Russia
Including Russian born artists
See also : Kandinsky Abstract art II Landscape Orientalism
Chronology : 1909 1910-1919 1913 1915 1916 1920-1929 1935
See also : Kandinsky Abstract art II Landscape Orientalism
Chronology : 1909 1910-1919 1913 1915 1916 1920-1929 1935
1909 Blue Mountain and Green House
2017 SOLD for £ 21M including premium
From his childhood Kandinsky was fascinated by colors. He settled in Munich in 1896 to integrate himself within the artistic avant-gardes that he will manage to regroup around him. From this first phase he is remarkably open to all the movements that escape classicism. The main themes of his personal art are the Bavarian landscapes and the rural legends of Russia.
After Cézanne and van Gogh he learns to shake the realism of the lines. After Gauguin, Matisse, the Fauvists and the post-Impressionists, he likes to exaggerate the colors and ceases to weaken them under a varnish. He follows his friend Jawlensky who was one of the first to systematically abandon the realism of colors. Attracted by mysticism, Kandinsky studies Goethe's theories on the psychological significance of colors.
Two summer stays at Murnau with Jawlensky and their companions Gabriele and Marianne are decisive for Kandinsky's career and for his role as a pioneer of modern art. In 1908 he experiments with new forms and new colors. In 1909 he revisits with blazing colors in thick layers his compositions of the previous year and prepares the theories of his new art.
Der blaue Berg is narrative. A group of riders travels in front of a mountain reduced to a triangular surface in an intense blue. Murnau - Studie zur Landschaft mit grünem Haus is an oil on board 33 x 45 cm painted in 1908.
Satisfied with the audacity of his study with the green house Kandinsky reuses the same composition in 1909 in a larger size with more saturated pure colors. Murnau - Landschaft mit grünem Haus, oil on board 70 x 96 cm, is estimated £ 15M for sale by Sotheby's in London on June 21, lot 47.
After Cézanne and van Gogh he learns to shake the realism of the lines. After Gauguin, Matisse, the Fauvists and the post-Impressionists, he likes to exaggerate the colors and ceases to weaken them under a varnish. He follows his friend Jawlensky who was one of the first to systematically abandon the realism of colors. Attracted by mysticism, Kandinsky studies Goethe's theories on the psychological significance of colors.
Two summer stays at Murnau with Jawlensky and their companions Gabriele and Marianne are decisive for Kandinsky's career and for his role as a pioneer of modern art. In 1908 he experiments with new forms and new colors. In 1909 he revisits with blazing colors in thick layers his compositions of the previous year and prepares the theories of his new art.
Der blaue Berg is narrative. A group of riders travels in front of a mountain reduced to a triangular surface in an intense blue. Murnau - Studie zur Landschaft mit grünem Haus is an oil on board 33 x 45 cm painted in 1908.
Satisfied with the audacity of his study with the green house Kandinsky reuses the same composition in 1909 in a larger size with more saturated pure colors. Murnau - Landschaft mit grünem Haus, oil on board 70 x 96 cm, is estimated £ 15M for sale by Sotheby's in London on June 21, lot 47.
1909 The Prescient Improvisations of Wassily Kandinsky
2012 SOLD 23 M$ including premium
In 1909, Wassily Kandinsky spent several months in Murnau, Bavaria, together with Gabriele Münter. He worked intensively on the redefinition of art, preparing his theoretical book Uber das Geistige in der Kunst (On the Spiritual in Art).
Far from imagining that he will define the abstract art a few months later, he identifies three themes for his personal art: impressions, improvisations, compositions. He starts immediately by "improvisations", which fascinated him.
In the eight improvisations realized in Murnau in 1909, color dominates the whole work. Some riders and heroes are clearly visible, but the narration is minimized so that the colors get the top role to guide interpretation and emotion.
The notion of improvisation usually involves spontaneity. For this theorist of great complexity, this is no longer true: the pseudo-improvisations are preceded by studies in oil, as if to demonstrate that this art is the culmination of an inner process.
At this stage, by leaving much place for an interpretation by the observer, Kandinsky is a powerful predecessor of Miro. Later, at the time of abstraction, his art becomes too semantic, with a reading difficulty that can repel the public.
Studie für Improvisation 8, 98 x 70 cm, is estimated $ 20M, for sale by Christie's in New York on November 7. This painting is illustrated in the article shared by Artdaily.
I invite you to play the video shared by Christie's.
POST SALE COMMENT
The figurative works made by Kandinsky in Murnau constitute a rare example of a theoretician who actually managed to find new artistic paths. The importance of this study was confirmed: $ 23M including premium.
Far from imagining that he will define the abstract art a few months later, he identifies three themes for his personal art: impressions, improvisations, compositions. He starts immediately by "improvisations", which fascinated him.
In the eight improvisations realized in Murnau in 1909, color dominates the whole work. Some riders and heroes are clearly visible, but the narration is minimized so that the colors get the top role to guide interpretation and emotion.
The notion of improvisation usually involves spontaneity. For this theorist of great complexity, this is no longer true: the pseudo-improvisations are preceded by studies in oil, as if to demonstrate that this art is the culmination of an inner process.
At this stage, by leaving much place for an interpretation by the observer, Kandinsky is a powerful predecessor of Miro. Later, at the time of abstraction, his art becomes too semantic, with a reading difficulty that can repel the public.
Studie für Improvisation 8, 98 x 70 cm, is estimated $ 20M, for sale by Christie's in New York on November 7. This painting is illustrated in the article shared by Artdaily.
I invite you to play the video shared by Christie's.
POST SALE COMMENT
The figurative works made by Kandinsky in Murnau constitute a rare example of a theoretician who actually managed to find new artistic paths. The importance of this study was confirmed: $ 23M including premium.
1909 The Conquest of Kandinsky
2013 SOLD 13.5 M£ including premium
On June 18 in London, Christie's sells Studie zu Improvisation 3 by Kandinsky. This oil and gouache on cardboard, 45 x 65 cm, has already been a star at auction: it was sold for $ 17M including premium by Christie's on November 6, 2008. It is now estimated £ 12M.
In 2008, I was mostly interested in the comparison with the earlier landscapes painted by Kandinsky. I wrote:
"Kandinsky was a master of fauvist expressionism, did you know it? In 1909, he was pleased by the village of Murnau, south of Munich. He painted a view in strident colors. His research on forms and colors were already more important to him than the theme, and he titled his painting 'Studie zu Improvisation 3'. in the following year, he began to explore abstraction, with the success that we know."
This comment is not enough, of course, but it is not wrong. My mistake was to ignore the mystical rider who rushes to the fortress for an indecipherable reason. With this artwork, the landscape already does not matter any more to the artist, he is gone like a Don Quixote to conquer the mystical dimension of art. The fortress of the landscape is not in Murnau, it is already a product of the imagination of Kandinsky in his greatest year of creativity.
The key to the evolution of the art of Kandinsky in Murnau was given in the meantime by a painting of the same series and same year, Studie für Improvisation 8, sold for $ 23M including premium at Christie's on November 7, 2012.
The landscape and the horse are absent. The rider became a crusader in a urban context too stylized to be recognizable. The strength of his huge sword and the colors still more violent express the glory of the artist to lead the way to a new conception of art.
I invite you to watch the video shared by Christie's introducing the Studie 3 for next sale.
POST SALE COMMENT
The previous sale had taken place at the beginning of the crisis in the art market. Sold for £ 13.5 million including premium, this Studie is now at its fair price, just below the Studie 8 sold last year.
In 2008, I was mostly interested in the comparison with the earlier landscapes painted by Kandinsky. I wrote:
"Kandinsky was a master of fauvist expressionism, did you know it? In 1909, he was pleased by the village of Murnau, south of Munich. He painted a view in strident colors. His research on forms and colors were already more important to him than the theme, and he titled his painting 'Studie zu Improvisation 3'. in the following year, he began to explore abstraction, with the success that we know."
This comment is not enough, of course, but it is not wrong. My mistake was to ignore the mystical rider who rushes to the fortress for an indecipherable reason. With this artwork, the landscape already does not matter any more to the artist, he is gone like a Don Quixote to conquer the mystical dimension of art. The fortress of the landscape is not in Murnau, it is already a product of the imagination of Kandinsky in his greatest year of creativity.
The key to the evolution of the art of Kandinsky in Murnau was given in the meantime by a painting of the same series and same year, Studie für Improvisation 8, sold for $ 23M including premium at Christie's on November 7, 2012.
The landscape and the horse are absent. The rider became a crusader in a urban context too stylized to be recognizable. The strength of his huge sword and the colors still more violent express the glory of the artist to lead the way to a new conception of art.
I invite you to watch the video shared by Christie's introducing the Studie 3 for next sale.
POST SALE COMMENT
The previous sale had taken place at the beginning of the crisis in the art market. Sold for £ 13.5 million including premium, this Studie is now at its fair price, just below the Studie 8 sold last year.
1909 The Seer of the Beach
2014 SOLD 17.2 M$ including premium
In Murnau in 1909, Wassily Kandinsky develops his theories on artistic creation and illustrates them in a completely new pictorial language.
The theme of 'Improvisations' is well recorded. Some images show a seer of modern art in the assault on the fortress of classicism, although Kandinsky did not himself propose such a definition. His 'Impressions' are more difficult to categorize because the artist has not assigned this title to actual artworks.
However Strandszene (beach scene), oil on board 53 x 67 cm, retroactively appears as one of the best demonstrators of the artistic revolution brought by Kandinsky's Impressions.
This painting was executed at the end of 1909, not before a preparatory drawing dated August 3 in his sketchbook. As in Improvisations, vertical references disappear and colors are violent and even threatening. Some characters are shown but the narrative aspect is absent or impossible to decode.
The non localized beach is of course not Murnau which is a village in the Bavarian mountains. The long white robe of a character classifies it as an Orientalist painting. Tunisia was a favorite theme of Kandinsky when he was still a Fauvist landscape artist.
The great novelty of this composition is that it relies exclusively on a memory of impressions of the artist, without recourse of any previous work or to a photograph, thus excluding almost totally the reality of shapes.
Wassily probably painted it for display in a the house newly purchased in Murnau by his companion Gabriele Münter. He then kept it for nearly thirty years. Yet it is one of the earliest precursors of the release of the forms from any figurative or narrative intention that will lead to the concept of abstract art.
Strandszene is estimated $ 16M, for sale by Christie's in New York on May 6. I invite you to play the video shared by the auction house.
POST SALE COMMENT
Good result for this difficult Kandinsky painting which was from the best period: $ 17.2 million including premium.
The theme of 'Improvisations' is well recorded. Some images show a seer of modern art in the assault on the fortress of classicism, although Kandinsky did not himself propose such a definition. His 'Impressions' are more difficult to categorize because the artist has not assigned this title to actual artworks.
However Strandszene (beach scene), oil on board 53 x 67 cm, retroactively appears as one of the best demonstrators of the artistic revolution brought by Kandinsky's Impressions.
This painting was executed at the end of 1909, not before a preparatory drawing dated August 3 in his sketchbook. As in Improvisations, vertical references disappear and colors are violent and even threatening. Some characters are shown but the narrative aspect is absent or impossible to decode.
The non localized beach is of course not Murnau which is a village in the Bavarian mountains. The long white robe of a character classifies it as an Orientalist painting. Tunisia was a favorite theme of Kandinsky when he was still a Fauvist landscape artist.
The great novelty of this composition is that it relies exclusively on a memory of impressions of the artist, without recourse of any previous work or to a photograph, thus excluding almost totally the reality of shapes.
Wassily probably painted it for display in a the house newly purchased in Murnau by his companion Gabriele Münter. He then kept it for nearly thirty years. Yet it is one of the earliest precursors of the release of the forms from any figurative or narrative intention that will lead to the concept of abstract art.
Strandszene is estimated $ 16M, for sale by Christie's in New York on May 6. I invite you to play the video shared by the auction house.
POST SALE COMMENT
Good result for this difficult Kandinsky painting which was from the best period: $ 17.2 million including premium.
1913 Tilting the Perspective
2017 SOLD for £ 33M including premium
The summers 1908 and 1909 spent by Kandinsky in Murnau are important for the evolution of his creative vision but are in fact only an intermediate phase. In reconstructing the figuration he is still in the wake of Cézanne. In using pure and bright colors he follows Matisse.
The anecdote that Kandinsky did not recognize one of his own paintings because it was turned on another side is often considered the founding act of abstract art. Reported much later by the artist this story is mainly symbolic and is not really dated. It marks the awareness by Kandinsky that the identification of the theme undermines the aesthetic appreciation of an artwork.
After 1909 Kandinsky suppressed the classical perspective in favor of tilted sceneries for which his preparatory sketches were figurative. He copies the positions, the proportions and the masses from the sketch into the final work. The figurative details disappear and the title suggests that it was an abstract conception from the beginning. The loss of the perspective gives the artist the opportunity to reinforce the musicalist interpretation of the colors. The balance of the masses becomes a symphony.
On June 21 in London, Sotheby's sells at lot 53 Bild mit weissen Linien, oil on canvas 120 x 110 cm painted in 1913. The press release of May 29 announces an estimate in excess of US $ 35M.
A sketch in watercolor and ink for this work is known, dated from the same year. The towers of a Russian city are clearly visible along with a red bridge over the river and two harnessed horses. The comparison is obvious when we watch simultaneously the sketch and the painting. When we only see the ultimate image it is a brilliantly colored amalgam forming an oblique mass.
After his return to Russia, Kandinsky continues to proceed with a similar method. In 1916 Moskau I is a tilted sketch where some features of the big city are recognizable. Moskau II is closer to abstraction and requires an effort of interpretation. This oil on canvas 53 x 38 cm was sold for £ 6.3M including premium by Sotheby's on February 3, 2015.
The anecdote that Kandinsky did not recognize one of his own paintings because it was turned on another side is often considered the founding act of abstract art. Reported much later by the artist this story is mainly symbolic and is not really dated. It marks the awareness by Kandinsky that the identification of the theme undermines the aesthetic appreciation of an artwork.
After 1909 Kandinsky suppressed the classical perspective in favor of tilted sceneries for which his preparatory sketches were figurative. He copies the positions, the proportions and the masses from the sketch into the final work. The figurative details disappear and the title suggests that it was an abstract conception from the beginning. The loss of the perspective gives the artist the opportunity to reinforce the musicalist interpretation of the colors. The balance of the masses becomes a symphony.
On June 21 in London, Sotheby's sells at lot 53 Bild mit weissen Linien, oil on canvas 120 x 110 cm painted in 1913. The press release of May 29 announces an estimate in excess of US $ 35M.
A sketch in watercolor and ink for this work is known, dated from the same year. The towers of a Russian city are clearly visible along with a red bridge over the river and two harnessed horses. The comparison is obvious when we watch simultaneously the sketch and the painting. When we only see the ultimate image it is a brilliantly colored amalgam forming an oblique mass.
After his return to Russia, Kandinsky continues to proceed with a similar method. In 1916 Moskau I is a tilted sketch where some features of the big city are recognizable. Moskau II is closer to abstraction and requires an effort of interpretation. This oil on canvas 53 x 38 cm was sold for £ 6.3M including premium by Sotheby's on February 3, 2015.
Big Bang of Modern art: #Kandinsky’s explosive canvas marks breakthrough moment, heading to NY and #London this June https://t.co/E6qgytSkzF pic.twitter.com/oaVJ18ngLa
— Sotheby's (@Sothebys) June 2, 2017
1915 Victory over Nature
2015 SOLD for £ 21.5M including premium
Suprematism comes in the wake of Futurism, with the same target of glorifying the work of man. The Futurists express speed, linked to the improvement of techniques. Malevich's work on non-figuration is not inspired by the emotional and semiotic abstraction by Kandinsky.
The seminal work of non-figuration is the stage set made in 1913 by Malevich in St. Petersburg for the Russian Futurist opera Victory over the Sun. He soon emerges as the leader of this new art whose emblem is in 1915 his black square on white background, towering, dense, symmetrical and balanced.
The new language is a construction of colored quadrangles on a white background which expresses purity and infinity and anticipates Mondrian. They overlap or coincide without a perspective effect and without transparency, often in a globally rising or falling movement that offers the confidence into the progress.
Some of these constructions retain titles such as Automobile and Lady or Aircraft in flight that do not score an incentive to a figurative reading but rather a recognition by the artist of his Futurist inspiration. Three years later, the boldness of the White square on white background opens the way to modern abstract art calling for the variations in texture instead of form or color.
On June 24 in London, Sotheby's sells Suprematism - 18th Construction, oil on canvas 53 x 53 cm painted in 1915, lot 18 estimated £ 20M.
I invite you to watch the video shared by Sotheby's.
The seminal work of non-figuration is the stage set made in 1913 by Malevich in St. Petersburg for the Russian Futurist opera Victory over the Sun. He soon emerges as the leader of this new art whose emblem is in 1915 his black square on white background, towering, dense, symmetrical and balanced.
The new language is a construction of colored quadrangles on a white background which expresses purity and infinity and anticipates Mondrian. They overlap or coincide without a perspective effect and without transparency, often in a globally rising or falling movement that offers the confidence into the progress.
Some of these constructions retain titles such as Automobile and Lady or Aircraft in flight that do not score an incentive to a figurative reading but rather a recognition by the artist of his Futurist inspiration. Three years later, the boldness of the White square on white background opens the way to modern abstract art calling for the variations in texture instead of form or color.
On June 24 in London, Sotheby's sells Suprematism - 18th Construction, oil on canvas 53 x 53 cm painted in 1915, lot 18 estimated £ 20M.
I invite you to watch the video shared by Sotheby's.
1915 The First Degree of the Reconstruction
2017 SOLD for $ 21M including premium
An exhibition of avant-garde Russian paintings is held in Petrograd (formerly St. Petersburg) in March 1915 at the initiative of the very young Ivan Puni. Its aim is to promote a synthesis between cubism and futurism. The title Tramway V is an allusion to the progress of mechanical locomotion that symbolizes the new century for the Futurists.
Malevich participates in Tramway V but is already somehow a rebel. He introduces his own works with a comment which is indeed a profession of faith for an abstract art : "the author ignores the contents of these paintings".
The scandal of Tramway V meets the expectations of its organizers and another exhibition will be managed before the end of the year. Malevich understands that his time has come : he will be the apostle of the subject-less art.
He begins by isolating the basic figures, invariably on a white background, and reaches in May the ultimate expression of this new artistic grammar, the black square. Aware of the promising importance of this invention, he returns to build complex compositions expressing the forces of the universe by the opposition of colors circumscribed in strictly geometrical forms. To avoid any figurative interpretation he goes so far as to banish the horizontal line which evokes the horizon.
In the December exhibition hermetically titled Zero-Ten, Malevich enters 39 paintings offering various degrees of reconstruction but physically dominated in their hanging by the Black Square. The loss of meaning allows the artist to change the position of the paintings. He is a precursor of the modern installation.
On May 16 in New York, Sotheby's sells a Composition of three forms, lot 32 estimated $ 12M. This oil on canvas 53 x 53 cm is a convincing demonstration of the first level of the suprematist reconstruction at such a point that it was undoubtedly made for the preparation of Zero-Ten.
It is dominated by a very saturated dark yellow truncated triangle which is the projection of a sloping rectangle onto the surface of the canvas. A group of two small rectangles partially masking the yellow form can be viewed in space as co-planar with its upper edge.
A few years later, Rodchenko's constructivism was a follow-up to Malevich's suprematism, adding a desire to create useful structures for architecture and furnishings. Malevich did not need to follow Rodchenko : independently from Mondrian he had been one of the very first artists to offer a vision of the universe free from any thematic reference.
Malevich participates in Tramway V but is already somehow a rebel. He introduces his own works with a comment which is indeed a profession of faith for an abstract art : "the author ignores the contents of these paintings".
The scandal of Tramway V meets the expectations of its organizers and another exhibition will be managed before the end of the year. Malevich understands that his time has come : he will be the apostle of the subject-less art.
He begins by isolating the basic figures, invariably on a white background, and reaches in May the ultimate expression of this new artistic grammar, the black square. Aware of the promising importance of this invention, he returns to build complex compositions expressing the forces of the universe by the opposition of colors circumscribed in strictly geometrical forms. To avoid any figurative interpretation he goes so far as to banish the horizontal line which evokes the horizon.
In the December exhibition hermetically titled Zero-Ten, Malevich enters 39 paintings offering various degrees of reconstruction but physically dominated in their hanging by the Black Square. The loss of meaning allows the artist to change the position of the paintings. He is a precursor of the modern installation.
On May 16 in New York, Sotheby's sells a Composition of three forms, lot 32 estimated $ 12M. This oil on canvas 53 x 53 cm is a convincing demonstration of the first level of the suprematist reconstruction at such a point that it was undoubtedly made for the preparation of Zero-Ten.
It is dominated by a very saturated dark yellow truncated triangle which is the projection of a sloping rectangle onto the surface of the canvas. A group of two small rectangles partially masking the yellow form can be viewed in space as co-planar with its upper edge.
A few years later, Rodchenko's constructivism was a follow-up to Malevich's suprematism, adding a desire to create useful structures for architecture and furnishings. Malevich did not need to follow Rodchenko : independently from Mondrian he had been one of the very first artists to offer a vision of the universe free from any thematic reference.
Explore Abstraction through highlights from our May #SothebysImpMod, #SothebysContemporary & #SothebysLatin sales https://t.co/mEoS365628 pic.twitter.com/ZFEY5NGB4n
— Sotheby's (@Sothebys) May 12, 2017
1916 Malevich, 1916. That's it.
2008 SOLD 60 M$ including premium
The artworks of very high prices are often subject of legal trouble. Fourteen works by Malevich were housed in a museum in Amsterdam since 1958. This year, an amicable settlement was negotiated with the heirs of the artist, in which five of these paintings were returned to them. They are shown in a press release of April 24 of the Stedelijk Museum, I invite you to consult it.
Now the heirs entrust one of these works for sale by Sotheby's in New York on November 3. This oil on canvas 88 x 70.5 cm was painted in 1916 and entitled "Suprematist composition (blue rectangle over purple beam)."
The announcement of Sotheby's insists that the work dates from the same year as the Suprematism Manifesto. Two of the works returned to the heirs (not included in the sale) date from the previous year and are even more deprived. One of them gives an illusion of perspective, the other an illusion of movement. The painting for sale does no longer provide an illusion : it is a composition based on around fifty rectangular colored beams spread over a white background. The size, proportions and colors are varied. The angular positions show an opposition between the purple beam and most others. Malevich succeeds here on his approach of an art that completely escape nature and feeling, to retain only the aesthetics of color and geometry. Malevich wanted that art is understandable in the same way in all countries.
$ 60 million is not nothing. Sotheby's said that the price could be exceeded. This painting takes place among the most expensive artworks of all time. Malevich's paintings are very rare in the art market, and this one is of the best year.
POST SALE COMMENT
Malevich painting took its place in the cultural barometer of the highest recorded prices in an art at auction: $ 60 million charge included.
The file below is shared by Wikimedia :
Now the heirs entrust one of these works for sale by Sotheby's in New York on November 3. This oil on canvas 88 x 70.5 cm was painted in 1916 and entitled "Suprematist composition (blue rectangle over purple beam)."
The announcement of Sotheby's insists that the work dates from the same year as the Suprematism Manifesto. Two of the works returned to the heirs (not included in the sale) date from the previous year and are even more deprived. One of them gives an illusion of perspective, the other an illusion of movement. The painting for sale does no longer provide an illusion : it is a composition based on around fifty rectangular colored beams spread over a white background. The size, proportions and colors are varied. The angular positions show an opposition between the purple beam and most others. Malevich succeeds here on his approach of an art that completely escape nature and feeling, to retain only the aesthetics of color and geometry. Malevich wanted that art is understandable in the same way in all countries.
$ 60 million is not nothing. Sotheby's said that the price could be exceeded. This painting takes place among the most expensive artworks of all time. Malevich's paintings are very rare in the art market, and this one is of the best year.
POST SALE COMMENT
Malevich painting took its place in the cultural barometer of the highest recorded prices in an art at auction: $ 60 million charge included.
The file below is shared by Wikimedia :
1920-1922 The Black and the Red
2015 SOLD for $ 38M including premium
In 1915 the Suprematism of Kazimir Malevich shakes forever the theories of art. To be pure, art should excite feelings without referring to a message. It is neither figurative nor religious nor political.
Malevich developed a new grammar reduced to three basic filled shapes, simple enough to escape a semiotic interpretation : rectangle, oval and cross. The perfect rectangle and oval are the square and the circle.
The black square on white is the seminal flagship and the masterpiece of Suprematism. Centered on a canvas where it fills most of the available surface, the square becomes a flying artefact independently from its supporting fabric and generates a mesmerizing feeling. Faced with such a spatial illusion, we are tempted to reduce the famous white square on white from 1918 down to no more than an additional experiment.
In the early phase, other works by Malevich still make concessions to competing movements. His cohorts of stripes more or less parallel in various colors seek to express the movement as in the Futurism in an assembly which appears hand made as in the Synthetic Cubism or in the Constructivism.
On November 5 in New York, Sotheby's sells Mystic Suprematism, oil on canvas 100 x 59 cm painted between 1920 and 1922, lot 8 estimated $ 35M.
A black cross is flying in front of a deep red oval. The pole of the cross and the oval are coaxial. The pole is a quadrangle that slightly tapers downward, bringing an effect of forward tilting. The additional small black line that runs across the lower part of the pole is used for balancing, allowing the viewer to decide if that indefinable abstract object is or not about to fall.
Suprematism is already announcing the major trends of abstract art of the second half of its century, which will use the expressive role of the colors. It is unfortunate that Malevich did not experience the importance of large size. To go further than Suprematism, wait for Rothko.
Malevich developed a new grammar reduced to three basic filled shapes, simple enough to escape a semiotic interpretation : rectangle, oval and cross. The perfect rectangle and oval are the square and the circle.
The black square on white is the seminal flagship and the masterpiece of Suprematism. Centered on a canvas where it fills most of the available surface, the square becomes a flying artefact independently from its supporting fabric and generates a mesmerizing feeling. Faced with such a spatial illusion, we are tempted to reduce the famous white square on white from 1918 down to no more than an additional experiment.
In the early phase, other works by Malevich still make concessions to competing movements. His cohorts of stripes more or less parallel in various colors seek to express the movement as in the Futurism in an assembly which appears hand made as in the Synthetic Cubism or in the Constructivism.
On November 5 in New York, Sotheby's sells Mystic Suprematism, oil on canvas 100 x 59 cm painted between 1920 and 1922, lot 8 estimated $ 35M.
A black cross is flying in front of a deep red oval. The pole of the cross and the oval are coaxial. The pole is a quadrangle that slightly tapers downward, bringing an effect of forward tilting. The additional small black line that runs across the lower part of the pole is used for balancing, allowing the viewer to decide if that indefinable abstract object is or not about to fall.
Suprematism is already announcing the major trends of abstract art of the second half of its century, which will use the expressive role of the colors. It is unfortunate that Malevich did not experience the importance of large size. To go further than Suprematism, wait for Rothko.
Kazimir Malevich’s “Mystic Suprematism” represents the artist at his most radical and powerful http://t.co/ZVK8UCMZxo pic.twitter.com/9iGywjP92q
— Sotheby's (@Sothebys) September 18, 20151935 The Second Exile of Wassily Kandinsky
2016 SOLD for $ 23.3M including premium
Wassily Kandinsky left Moscow in 1921 when the Soviets threatened to ban abstract art. He left Berlin in 1933 when the Nazis closed the Bauhaus. He moved to Paris where he was helped by Duchamp.
Kandinsky loves the light and weather of Paris. He has no teaching responsibility and feels free despite the increasing heaviness of the European totalitarianisms. He introduces the curve, or more precisely the planar projection of a flexible tape, in his pictorial vocabulary and lets reappear some figurative symbols.
Rigide et courbé is painted in December 1935 with his new technique where he improves the texture by mingling sand in the oil paint. This mixed media on canvas 114 x 162 cm is estimated $ 18M for sale by Christie's in New York on November 16, lot 18 B.
'Courbé' is the central tape, accompanied by a musical rhythm. Its flexibility expresses with a new optimism the vagaries of fate. This figure is flanked by a bulge and extended at its right end by the horns of a bovine. Its interpretation as the theme of the rape of Europa is plausible and seductive. At the same time Picasso identifies himself with the Minotaur.
'Rigide' is the totalitarianism reduced to a group of skyscrapers from which however escapes a sign of life which may be a leafy branch or perhaps a fetus. In the following year in his Composition No. 9, the symbols of birth become dominant and the theme of the fetus is confirmed in several places either by an explicit figuration or by the addition of umbilical cords.
Please watch the video shared by Christie's :
Kandinsky loves the light and weather of Paris. He has no teaching responsibility and feels free despite the increasing heaviness of the European totalitarianisms. He introduces the curve, or more precisely the planar projection of a flexible tape, in his pictorial vocabulary and lets reappear some figurative symbols.
Rigide et courbé is painted in December 1935 with his new technique where he improves the texture by mingling sand in the oil paint. This mixed media on canvas 114 x 162 cm is estimated $ 18M for sale by Christie's in New York on November 16, lot 18 B.
'Courbé' is the central tape, accompanied by a musical rhythm. Its flexibility expresses with a new optimism the vagaries of fate. This figure is flanked by a bulge and extended at its right end by the horns of a bovine. Its interpretation as the theme of the rape of Europa is plausible and seductive. At the same time Picasso identifies himself with the Minotaur.
'Rigide' is the totalitarianism reduced to a group of skyscrapers from which however escapes a sign of life which may be a leafy branch or perhaps a fetus. In the following year in his Composition No. 9, the symbols of birth become dominant and the theme of the fetus is confirmed in several places either by an explicit figuration or by the addition of umbilical cords.
Please watch the video shared by Christie's :
Kandinsky painting bought directly from the artist by Solomon Guggenheim returns to auction https://t.co/qDctYtdUAX pic.twitter.com/73XK1bmZar
— The Art Newspaper (@TheArtNewspaper) September 15, 2016
