In my last blog I was following the life story of Wassily Kandinsky and had reached the juncture in his life, 1901, when he had opened up his own art school, Phalanxschule, in Munich. The previous winter, along with help from some of his like-minded artist friends, he had launched the exhibiting association, known as the Phalanx, and they had held their first exhibition in August 1901.
Kandinsky designed the Art Nouveau styled poster advertising its opening. In all the Phalanx held twelve exhibitions during its ten years in existence and it was in the seventh one in 1903 that works by Claude Monet were exhibited. The tenth exhibition included a number of works by post-Impressionists such as Paul Signac, Felix Vallotton and Henri Toulouse-Lautrec.
In the final years of the nineteenth century and at the beginning of the twentieth century, the in-vogue artistic style in southern Germany was Jugendstil or as we may better know it, Art Nouveau. The German word, Jugendstil means “youth style” and derives from the German cultural weekly publication Jugend. The style-setting iconic magazine, founded by George Hirth, promoted the Art Nouveau style. This up-and-coming art form was both artistically graceful and stylistically revolutionary. The Jugendstil artists and designers had their base around Munich, and while their work stylistically was likened to that of the French Art Nouveau of the fin de siècle era, the Jugendstil art depicted many Teutonic and mythological themes. Probably due to this, many of Kandinsky’s works at that time consisted of figure studies, scenes of knights on horseback, scenes from romantic fairytales and some fanciful reminiscences that he clung to of his beloved Moscow. The second Phalanx exhibition contained many Jugendstil works.
Kandinsky and his wife Anya Chimiakin separated by mutual consent in 1904 and he and his former Phalanxschule art student Gabriele Münter, who had become his lover, set off on a number of trips around Europe. They travelled to the Netherlands and Tunisia in 1904. The following year was spent in Italy and for a year between 1906 and 1907 the pair settled down Sèvres, a town in the outer suburbs of Paris. During this stay he exhibited works at the avant-garde Salon d’Automne and the Salon des Indépendants. At this time in Paris the art work of Gauguin, the Nabis, who were a group of Post-Impressionist avant-garde artists, Matisse and other Fauves were being exhibited. Fauvism was the first of the major avant-garde movements in European twentieth century art, and was characterised by paintings that used powerfully vivid, non-naturalistic and exuberant colours. This exposure to fauvism resulted in Kandinsky starting to paint fauvist-inspired landscapes in which the manner he used colour quickly departed from the naturalistic and descriptive. His use of colour was for reasons of expression, and in a lot of cases, non-naturalistic, motivations. Colour to Kandinsky now became ever more important and as this importance grew in his mind, the less he painted post-Impressionist type landscapes. Kandinsky’s colours became more brilliant and vibrant. Often his paintings around this time were large areas of solid bright colours set in sharp contrasts of light and dark and warm and cold.
Although travelling around Europe, Kandinsky always found time to return to Russia and exhibited some of his works at Moscow and St Petersburg exhibitions. In 1908 Kandinsky and Münter returned to Munich. From there, they often took painting trips to southern Germany, during which they visited the small town of Murnau, which nestled in the foothills of the Bavarian Alps. Both Kandinsky and Münter fell in love with the sprawling landscape of this area and found great inspiration from the scenic views with its kaleidoscope of colours with the high Bavarian Alps acting as an awe-inspiring background. The following year, the couple bought a house in the town and their two artist friends from Munich, Jawlensky and Werefkin often stayed with Kandinsky and Münter and together the group produced a number of wonderful landscape paintings and works depicting the town of Murnau itself. One of these works was one done by Kandinsky in 1909 and is today’s featured painting. It was an oil on cardboard painting entitled Grüngasse in Murmau which depicted one of the local streets in the town where he was living.
It was during the time the four artists lived under the same roof that conversation often turned to art and new forms of art. The most important result of these artistic discussions was that gradually Kandinsky’s became more interested in abstraction in art, in which representational forms, whether people or places, would increasingly melt away and be replaced by colours and basic shapes. In this Abstract art, the painting did not depict a person, place or a thing in the natural world, even in an extremely distorted or exaggerated way. So the subject of the painting was based on what you saw, such as colours, shapes, and simple brushstrokes. Kandinsky believed that different colours provoked different emotions. He believed that the colour red was lively and confident; green was peaceful with inner strength; blue was deep and supernatural; yellow could be warm, exciting, and disturbing and white seemed silent but full of possibilities. Kandinsky had now also decided to compartmentalise his work into three categories. The first he called Impressions and these paintings would still retain an element of naturalistic representation. They would be direct impressions of nature. The second category he deemed would be Improvisations and these paintings would convey spontaneous emotional reactions inspired by events of a spiritual type. The last category he termed Compositions. These were paintings which were not done spontaneously but put together carefully over a period of time, following a number of preliminary studies. These were to be his most complicated works. Although the titles he gave to the three categories seems somewhat arbitrary in fact they harked back to his love of music and in the way he connected, in his own mind, art and music. Kandinsky said of the connection between colour and music and of the connection between an artist and a musician:
“…Colour is the keyboard, the eyes are the harmonies, and 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…”
In the spring of 1909, the four artist friends from the house in Murnau, Kandinsky, Münter, Jawlensky and Werefkin along with Adolf Erbslöh and Alexander Kanoldt, all of who had studied art in Munich, formed an exhibiting society known as The Neue Künstlervereinigung München (NKVM) (New Artists’ Association of Munich). Their exhibitions were to be an alternative to established exhibitions. The aims of this newly formed group were laid out in the preamble to the founding circular of the Neue Künstlervereinigung München. It stated aims were:
“…We believe that the artist is continuously collecting both impressions from the outer world of nature and experiences from an inner world. And that he is searching for artistic forms to express the interaction between these types of impressions, forms which must be free of all irrelevant detail in order to express only what is necessary in a powerful way – in short, the pursuit of an artistic synthesis. This seems to us to be a solution that currently unites increasing numbers of artists. In founding this association, we hope to create a physical form for intellectual relationships between artists and to make it possible to speak to the public with a single voice…”
The NKVM mounted their annual group exhibitions at Galerie Thannhauser in Munich. The first NKVM show at the Thannhauser Gallery was held in December 1909 and a total of 128 works of art were put on display. The second exhibition followed in September 2010 and this was opened up to French and Russian avant-garde artists, such as Georges Braque, Picasso, André Derain, Maurice de Vlaminck and Alexander Mogilevsky.
Suddenly with these exhibitions Munich became the centre of avant-garde art. These exhibitions of avant-garde and abstract art were not universally popular with the Munich art critics of the time. They were very forthright in their condemnation of one of Kandinsky’s entries, Composition II, unanimously agreeing that the painting was simply the work of a madman or somebody high on drugs.
The third exhibition of the NKVM was set for December 2011 and artists were asked to submit their painting to the exhibition jury so they could be considered as suitable or not for inclusion in their third exhibition. By 2011 Kandinsky’s work was becoming more abstract in nature and some of the groups fellow artists were starting to criticise his style. One of his main submissions, Composition V, was rejected by the jury as being too big and not in accordance with their Society rules on size but it was thought that it was also considered to be too abstract. This decision pleased some of the artists in the group and annoyed others, such as his close friends, Münter, Jawlensky and Werefkin and the German painters Franz Marc and August Mack, and a schism in the NKVM occurred. Kandinsky immediately resigned and along with his supporters formed a new exhibition group to rival the NKVM. The group was called Der Blaue Reiter (The Blue Rider). The origin of the name of this new group was once thought to have come from Kandinsky’s own painting which he completed in 1903 entitled Der Blaue Reiter but in Annette Vezin’s 1992 book, Kandinsky and the Blue Rider, she wrote that Kandinsky wrote 20 year later that the name of the society came from Franz Marc’s enthusiasm for horses and his own love of riders, combined with the fact that he and Marc both loved the colour blue. To further annoy the NKVM group, Kandinsky’s Blue Rider group decided to hold their first exhibition at the same time as the third exhibition of the NKVM and in a room next to theirs!
I will pause my story on the life of Kandinsky and in my next blog delve into his later life and the works he produced.