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Point and Line to Plane
"I had the impression that here painting itself comes to the foreground; I wondered if it would not be possible to go further in this direction."
Thus did the young Russian painter Wassily Kandinsky (1866–1944) react to his first viewing of Monet's Haystack , included in an 1895 Moscow exhibit of French Impressionists. It was his first perception of the dematerialization of an object and presaged the later development of his influential theories of non-objective art.
During study and travel in Europe, the young artist breathed the heady atmosphere of artistic experimentation. Fauvism, Cubism, Symbolism, and other movements played an important role in the development of his own revolutionary approach to painting. Decrying literal representation, Kandinsky emphasized instead the importance of form, color, rhythm, and the artist's inner need in expressing reality.
In Point and Line to Plane , one of the most influential books in 20th-century art, Kandinsky presents a detailed exposition of the inner dynamics of non-objective painting. Relying on his own unique terminology, he develops the idea of point as the "proto-element" of painting, the role of point in nature, music, and other art, and the combination of point and line that results in a unique visual language. He then turns to an absorbing discussion of line — the influence of force on line, lyric and dramatic qualities, and the translation of various phenomena into forms of linear expression. With profound artistic insight, Kandinsky points out the organic relationship of the elements of painting, touching on the role of texture, the element of time, and the relationship of all these elements to the basic material plane called upon to receive the content of a work of art.
Originally published in 1926, this essay represents the mature flowering of ideas first expressed in Kandinsky's earlier seminal book, Concerning the Spiritual in Art . As an influential member of the Bauhaus school and a leading theoretician of abstract expressionism, Kandinsky helped formulate the modern artistic temperament. This book amply demonstrates the importance of his contribution and its profound effect on 20th-century art.
Thus did the young Russian painter Wassily Kandinsky (1866–1944) react to his first viewing of Monet's Haystack , included in an 1895 Moscow exhibit of French Impressionists. It was his first perception of the dematerialization of an object and presaged the later development of his influential theories of non-objective art.
During study and travel in Europe, the young artist breathed the heady atmosphere of artistic experimentation. Fauvism, Cubism, Symbolism, and other movements played an important role in the development of his own revolutionary approach to painting. Decrying literal representation, Kandinsky emphasized instead the importance of form, color, rhythm, and the artist's inner need in expressing reality.
In Point and Line to Plane , one of the most influential books in 20th-century art, Kandinsky presents a detailed exposition of the inner dynamics of non-objective painting. Relying on his own unique terminology, he develops the idea of point as the "proto-element" of painting, the role of point in nature, music, and other art, and the combination of point and line that results in a unique visual language. He then turns to an absorbing discussion of line — the influence of force on line, lyric and dramatic qualities, and the translation of various phenomena into forms of linear expression. With profound artistic insight, Kandinsky points out the organic relationship of the elements of painting, touching on the role of texture, the element of time, and the relationship of all these elements to the basic material plane called upon to receive the content of a work of art.
Originally published in 1926, this essay represents the mature flowering of ideas first expressed in Kandinsky's earlier seminal book, Concerning the Spiritual in Art . As an influential member of the Bauhaus school and a leading theoretician of abstract expressionism, Kandinsky helped formulate the modern artistic temperament. This book amply demonstrates the importance of his contribution and its profound effect on 20th-century art.
192 pages, Paperback
First published January 1, 1926
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2660 people want to read
About the author
Wassily Kandinsky
218 books309 followersWassily Wassilyevich Kandinsky was a Russian painter, and Art theorist. He is credited with painting the first modern abstract works.
Born in Moscow, Kandinsky spent his childhood in Odessa. He enrolled at the University of Moscow and chose to study law and economics. Quite successful in his profession—he was offered a professorship (chair of Roman Law) at the University of Dorpat—he started painting studies (life-drawing, sketching and anatomy) at the age of 30.
In 1896 he settled in Munich and studied first in the private school of Anton Azbe and then at the Academy Of Fine Arts in Munich. He went back to Moscow in 1914 after World War I started. He was unsympathetic to the official theories on art in Moscow and returned to Germany in 1921. There he taught at the Bauhaus school of art and architecture from 1922 until the Nazis closed it in 1933. He then moved to France where he lived the rest of his life, and became a French citizen in 1939. He died at Neuilly-sur-Seine in 1944.
Born in Moscow, Kandinsky spent his childhood in Odessa. He enrolled at the University of Moscow and chose to study law and economics. Quite successful in his profession—he was offered a professorship (chair of Roman Law) at the University of Dorpat—he started painting studies (life-drawing, sketching and anatomy) at the age of 30.
In 1896 he settled in Munich and studied first in the private school of Anton Azbe and then at the Academy Of Fine Arts in Munich. He went back to Moscow in 1914 after World War I started. He was unsympathetic to the official theories on art in Moscow and returned to Germany in 1921. There he taught at the Bauhaus school of art and architecture from 1922 until the Nazis closed it in 1933. He then moved to France where he lived the rest of his life, and became a French citizen in 1939. He died at Neuilly-sur-Seine in 1944.
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Displaying 1 - 30 of 94 reviews
June 7, 2017
Πρόκειται για ένα πρωτοποριακό βιβλίο, ειδικά για την εποχή του, μία απόπειρα κατανόησης και εξήγησης της αφηρημένης τέχνης που σίγουρα σε ωθεί να αντικρίσεις με μία τελείως διαφορετική οπτική τον συγκεκριμένο τομέα της ζωγραφικής αλλά και το σύνολο των καλλιτεχνικών συνθέσεων. Η απόπειρα αυτή ξεκινάει από το πιο βασικό στοιχείο, το σημείο, για να περάσει στη γραμμή και να καταλήξει στο επίπεδο και στην τελική σύνθεση των επιμέρους στοιχείων. Όλες οι εντάσεις, εσωτερικές και εξωτερικές, τα χρώματα, οι μορφές, τα υλικά, τα σχήματα και ο συνδυασμός τους αναλύονται και παρουσιάζονται με φόντο την ιστορία, τις επιστήμες, τις διάφορες τέχνες, ακόμη και την φιλοσοφία. Προσωπικά, με βοήθησε να κατανοήσω πολλές αρχές τις τέχνης αυτής την οποία γνώριζα μόνο σε ιστορικό επίπεδο, αλλά χωρίς να μου δώσει την εντύπωση ενός ξεκάθαρου εγχειριδίου, μίας επιστήμης της τέχνης. Ακόμη κάποια πράγματα παραμένουν θολά, μετέωρα και ίσως πιο εμπειρικά, σίγουρα όμως ανοίγει δρόμους και προοπτικές για μια διαφορετική προσέγγιση και βίωση του καλλιτεχνικού κόσμου.
November 14, 2010
Absolutely awful. One of the worst books I've ever read. Kandinsky's writing is extremely weak, with numerous undefined terms (especially "tension", "sound" and "temperature" as they relate to graphic objects), and an abundance of unsupported claims. For example,
and
Hogwash.
I'm a mathematician and an art creator, so perhaps this kind of pseudo-mathematical writing disturbs me more than it would others. It's a great disappointment, since I revere much of Kandinsky's art.
The most objective of the three typical angles is the right angle, which also is the coldest. It divides the square plane into exactly 4 parts. The acute angle is the tensest as well as the warmest. It cuts the plane into exactly eight parts.
and
At the moment the point is moved from the center of the basic plane - eccentric structure - the double sound becomes audible: 1. absolute sound of the point, 2. sound of the given location in the basic plane. This second sound, which in the case of the centric structure was almost silenced, again becomes distinct and transforms the sound of the point from the absolute to the relative.
Hogwash.
I'm a mathematician and an art creator, so perhaps this kind of pseudo-mathematical writing disturbs me more than it would others. It's a great disappointment, since I revere much of Kandinsky's art.
This entire review has been hidden because of spoilers.
March 12, 2008
we disagree, kandinsky and i. but with arguing, how much better to have something direct and strong to argue against.
there are also several worthwhile illustrations of ships and very generous margins for marking in.
there are also several worthwhile illustrations of ships and very generous margins for marking in.
Read
July 24, 2011A difficult read, but a very interesting idea is developed. Kandinsky attempts to codify artistic composition scientifically.
May 18, 2011
Read alongside Abstraction in Art and Nature. These two books take diametrically opposite, and supplementary approaches.
Point and Line to Plane is primarily a priori and Abstraction in Art and Nature a posteriori. They benefit from being read together.
Unlike Abstraction in Art and Nature , this derives formal relationship through a quasi-axiomatic method, using the most elementary visual primitives. Kandinsky attempts to derive and relate intuitive and emotional responses to these forms. He generally does not use examples from the "material realm".
This may be off putting to artists who never work with, say, triangles or straight lines, or those whose approach is entirely intuitive.
I think its strength lies in the way it looks at correspondences and analogies between colors, diagonals, clusters of points and so on. For example, yellow is a "hotter" and "sharper" color than blue, and a triangle is a "sharper" and "hotter" shape than a circle. So in a composition, a triangular shape can be augmented by coloring it yellow, and given a softened, and mixed character by coloring it blue. So you can use awareness of these kinds of correspondences to vary the emotional and compositional characteristics of a visual work.
Point and Line to Plane is primarily a priori and Abstraction in Art and Nature a posteriori. They benefit from being read together.
Unlike Abstraction in Art and Nature , this derives formal relationship through a quasi-axiomatic method, using the most elementary visual primitives. Kandinsky attempts to derive and relate intuitive and emotional responses to these forms. He generally does not use examples from the "material realm".
This may be off putting to artists who never work with, say, triangles or straight lines, or those whose approach is entirely intuitive.
I think its strength lies in the way it looks at correspondences and analogies between colors, diagonals, clusters of points and so on. For example, yellow is a "hotter" and "sharper" color than blue, and a triangle is a "sharper" and "hotter" shape than a circle. So in a composition, a triangular shape can be augmented by coloring it yellow, and given a softened, and mixed character by coloring it blue. So you can use awareness of these kinds of correspondences to vary the emotional and compositional characteristics of a visual work.
September 2, 2024
a very valiant attempt at translating art into the scientific realm. while i do think many of his takes on composition hold up, there are also many that aren't nearly as universal as Kandinsky seems to hope they are. that being said, I sort of get it. Looking at Kandinsky's work I see exactly what he means by the more ephemeral aspects of his arguments.
I saw another review saying this is a great book to show to the "I could do that" modern art crowd and I wholeheartedly agree... U say u could do it but I dont see u writing whole books about the sound and temporality of the bounding plane 🤨
I saw another review saying this is a great book to show to the "I could do that" modern art crowd and I wholeheartedly agree... U say u could do it but I dont see u writing whole books about the sound and temporality of the bounding plane 🤨
December 13, 2018
Quiero leer más libros sobre mi campo laboral y mi otra pasión que es el arte. Sin embargo, los libros más teóricos son difíciles de encontrar incluso pirateando. Específicamente este libro es interesante, pero quería leer algo más sesudo y de corte filosófico, no fue lo que encontré. No me rendiré.
June 15, 2016
I am certain I missed the point of this book. It seemed to me a very good attempt to establish solid art theory, but it still felt very subjective, and without any science to back up its claims I am not certain it can qualify.
March 15, 2015
Kandinsky's books are like his paintings - abstract for me.
Read
November 15, 2018La lettura di questo saggio è stata davvero interessante. I contenuti non sono di facile assimilazione, perché sono anche molto personali e comunque rappresentano una concezione di arte e di pittura risalente ormai a circa cento anni fa, e l'arte contemporanea intanto ne ha fatta di strada, è stato scritto tantissimo, le teorie si sono evolute a una velocità incredibile e in direzioni completamente diverse. Ma in ogni caso questo libro ci aiuta a comprendere il flusso che è alla base del pensiero artistico di Kandinsky - un pittore che astrattista non ci è certo nato, ma lo è diventato - e ci dimostra come il suo sentire l'arte non sia frutto di casualità, ma di teorie ben precise e complesse nelle forme e nell'elaborazione. Consigliato agli appassionati di Avanguardie.
December 2, 2020
Libro molto interessante, primo per il tentativo di dare forma scientifica alla teoria dell’arte e poi perché permette di addentrarsi nell’arte di kandinsky, nel capire le sue scelte geometriche e di composizione. Tuttavia il carattere molto sinestetico della scrittura di kandinsky mi ha lasciato alla fine la sensazione di aver capito solo una minima parte di quello che ho letto.
Probabilmente è un libro da rileggere più volte per essere davvero assimilato.
Probabilmente è un libro da rileggere più volte per essere davvero assimilato.
December 14, 2024
lo DIVERTIDISIMO que ha sido este libro.... me lo he pasado como un crio aunque se haya inventado la mitad! me ha encantado te amo kandinsky
November 22, 2017
Apprezzavo già Kandinskij, ma solo a livello istintivo, avendone studiato semplicemente l'inquadramento storico ed alcuni pincipi base alle superiori.
Questo saggio mi ha aperto un mondo: non immaginavo che le teoria alla base della sua opera fosse così ambiziosa: scomporre e analizzare le regole compositive dell'opera d'arte (non solo della pittura) e della natura, codificarle quindi in un linguaggio per poterne controllare esattamente gli effetti "emotivi".
La prossima volta che avrò modo di ammirare le sue opere immagino che rimmarrò mezz'ora incantata di fronte ad ogni quadro, cercando di riconoscere il percorso mentale che ha portato alla sua creazione e gli espedienti utilizzati per produrre l'effetto desiderato sullo spettatore.
Questo saggio mi ha aperto un mondo: non immaginavo che le teoria alla base della sua opera fosse così ambiziosa: scomporre e analizzare le regole compositive dell'opera d'arte (non solo della pittura) e della natura, codificarle quindi in un linguaggio per poterne controllare esattamente gli effetti "emotivi".
La prossima volta che avrò modo di ammirare le sue opere immagino che rimmarrò mezz'ora incantata di fronte ad ogni quadro, cercando di riconoscere il percorso mentale che ha portato alla sua creazione e gli espedienti utilizzati per produrre l'effetto desiderato sullo spettatore.
Read
April 30, 2024Point — rest. Line — inwardly animated tension created by movement. The two elements — their intermingling and their combinations develop their own "language" which cannot be attained with words. The exclusion of "trimmings," which hush and obscure the inner sound of this message, lends the greatest brevity and precision to pictorial expressions. The pure form places itself at the disposal of the living content.
July 7, 2012
Ho provato a leggere questo libro parecchie volte: Kandinsky mi piaceva tantissimo e il titolo è intrigante.
Poi, a sfogliare le pagine, si trovano tanti disegni: triangoli, linee, scarabocchi.
Una sorta di testo di grafica pubblicato originariamente nel 1926 (casa editrice diretta da Walter Gropius e Ladislaus Moholy-Nagy, capisci...)
Forse si prende il mano il libro con il desiderio di scoprire i segreti della pittura e della creatività di Vassily Kandinsky.
Però non sono mai riuscita a leggerlo.
Mi sono sempre fermata a un certo punto: la spinta iniziale perde forza e io mi addormento pensando di riprendere in mano il libro la sera successiva.
La sera successiva c'è sempre un altro libro che mi aspetta, e questo finisce sotto, nella pila di libri in attesa. Ormai dal 1991.
Però penso che non sia colpa del libro: non appena avrò tempo e mi darò nuovamente alla pittura, allora entrerà ancora nella mia sfera di interessi e troverò il modo di leggerlo.
Per adesso lo piazzo in libreria.
Poi, a sfogliare le pagine, si trovano tanti disegni: triangoli, linee, scarabocchi.
Una sorta di testo di grafica pubblicato originariamente nel 1926 (casa editrice diretta da Walter Gropius e Ladislaus Moholy-Nagy, capisci...)
Forse si prende il mano il libro con il desiderio di scoprire i segreti della pittura e della creatività di Vassily Kandinsky.
Però non sono mai riuscita a leggerlo.
Mi sono sempre fermata a un certo punto: la spinta iniziale perde forza e io mi addormento pensando di riprendere in mano il libro la sera successiva.
La sera successiva c'è sempre un altro libro che mi aspetta, e questo finisce sotto, nella pila di libri in attesa. Ormai dal 1991.
Però penso che non sia colpa del libro: non appena avrò tempo e mi darò nuovamente alla pittura, allora entrerà ancora nella mia sfera di interessi e troverò il modo di leggerlo.
Per adesso lo piazzo in libreria.
March 29, 2022
Me parece excelente la premisa: proponer un nuevo comienzo de la teoría del arte. Un nuevo arte, como el abstracto, necesita nuevas terminologías. Aquí Kandinsky se propone desestructurar las ideas y retomarlas desde lo más fundamental: el trazo y la línea. Sin embargo, el autor padece de las mismas características negativas que contaminaron los discursos de sus contemporáneos en la teoría literaria. Un hermetismo académico y una frialdad en la escritura. Ciertamente es un libro importante, porque la idea de proponer una nueva ciencia del arte resulta esencial para entender el abstraccionismo. No obstante, me parece que sus cualidades negativas llegan a pesar en la lectura y, como gran parte del género teórico, en momentos los puntos de vista más interesantes del autor están resueltos en notas al pie de página.
June 28, 2020
I read this book in high school, over 30 years ago, and it had a big impact on me. It made me realize, among others various relationships of color and form. It seemed very revealing to me then. I think that for people associated with painting, graphics or architecture is recommendable even today when everything has gained such crazy acceleration and generally there is too much of everything ... so for some of us we have a problem with absorbing such amount of information ...
July 15, 2019
oh my god..."Line" is the furthest he gets from utter nonsense. "Plane" is almost okay. I'm sorry this is just... lol...some of it was unreadable. what's weird is I'm really sympathetic to a lot of what he's "trying" and a foundational, systematic approach to composition and the titular elements is a very cool idea. But this way of going about it...is...not how to do it, lmao. All the art in it is REALLY good though!!
January 30, 2024
"When a new branch grows on a tree, the trunk does not become superfluous, for it must feed the growing branch. And the latter is but a new part of the true trunk from which it sprang. All this continuous and unceasing ramification, which may seem so hopelessly confusing, is, in fact, nothing else but the inevitable development of the same body, which, in its entirety, forms the green mass of the tree itself."
.................................................................................
Kandisky tries to base his ideas of art on science, and this book is a great read for artists who want to go deep into Kandinsky's mind, art historians interested in writing an article about the artist. Kandinsky shares his experience, ups and downs in his early years and as someone on the way of becoming an artist myself, this part of the book was very helpful for me! Pretty sure it's easier to read the book in the original language as I did, that might be one of the reasons many readers were confused and rated the book based on their enjoyment, which with non fiction is very strange to me. As I mentioned earlier the book is for people who want to go deep into Kandinsky's mind, he goes into very small detail, shares experience, connects art to music, architecture, literature, nature all made of points, lines on a plane :)
.................................................................................
Kandisky tries to base his ideas of art on science, and this book is a great read for artists who want to go deep into Kandinsky's mind, art historians interested in writing an article about the artist. Kandinsky shares his experience, ups and downs in his early years and as someone on the way of becoming an artist myself, this part of the book was very helpful for me! Pretty sure it's easier to read the book in the original language as I did, that might be one of the reasons many readers were confused and rated the book based on their enjoyment, which with non fiction is very strange to me. As I mentioned earlier the book is for people who want to go deep into Kandinsky's mind, he goes into very small detail, shares experience, connects art to music, architecture, literature, nature all made of points, lines on a plane :)
January 17, 2020
This book, while cryptic, is great for understanding how Kandinsky thought about his artwork; in terms of pure abstraction. I read it before completing one of my favorite academic architecture projects: A house for Kandinsky. It helped me identify elements of his artwork that I could translate into a home for the artist which I though captured the essence of his painting through an architectural work. It's a relatively short read so it was no sweat to finish it in a couple days.
April 6, 2024
Quiero fumar lo que él fumaba
August 22, 2024
Kandinsky's effort to build a rigorous and well defined method finds its foundations in this book, where he deals with the fundamental componentes of art.
More than that, the book is a testament to the role played by art in early 20th century cultural dialectics.
Primitive, yet clear and compelling - strongly suggested to anyone believing "I could have done that too" when looking at contemporary artworks.
More than that, the book is a testament to the role played by art in early 20th century cultural dialectics.
Primitive, yet clear and compelling - strongly suggested to anyone believing "I could have done that too" when looking at contemporary artworks.
April 10, 2024
muy muy útil desglosar los elementos del plano básico sobretodo si se busca tanto el equilibrio como la excentricidad (o entenderlo según el caso)
!!!
!!!
May 24, 2017
Fun and useful "technical" treatment of fundamental issues of mark making.
Never ceases to amaze me how much one can squeeze out of the smallest detail in mark making. Applies equally to writing as it does to image making.
WK was deeply focused and verbose. Very helpful to studying and playing with his approach.
Never ceases to amaze me how much one can squeeze out of the smallest detail in mark making. Applies equally to writing as it does to image making.
WK was deeply focused and verbose. Very helpful to studying and playing with his approach.
June 1, 2017
Making synesthesia a science. Astonishing. Ever wonder why Kiki is the spiky one and Boohbah is the round one? read this book.
I found myself thinking more profound thoughts than normal while reading this. It might take a while for them to trickle down to everyday thinking.
I found myself thinking more profound thoughts than normal while reading this. It might take a while for them to trickle down to everyday thinking.
July 20, 2010
It was the best introduction to the depth of abstract art.
July 27, 2012
Completely changed my point of view on abstractionism!
May 19, 2018
Καντίνσκι, Σημείο, Γραμμή – Σημείο
Αυτό που επεδίωξε ο συγγραφέας με αυτό το έργο του ήταν να θέσει τις βάσεις ώστε η αφηρημένη τέχνη να αποκτήσει τη σπουδαιότητα που της αρμόζει.
Ξεκινάει με το σημείο, που κατά τη γνώμη του ανήκει στις συνήθειες που είναι μέσα μας αγκυροβολημένες με την παραδοσιακή τους αντήχηση, που είναι άφωνη. Η αντήχηση της σιωπής, που συντροφεύει συνήθως το σημείο, είναι τόσο δυνατή που ξεκουφαίνει τις άλλες ιδιότητες.
Το σημείο αυτό υπάρχει πάντα μέσα μας, όμως τοποθετείται από τον καλλιτέχνη επάνω στον καμβά, στο χαρτί ή οπουδήποτε αλλού όταν υπάρχει λόγος. Μπορεί σε κάποιο έργο ένα σημείο να φαίνεται εντελώς αφηρημένο κι άσκοπο όμως έχει προέλθει ύστερα από ώριμη σκέψη, ίσως βέβαια και ασυνείδητη από τον καλλιτέχνη.
Το ανοιχτό μάτι και το προσεκτικό αυτί (του καλλιτέχνη ή παρατηρητή) μετασχηματίζει τις ελάχιστες αισθήσεις σε σημαντικά περιστατικά. Τα νεκρά σημάδια γίνονται ζωντανά και ό,τι ήταν νεκρό ξαναζωντανεύει.
Συνεχίζει με τη γραμμή που μας αναφέρει πως γεννήθηκε από την κίνηση – αφού εκμηδένισε την υπέρτατη ακινησία του σημείου.
Η έλλειψη ακριβούς ορολογίας είναι δυστύχημα για τη ζωγραφική, διότι κάθε επιστημονική εργασία γίνεται δύσκολη, ίσως και αδύνατη.
Σήμερα ο άνθρωπος κυριαρχείται από τον εξωτερικό κόσμο και το εσωτερικό είναι νεκρό γι’ αυτόν.
Για παράδειγμα, ένα υπέροχο σάλτο μιας χορεύτριας του μπαλέτου μπορεί να αποτυπωθεί στον καμβά από έναν ζωγράφο με πέντε έξι γραμμές και μερικές ίσως τελείες.
Ενώ από τη μια ο Καντίνσκι βάζει τις βάσεις για την εξήγηση της αφηρημένης τέχνης, από την άλλη μας αναφέρει πως δεν είναι σκοπός του να εγκαταστήσει κανόνες λίγο ή πολύ ακριβείς. Είναι σημαντικό να προκληθούν συζητήσεις αναφορικά με τις θεωρητικές μεθόδους. Μια άλλη σκέψη είναι πως οι μέθοδοι ανάλυσης της τέχνης ήταν πάντα πολύ αυθαίρετες και συχνά υπερβολικά υποκειμενικές.
Πρέπει εξετάζοντας ένα έργο να σκεφτούμε τις διαφορές που έχουν οι φυλές, τα έθνη και οι πολιτισμοί. Το αγαπημένο μου κομμάτι είναι το εξής: Θα ήταν πάρα πολύ απλοϊκό να υποθέσει κανείς πως ένας λαός βρίσκεται τυχαία σε μια αποφασιστική για την εξέλιξή του γεωμετρική θέση, όπως θα ήταν ανεπαρκές επίσης να ισχυριστούμε ότι η δημιουργική δύναμη του λαού αυτού σχηματίζεται και κατευθύνεται από τις πολιτικοοικονομικές του συνθήκες. Ο σκοπός της δημιουργικής δύναμης είναι εσωτερικός – και το εσωτερικό δεν εκφράζεται μόνο από τα εξωτερικά δεδομένα.
Κάποια στιγμή χάνεται η γραμμή και γεννιέται το επίπεδο κι εκεί δεν μπορούμε να έχουμε ακριβή απάντηση όπως δεν έχουμε απάντηση στο πού τελειώνει ο ποταμός και πού αρχίζει η θάλασσα.
Μια σημαντική σκέψη είναι πως όταν βλέπουμε ένα έργο καλό είναι να εμπιστευόμαστε την πρώτη εντύπωση, διότι η αίσθηση κουράζεται γρήγορα και παραχωρεί το πεδίο στη φαντασία. Το καλλιεργημένο μάτι από την άλλη θα πρέπει να είναι ικανό αφ’ ενός μεν να βλέπει την επιφάνεια του έργου όπως είναι, και αφ’ ετέρου να την αγνοεί όταν αυτή η επιφάνεια εκφράζει το χώρο.
Αυτό που επεδίωξε ο συγγραφέας με αυτό το έργο του ήταν να θέσει τις βάσεις ώστε η αφηρημένη τέχνη να αποκτήσει τη σπουδαιότητα που της αρμόζει.
Ξεκινάει με το σημείο, που κατά τη γνώμη του ανήκει στις συνήθειες που είναι μέσα μας αγκυροβολημένες με την παραδοσιακή τους αντήχηση, που είναι άφωνη. Η αντήχηση της σιωπής, που συντροφεύει συνήθως το σημείο, είναι τόσο δυνατή που ξεκουφαίνει τις άλλες ιδιότητες.
Το σημείο αυτό υπάρχει πάντα μέσα μας, όμως τοποθετείται από τον καλλιτέχνη επάνω στον καμβά, στο χαρτί ή οπουδήποτε αλλού όταν υπάρχει λόγος. Μπορεί σε κάποιο έργο ένα σημείο να φαίνεται εντελώς αφηρημένο κι άσκοπο όμως έχει προέλθει ύστερα από ώριμη σκέψη, ίσως βέβαια και ασυνείδητη από τον καλλιτέχνη.
Το ανοιχτό μάτι και το προσεκτικό αυτί (του καλλιτέχνη ή παρατηρητή) μετασχηματίζει τις ελάχιστες αισθήσεις σε σημαντικά περιστατικά. Τα νεκρά σημάδια γίνονται ζωντανά και ό,τι ήταν νεκρό ξαναζωντανεύει.
Συνεχίζει με τη γραμμή που μας αναφέρει πως γεννήθηκε από την κίνηση – αφού εκμηδένισε την υπέρτατη ακινησία του σημείου.
Η έλλειψη ακριβούς ορολογίας είναι δυστύχημα για τη ζωγραφική, διότι κάθε επιστημονική εργασία γίνεται δύσκολη, ίσως και αδύνατη.
Σήμερα ο άνθρωπος κυριαρχείται από τον εξωτερικό κόσμο και το εσωτερικό είναι νεκρό γι’ αυτόν.
Για παράδειγμα, ένα υπέροχο σάλτο μιας χορεύτριας του μπαλέτου μπορεί να αποτυπωθεί στον καμβά από έναν ζωγράφο με πέντε έξι γραμμές και μερικές ίσως τελείες.
Ενώ από τη μια ο Καντίνσκι βάζει τις βάσεις για την εξήγηση της αφηρημένης τέχνης, από την άλλη μας αναφέρει πως δεν είναι σκοπός του να εγκαταστήσει κανόνες λίγο ή πολύ ακριβείς. Είναι σημαντικό να προκληθούν συζητήσεις αναφορικά με τις θεωρητικές μεθόδους. Μια άλλη σκέψη είναι πως οι μέθοδοι ανάλυσης της τέχνης ήταν πάντα πολύ αυθαίρετες και συχνά υπερβολικά υποκειμενικές.
Πρέπει εξετάζοντας ένα έργο να σκεφτούμε τις διαφορές που έχουν οι φυλές, τα έθνη και οι πολιτισμοί. Το αγαπημένο μου κομμάτι είναι το εξής: Θα ήταν πάρα πολύ απλοϊκό να υποθέσει κανείς πως ένας λαός βρίσκεται τυχαία σε μια αποφασιστική για την εξέλιξή του γεωμετρική θέση, όπως θα ήταν ανεπαρκές επίσης να ισχυριστούμε ότι η δημιουργική δύναμη του λαού αυτού σχηματίζεται και κατευθύνεται από τις πολιτικοοικονομικές του συνθήκες. Ο σκοπός της δημιουργικής δύναμης είναι εσωτερικός – και το εσωτερικό δεν εκφράζεται μόνο από τα εξωτερικά δεδομένα.
Κάποια στιγμή χάνεται η γραμμή και γεννιέται το επίπεδο κι εκεί δεν μπορούμε να έχουμε ακριβή απάντηση όπως δεν έχουμε απάντηση στο πού τελειώνει ο ποταμός και πού αρχίζει η θάλασσα.
Μια σημαντική σκέψη είναι πως όταν βλέπουμε ένα έργο καλό είναι να εμπιστευόμαστε την πρώτη εντύπωση, διότι η αίσθηση κουράζεται γρήγορα και παραχωρεί το πεδίο στη φαντασία. Το καλλιεργημένο μάτι από την άλλη θα πρέπει να είναι ικανό αφ’ ενός μεν να βλέπει την επιφάνεια του έργου όπως είναι, και αφ’ ετέρου να την αγνοεί όταν αυτή η επιφάνεια εκφράζει το χώρο.
March 18, 2024
En la cufa tuve una materia (proyectual) que, por lo menos en la cátedra que me tocó, fue súper abstracta. Al punto de que vos hacías algo, cualquier cosa, una maqueta o un dibujo, y tenía que ser abstracto, y si llegaba a tener algo figurativo estaba mal. El tema es que el profesor, un pelado bastante garca pero exigente en el buen sentido, siempre citaba las obras de Kandinsky para explicar sus clases, y la posta es que quedé muy interesado por el hecho de transmitir sensaciones sin ver nada que te remita a lo real (no sé si se entiende lo que me refiero).
Así que me compré un pack de dos libros (el de esta reseña y sobre lo espiritual en el arte) de Kandinsky por 6000 pesos (una ganga 6 dolarucos) y dije ya fue lo empiezo a leer.
"Sobre lo Espiritual en el Arte" me re gustó, me impresionó cómo el tipo analiza muy poéticamente lo que le transmiten los colores y las distintas formas. Realmente hace una descripción muy dulce de como, por ejemplo el amarillo es un color vertical, que emite vida, mientras que el azul es lo contrario. Pero no siendo todo tan determinante, esas sensaciones pueden ir variando en el tiempo. Sin embargo es un librito muy cortito que también desvaría en el análisis de la situación del arte en su momento (1900) y se termina quedando corto.
Ahora, para mi sorpresa, "Punto y Línea Sobre el Plano" fue bastante flojo. Yo esperaba que Kandi siguiera reflexionando sobre sensaciones y emociones pero ahora profundizando en las formas, y de entrada parece que encara para eso y arranca muy bien. Pero después se puso como demasiado técnico y perdió esa gracia filosófica, que igual es un poco la idea del libro, quizás soy yo que esperaba algo erróneo. Cómo dije, se pone muy técnico al punto de que ni se entiende que carajo quiere decir y la posta es que todo el libro es Kandinsky sacándose términos del orto. Osea, nada pero nada de lo que dice tiene algún tipo de sustento científico ni artístico, osea no dice cosas que son concebidas como verdades absolutas en el arte, nono el chabón te dice la línea quebrada es así y asá y es puro chamuyo. Ojo igual estamos hablando de arte abstracto, TODO ES CHAMUYO, pero por lo menos en el primer libro estaba claro que era chamuyo de un tipo y él te aclara esto es lo que yo siento cuando veo tal cosa. Este segundo libro te da a entender qué es lo que todos deberíamos sentir cuando vemos 3 puntos y 5 líneas pintados en un plano, y nada ahí me parece que pierde el eje.
Igualmente son dos libros interesantes, no estoy diciendo que hay que salir a bancar el arte abstracto, me sigue pareciendo mejor ver el cuadro más pedorro de monet que cualquier obra expresionista de Pollock. Pero es lindo leer que chamuyos decía el tipo que es considerado como el creador del abstracto (falso, fue una mina 100 años antes).
Así que me compré un pack de dos libros (el de esta reseña y sobre lo espiritual en el arte) de Kandinsky por 6000 pesos (una ganga 6 dolarucos) y dije ya fue lo empiezo a leer.
"Sobre lo Espiritual en el Arte" me re gustó, me impresionó cómo el tipo analiza muy poéticamente lo que le transmiten los colores y las distintas formas. Realmente hace una descripción muy dulce de como, por ejemplo el amarillo es un color vertical, que emite vida, mientras que el azul es lo contrario. Pero no siendo todo tan determinante, esas sensaciones pueden ir variando en el tiempo. Sin embargo es un librito muy cortito que también desvaría en el análisis de la situación del arte en su momento (1900) y se termina quedando corto.
Ahora, para mi sorpresa, "Punto y Línea Sobre el Plano" fue bastante flojo. Yo esperaba que Kandi siguiera reflexionando sobre sensaciones y emociones pero ahora profundizando en las formas, y de entrada parece que encara para eso y arranca muy bien. Pero después se puso como demasiado técnico y perdió esa gracia filosófica, que igual es un poco la idea del libro, quizás soy yo que esperaba algo erróneo. Cómo dije, se pone muy técnico al punto de que ni se entiende que carajo quiere decir y la posta es que todo el libro es Kandinsky sacándose términos del orto. Osea, nada pero nada de lo que dice tiene algún tipo de sustento científico ni artístico, osea no dice cosas que son concebidas como verdades absolutas en el arte, nono el chabón te dice la línea quebrada es así y asá y es puro chamuyo. Ojo igual estamos hablando de arte abstracto, TODO ES CHAMUYO, pero por lo menos en el primer libro estaba claro que era chamuyo de un tipo y él te aclara esto es lo que yo siento cuando veo tal cosa. Este segundo libro te da a entender qué es lo que todos deberíamos sentir cuando vemos 3 puntos y 5 líneas pintados en un plano, y nada ahí me parece que pierde el eje.
Igualmente son dos libros interesantes, no estoy diciendo que hay que salir a bancar el arte abstracto, me sigue pareciendo mejor ver el cuadro más pedorro de monet que cualquier obra expresionista de Pollock. Pero es lindo leer que chamuyos decía el tipo que es considerado como el creador del abstracto (falso, fue una mina 100 años antes).
September 3, 2024
Queria ter lido antes!
Alguns conceitos aqui nos abrem os olhos como um manual para a leitura das artes visuais. A investigacao sobre o silêncio do ponto, o movimento anda reta e a organicidade do plano trazem pontos de vista inovadores e recheados de energia para o pensamento sobre a arte e a geometria.
"Assim, o ponto geometrico é a derradeira união entre o silêncio e a palavra"
"Mas existe outra força, que não nasce no ponto, mas fora dele. Essa força se precipita sobre o ponto preso no plano, arranca-o daí e empurra-onpara uma direção qualquer. (...) É a linha."
"O artista 'fecunda' esse ser e sente que que o P.O. recebe dócil e 'saciado' os elementos justos no ordenamento justo. Esse organismo vivo, mas primitivo, se transforma sob ação justa num novo organismo igualmente vivo, mas que cessou de ser primitivo e da provas de todas as características de um organismo doravante superior".
Alguns conceitos aqui nos abrem os olhos como um manual para a leitura das artes visuais. A investigacao sobre o silêncio do ponto, o movimento anda reta e a organicidade do plano trazem pontos de vista inovadores e recheados de energia para o pensamento sobre a arte e a geometria.
"Assim, o ponto geometrico é a derradeira união entre o silêncio e a palavra"
"Mas existe outra força, que não nasce no ponto, mas fora dele. Essa força se precipita sobre o ponto preso no plano, arranca-o daí e empurra-onpara uma direção qualquer. (...) É a linha."
"O artista 'fecunda' esse ser e sente que que o P.O. recebe dócil e 'saciado' os elementos justos no ordenamento justo. Esse organismo vivo, mas primitivo, se transforma sob ação justa num novo organismo igualmente vivo, mas que cessou de ser primitivo e da provas de todas as características de um organismo doravante superior".
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