with an emphasis on his painting "Yellow, Red, Blue." First, the paper describes the art of Kandinsky's day and how he was innovative in using vibrant color. It is further pointed out that color remained an integral part of Kandinsky's work as his art progressed. Then the paper gives an in-depth discussion of the painting "Yellow, Red, Blue," detailing its interesting contrasts and juxtapositions of color. The paper concludes by interpreting the symbolism in this work, stating that it shows the dichotomies in life and nature.

From the Paper
"Kandinsky's obsession with color and intuitive expression did not fade as time wore on, but rather appear to have increased. His style of geometrical abstraction often suggests certain real objects or figures, but these could just as easily be figments of the viewer's imagination as they could be intentional creations on Kandinsky's part. Meaning in a Kandisnky painting, then, cannot be determined from a realist perspective. And although shape is imminently important in Kandinsky's work, it too is not the true representation of meaning. Instead, color--and the contrast between the different colors--is what truly establishes the significance of a Kandinsky work, especially as his art progressed."

Tags:abstract expression, symbolism, folk imagery

Abstract
This paper will determine Kandinsky's view of spiritual art in his treatise, "Concerning the Spiritual in Art", and how this applies to some of his major painted works. The paper explains how the focus of this spiritual point of view defines the nature of the triangle as a central point of demarcation from the material world, into a metaphysical world of shapes and objects that work though a descending and ascending procession through time. The paper outlines how Kandinsky provides examples of this in Compositions VI and VII, especially through the abstraction and simplification of shapes.

From the Paper
"This study will provide the spiritual foundation for the artistic and spiritual ideology of Wassily Kandinsky through a textual and analytical critique of his paintings. By examining his written work "Concerning the Spiritual in Art", one can realize the geometric symbolism that would inevitably become part of his own painting process. His composition and style often reflect the geometry of spiritual invocations, which define the way and manner that he developed a new and abstract stylization. Kandinsky provides a detailed textual description of why his paintings are..."

Tags:art, abstract, painting

Abstract
This paper discusses the spiritual foundation for the artistic and spiritual ideology of Wassily Kandinsky. It then provides a textual and analytical critique of his paintings and examines his written work, "Concerning the Spiritual in Art,". The paper also discusses the geometric symbolism that would inevitably become part of his own painting process.

From the Paper
"The musical foundation for spiritual painting is also revealed by Kandinsky, as he further defines the nature of a higher power through the discourse of time, color, and form. Kandinsky understands this overall or macrocosmic view of painting, which defines the need for an understanding of music to determine the nature of metaphysical properties in his compositions. In Composition VII, the idea of a triangular ascension of form is directly related the movement of the objects in the painting revolving around the central oval shape."

Tags:compositions, power, color, stylization

From the Paper
"There is some controversy over who made the first non-objective painting and Vasily Kandinsky is sometimes given credit for the accomplishment. Though this is certainly not true it does seem fitting since Kandinsky certainly was the first artist to make non-objectivity "the very foundation of his pictorial imagery." Kandinsky also wrote extensively on the theory of abstract painting. His best known treatise, On the Spiritual in Art, became one of the most influential theoretical works of the twentieth century. Generations of abstract painters absorbed his belief in "inner necessity as the only source of art." Although Kandinsky had an enormous influence on the course of painting and was himself a great painter, it still remains difficult to reconcile his theoretical writings with the work he produced. There are two problems in applying the ideas to the.."

Abstract
The paper attempts to illustrate how ideas and conceptions of abstract art have changed and developed since the early years of the twentieth century. The paper compares two modern abstract artists, Frank Stella and Robert Pepperell, with more traditional views of abstract art, such as those of Wassily Kandinsky. The paper shows how contemporary abstract artists still adhere to the formal and stylistic tenets of early abstraction but without the idealism that had initiated the abstract art movement.

Outline:
Introduction
Brief Overview of Abstract Art
Modern Abstract Artists: Frank Stella and Robert Pepperell
Conclusion

From the Paper
"Abstract art is commonly defined as, "art that does not depict objects in the natural world, but instead uses color and form in a non representational way." (NationMaster Encyclopedia: Abstract art). This definition does not deal with all the issues surrounding the meaning and understanding of abstract art and there is a great deal of dissension and argument among critics and art theorists about the nature and meaning of the term 'abstract'. However, the general view is that abstract art is essentially non-representational and non-objective. It is also seen from an artistic viewpoint as an attempt to provide an understanding of the world and reality that cannot be obtained by the methods and techniques of representation."

Tags:style, technique, idealism, expressionism, perception

Abstract
This paper explains that his 1922 painting "Twittering Machine" is characteristic of Paul Klee's painting style that reflects two art movements of the earlier part of the twentieth century. Next, the author describes this whimsical painting that integrates elements from nature, such as birds and fish, with elements of a mechanized lifestyle, such as coils and wires, to project an overall theme of communication as incessant chatter . The paper relates that, from the Der Blaue Reiter and Wassily Kandinsky, Klee developed his use of abstraction and playful colors and, from the Bauhaus movement, he gained his strong interest in the interface between technology, nature and humanity and how to communication these ideas in a symbolic manner.

From the Paper
"Paul Klee was born in Switzerland in 1879 but spent most of his life in Germany. Living in Munich exposed Klee to the Blue Rider (Der Blaue Reiter) group as well as to its founders such as Wassily Kandinsky. Kandinsky would become a friend and major influence on Klee. The Blue Rider group pioneered advancements in abstract art and was based in Munich from 1911 until 1914. Klee traveled to Northern Africa, where he encountered colors and lighting such as he had never seen before."

Tags:bauhaus, blue rider, chatter triangles color

Abstract
This essay focuses on two methods of art which are commonly seen as evocative of spirituality: visual art and poetry. By concentrating upon these forms, the essay attempts to demonstrate that there is a direct link between great art and spiritual experiences. After discussing the meaning of the term "spiritual", the essay then considers spiritual poetry, focusing upon one early English poem "The Dream of the Rood", and some later Catholic poetry. The role of painting in spirituality, with emphasis upon the early 20th Century work by Wassily Kandinsky, "Concerning the Spiritual in Art," is also discussed.

From the Paper
"Both "The Dream of the Rood" and Hopkins' poems describe their faith through physical description: "I saw the glory-tree/shine our gaily/...Yet through the masking gold I might perceive/what terrible sufferings were once stained thereon:/It bled from the right side/Ruth in the heart" (Alexander). "The mind, mind has mountains; cliffs of fall/Frightful, sheer, no-man-fathomed" (Hopkins). The spiritual is therefore accessed through the reader's understanding of the physical world - Rood does this through descriptions of the bleeding cross; Hopkins through the vastness of mountains and cliffs. These physical items would be awe-inspiring if real - therefore they create an image of awe in the mind. This removes it from the Mundane, as spiritual poetry demands."

Tags:English poetry, art, painting, aesthetics, spirituality, creativity