Irene Guggenheim, Vasily Kandinsky, Hilla Rebay, and Solomon R. Guggenheim, Dessau, Germany, July 1930. Hilla von Rebay Foundation Archive. M0007. Photo: Nina Kandinsky, courtesy Bibliothèque Kandinsky, Centre Pompidou, Paris.
I finally had a day to myself. I slept in, walked through the streets of New York with the cool, damp Fall air blowing the leaves of red and yellow throughout the streets. Fall is undoubtedly my favorite time of year. I have been up in the city for over 15 weeks I have been spending all of my time working and finding work and meeting people that I haven't had the chance to enjoy my backyard, New York City.
Mixing my two loves from childhood -- art and arcitecture (or as I said when I was five, "the people who build houses"), Frank Llyod Wright and Vasily Kandinsky merged together long before this exhibit at the Guggenheim.
In 2004, I went to architecture camp. Yes -- a 3 week intense schooling of architecture and collaborating our love of design with our passion for an arts. That summer the two worlds of Kandinsky and Frank Lloyd Wright intertwined and taught me more than I ever expected to learn. The main thing I learned was that I did NOT want to go to architecture school, but pursue my creativity in another way. (Thank goodness I found that out before choosing a college!)
I have felt connected to Vasily Kandinsky as an artist for several years. The sharp edges of oil and sand on canvas to the soft watercolor pigments of geometrical shapes. I feel tied to Kandinsky as the artist I am: Not following a straight line, rather walking to the rhythm of my own drum, my heart.The ribbons of color, the irregularity of his style; I feel a part of his paintings. In paris, leaving his compas behind and focusing on his own interpretation of the circle is a signature that I drew me to Kandinsky many years ago.
There is no end and no beginning in Kandinsky's artwork. Lines with no end feel like infinity; details of straight lines and "squiggles" add emotion of stability as well as freedom. Structure and loose ends: a world that can fit everything. Free thinkers, stubborn one way opinionators, the carefree, the playful, the ones not afaid to step out of the box, but at the same time including people who are timid and shy and a little rigid in their ways. To me, Kandinsky did not set boundaries. He broke them and let his brush guide him.
Movement 1; july 1935
Oil on canvas, The State Tretyakov Gallery, Moscow
The use of color is unparallel to the stagnant uneasiness of the world in the early 20th century. He saw light. He saw more than a dark sky
Kandinsky uses books and encylopedias to inspire him. And his resources would come and go and he had dry spells and enlightenment periods. We all do. As an artist I cannot produce everyday. I wish I could. But I would rather have one piece of work the has meaning than ten pieces of mediocre envisions.
Oil on canvas, The State Tretyakov Gallery, Moscow
The use of color is unparallel to the stagnant uneasiness of the world in the early 20th century. He saw light. He saw more than a dark sky
Kandinsky uses books and encylopedias to inspire him. And his resources would come and go and he had dry spells and enlightenment periods. We all do. As an artist I cannot produce everyday. I wish I could. But I would rather have one piece of work the has meaning than ten pieces of mediocre envisions.I haven't been really I haven't really been inspired to sit down and write on my blog in October. Nothing personal, I just didn't have a whole lot to say. I know people, especially my family love reading my blog, but everything will be updated in time. I wrote this entry while I was in the Guggenheim today and I'm ready to publish it. Bring on November, let the inspiration flow!
Dominant curve, April 1936, Guggenheim
Humor, playfulness, "jack in the box" type of work -- each painting is different and has countless interpretations
The movement in kandinskys paintings reflects a spinning motif that e can rotate in our minds as if we are falling into his paitings and they become our world. Our surrondings.
Mixing lines and shapes with abstract and rigidness is how I would draw my self portrait. Soft and hard. Free flowing as well as roots that keep me level headed, which I would illustrate by sharp, thick lines. Soft light and shapes to express my vulnerability and the compassion I have towards people and life. I would mix dark with light hard and soft thick and thin becuase nothing has been easy and dark times cannot be misrepresented in my self portrait. My green eyes would be included bc I believe the deeppths of someones geniunity and feelings of emotion and light to the heart are apparent by a persons eyes.
Vasily Kandinsky unified art and architecture.
Mixing lines and shapes with abstract and rigidness is how I would draw my self portrait. Soft and hard. Free flowing as well as roots that keep me level headed, which I would illustrate by sharp, thick lines. Soft light and shapes to express my vulnerability and the compassion I have towards people and life. I would mix dark with light hard and soft thick and thin becuase nothing has been easy and dark times cannot be misrepresented in my self portrait. My green eyes would be included bc I believe the deeppths of someones geniunity and feelings of emotion and light to the heart are apparent by a persons eyes.
Vasily Kandinsky unified art and architecture.
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