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Wassily Kandinsky: The Visionary Language of Abstraction

By Béa Aaronson

“The more frightening the world becomes…the more art becomes abstract.”

“In every painting a whole world is mysteriously enclosed,

a whole life of tortures, doubts, of hours of enthusiasm and inspiration.”

—Wassily Kandinsky


From Moscow, where he was born in 1866, to Paris, where he died in 1944, via Venice, Rome, Munich, Berlin, Weimar, and New York, Wassily Kandinsky disseminated the fairytale complexity of a visionary universe he had created to fight against conventional aesthetic values. Kandinsky indeed invented a splendid, organic, nonfigurative world where energy was unleashed through mutations of forms and interconnected colors. Nonfigurative art allowed him to reach a higher spiritual level of consciousness. This is what he called inner beauty. The fervor with which he painted was inner necessity!

“Wassily Kandinsky: The Visionary Language of Abstraction”
By Béa Aaronson, PhD
Mon, Mar 13, 4pm
The Jewish Cultural Center of San Miguel
Calle de Las Moras 47
150 pesos per person

It was not until 1896, when Kandinsky was thirty years old, that he decided to become an artist. His artistic development was shaped and enthused by an exhibition of French impressionist painters that was shown in Moscow in 1895. Above all, it was Claude Monet who inspired him the most, Monet for whom the role of color was more important than the subject matter and whose late “Nymphéas” sang the lyrical expressionism of nonfigurative art.

Kandinsky’s fascination with the symbolic and psychological power of color reached a peak with his Baudelairian synesthetic philosophy, which he so poetically worded as follows: “Color is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul.”

I shall unravel for you the Secret Doctrine of Theosophy which inspired him so much, as well as his poetical and scientific symbiosis with the world of music, especially Schönberg’s atonal inventions. From his early fauve paintings to his “organicist” improvisations, from his Blaue Reiter compositions to his Bauhaus sacred geometry, I invite you to come and savor Kandinsky’s lyrical palette and discover the spiritual dimension of his painterly metamorphoses.


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