In 1911 in Munich, Kandinsky and Marc create the group Der Blaue Reiter. Marc seeks to establish a symbolic code of colors that he applies to figurative forms without respecting the original colors of his models. Kandinsky wants to take into account the relationship perceived by humans between colors and emotions.
In this tendency the figurative gradually loses its preponderance. Lines and colors come to be organized as force fields around anchor points. The verticals are replaced by an oblique composition that directs the gaze towards the top right. Colors provide their emotions and their music around two mute values, white and black, which also express the two extremes of hope.
In seeking the spiritual with such considerations, Kandinsky increasingly approaches abstraction. His writings provide him a lead over all his competitors. When abstract art becomes one of the major elements of painting, he will have the necessary arguments to claim its invention, although the reality may be a little more complex.
The prophet of art must have mystical references. As early as 1910 Kandinsky tries the theme of the Last Judgment, very well adapted to his purpose by its depersonalized story.
On November 12 in New York, Sotheby's sells Zum Thema Jüngstes Gericht, oil and mixed media on canvas 47 x 52 cm painted by Kandinsky in 1913, lot 8 estimated $ 22M.
This composition is not really abstract. By comparison with other works, we recognize steeples that surmount the horizon of the cities and the background is a group of mountains under a very tight flow of lightnings. The object of the judgment is the ultimate confrontation of good and evil that will open a new era. The anchors of the forces are the many oval shapes of various colors spread across that battlefield.
SOLD for $ 23M including premium