Der russische Maler Wassily Kandinsky (1866-1944) gilt als einer der Ersten, die sich auf das Feld der abstrakten Kunst gewagt haben. Trotz negativer Reaktionen einiger Kollegen bestand er darauf, sein Innenleben mithilfe der Abstraktion darzustellen. Dazu entfernte er sich immer mehr von einer Malerei, die als gegenständlich bezeichnet werden kann, was in seinem einzigartigen Gebrauch von Form und Farbe resultierte. Obwohl seine Werke zunächst heftiger Kritik ausgesetzt waren, würden sie sich schließlich als wegweisend erweisen.

Kandinsky

Wassily Kandinsky (1866-1944) was a Russian painter credited as being among the first to truly venture into abstract art. He persisted in expressing his internal world of abstraction despite negative criticism from his peers. He veered away from painting that could be viewed as representational in order to express his emotions, leading to his unique use of colour and form. Although his works received heavy censure at the time, in later years they would become greatly influential.

Wassily Kandinsky und Kunstwerke

Tra gli artisti più noti del XX secolo, Kandinsky si distinse per il valore internazionale della sua parabola esistenziale e della sua arte, che congiunse Russia, Germania e Francia; per il suo impegno come insegnante al celebre Bauhaus e la produzione di versi e scritti teorici; per il suo saldo e determinato cammino verso l'individualità. Nella cultura odierna egli occupa un posto d'eccezione: il posto di un artista che rifuggì la vanità e il desiderio di scioccare lo spettatore; il posto di un maestro incline alla meditazione, fondatore del Blaue Reiter e autore di Lo spirituale nell'arte; il posto di un artista che fu sempre fedele al movimento che porta alla sintesi delle arti e orientato alla ricerca di sistemi formali ascetici e perfetti.

Wassili Kandinsky

Impressionnistes Et Postimpressionnistes Russes

Né en 1937 à Gomel, Solomon Rossine fait des études d'Arts plastiques à Leningrad et Moscou. Entre 1965 et 1988, il voyage à travers l'Union soviétique, retirant de ce périple des impressions qui fondent toute sa peinture. Il participe à de nombreuses expositions, le plus souvent non officielles, à Leningrad, Tallinn, Moscou. En 1989, il fait sa première exposition en Occident et, deux ans plus tard, s'installe en France, à Lannion où il vit encore aujourd'hui.
A Lannion comme à Leningrad, Solomon Rossine mène une vie d'ermite, à l'instar des peintres d'icônes d'antan. Tout comme eux, il peint la vie et la mort, les hommes, leur grandeur, leurs misères. Au premier regard, on serait tenté, en découvrant ses œuvres, de penser à Chagall. Mais l'humanité de Rossine est autrement paradoxale, rapprochant l'artiste dès Van Gogh (source inépuisable d'inspiration pour lui), Bruegel, Goya.
Le paradoxe est une des clefs permettant de comprendre l'œuvre de Solomon Rossine. C'est le paradoxe de la vie " soviétique " d'hier, de la vie " russe " d'aujourd'hui ; celui d'une existence quotidienne dure et cruelle mais au travers de laquelle apparaissent la tendresse et la compassion ; celui, enfin, du grotesque qui devient harmonieux et du beau qui devient effrayant.
Paradoxaux, les titres de ses toiles ne le sont pas moins : joyeuses banlieues, Lecture du " Sermon sur la Montagne " au pensionnat pour aveugles " Commune de Paris "... sans oublier celui qui donne son titre au présent ouvrage Vue sur kolkhoze d'un satellite. On songe aux œuvres littéraires d'un Alexandre Zinoviev, d'un Andreï Platonov ou - paradoxe là encore - d'un Cholem-Aleichem. On songe aussi à Gogol et, dans un autre genre, à Fellini. Car ce n'est pas le moindre paradoxe de Solomon Rossine : son œuvre ne saurait être plus personnelle et plus russe, et en même temps plus universelle.
Anne Coldefy-Faucard.

Solomon Rossine. Vue Sur Kolkhoze D'Un Satellite, Exposition Abbaye-Aux-Dames, Caen, Du 5 Mai Au 7 Juin 2000

Kandinsky's art does not reflect and is not burdened by the fate of other Russian avant-garde masters. He left Russia well before the semi-official Soviet aesthetic turned its back on modernist art. He had been to Paris and Italy, even giving Impressionism its due in his earliest works. However, it was only in Germany that he aspired to study. It is obvious that in his preference for Munich over Paris, Kandinsky had been thinking more about schools than about artistic milieu. The qualities of salon Impressionism, a hint of the dry rhythms of modernism (Jugendstil), a heavy "demiurgic stroke" reminiscent of Cézanne, the occasionally significant echoes of Symbolism and much more can be found in the artist's early works. Kandinsky began working in Murnau in August, 1908. The intensity with which he worked during this period is stunning. In his early Murnau landscapes it is not hard to recognise a Fauvist boiling of colours and an abruptness in their juxtapositioning, the dramatic tension of Expressionism, which was gathering strength at that time, and the insistent texture of Cézanne. Kandinsky was leaving behind the earthly gravitational field of objects for the weightlessness of the abstract world, where the principal coordinates of being up and down, space and weight are lost. According to the myths of the twentieth century, by leaving reality behind, Kandinsky renounced illusion and, therefore, drew closer to a higher reality. In 1911, Kandinsky participated in the foundation of the group Der Blaue Reiter (Blue Rider). Kandinsky had already acquired a name in his Russian homeland. His On the Spiritual in Art (1912) was known from lectures and other accounts. When, with the "Improvisations" and "Compositions" of 1915-20, Kandinsky made his final break with the object world, he preserved until the early 1930s the feeling of dynamic, even organic, life in his paintings. In the summer of 1922, Kandinsky began teaching at the Weimar Bauhaus. It was then, in the first Bauhaus years, that he began working on his "Worlds", works in which he quite directly contrasted the grandeur of the great and the small. Kandinsky's fame grew with that of the Bauhaus. Kandinsky determined the essence of what was happening to him in the context of his environment. On the one hand, the presence of surrealistic overtones in his art is unquestionable. Those splendid carnivals of the subconscious, those "landscapes of the soul," realised in his simultaneously menacing and festive paintings from the 1910s, had already been in partial contact with the poetics of Surrealism. In Russia he had come to know himself as an artist: Russian motifs and sensations nourished his brush for a long time. In Germany he had become a professional and a great master; a transnational master. In France, where he was already welcomed as a world celebrity, he completed brilliantly and a bit dryly what he had begun in Russia and Germany.

Kandinsky

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