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Showing posts with label Kandinsky. Show all posts
Showing posts with label Kandinsky. Show all posts

Thursday, June 16, 2016

Once upon a time...


Macke, Street's view, 1914, watercolor
three friendly painters decided to look for light and color in Tunisia. Their names were Paul Klee, August Macke and Louis Moilliet.

The bond among the three was Moilliet. Klee had met him during school and never lost contact ever after. Macke’s wife had been Moilliet’s mother’s assistant and, in occasion of their honeymoon, the just married couple visits them, introducing the both painters to each other. Klee meets Macke in Moilliet’s house.






Friday, December 18, 2015

Day of procedures


Kandinsky, Reciprocal Accords, 1942

It was time for some paperwork and procedures all morning. It seemed like I would not be done with it until midday, but I actually did: I was attended quickly and by 11 I was already free. Guess what I did during the rest of the day. Of course, visit some exhibitions!

Thursday, July 2, 2015

Holidays!!!!

Sorolla, Paseo por la orilla del mar, 1909


If only we could walk along the shore like Miss Clotilde and María Sorolla! But no, we aren´t going on holidays. But our blog will. In part to let you all rest, but also, to prepare new articles and surprises we will start adding throughout the rest of the year…

In July, we won´t have new posts published, but, so that you don´t miss us, we will suggest some lectures, games and riddles... Do you know which were the most read entries this year? Here you´ve got our ranking, in case you missed them or want to read them once again:

5) A supertechnical article… What did you like from our “The extremes meet: violet”?



















3) The most famous con; with a nazi heirarch as victim: “Vermeer”’s ‘Christ with the Adulteress’.


















1) And winner was… the essence of art by Kandinsky!








Today´s game: do you recognise what painting is this image taken from? 




Share your answer on the comment section or send us a mail! We´ll reveal the answer next Thursday!


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Thursday, April 23, 2015

Today is our 1st Birthday!

Rubens, St. George and the Dragon, 1606
(Image: Museo del Prado)
One year ago we started this blog about the History of Painting. It takes up hours and hours of work, but we enjoy a lot. We know that you enjoy it too and that makes this work easier.


That's why today we want to thank you for reading us every Thursday, thanks for your critics and suggestions, thanks for pointing out our mistakes and thanks for all your support. We've got loads of projects and ideas and we hope we can stay by your side for many other years!

As an anniversary gift, and being today St. George, a quite special day for many of you, I thought of analyzing Ruben´s 'St George and the Dragon'.
We are expecting your comments and we hope to see you often around here, as it´s been so far.
Cristina del Rosso

Remember that if you are using a tablet or a smartphone and you can't read the whole post, you can access to an alternative version of it on Youtube.




http://britishlibrary.typepad.co.uk/digitisedmanuscripts/2013/04/happy-st-georges-day.html

Néret, G. Rubens. Köln, Taschen, 2006



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Tuesday, January 20, 2015

Improvisation 26, Wassili Kandinsky

Improvisación 26, 1912
Kandinsky wasn’t the first abstract painter, but he was the first one trying to deepen in this new way of painting.

"Improvisation 26” is an abstract painting, but with some realistic left-overs. 

We analyze today this painting: I invite you to see our presentation.


Remember that if you are using a tablet or a smartphone and you can't read the whole post, you can access to an alternative version of it on Youtube.


Sources: Düchting, H. Kandinsky, Köln, Taschen, 2012
Becks-Malorny, U. Kandinsky, Köln, Taschen, 2007
Kandinsky, V. De lo espiritual en el arte, Madrid, Paidós, 2010
Personal notes
Painting's decomposition in layers: Cristina del Rosso




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Thursday, December 11, 2014

The extremes meet: the violet

Kandinsky, Violet, 1923
Violet is an ambiguous color in several senses. First, it’s result of mixing red and blue, or in other words, the mixture of passion and spiritualism, of emotions and reason; and on on the other hand, it admits a wide range of tones: from red violet to blue violet, and in some cases, even black.

Due to this range of shades, naming it will vary depending on the cultural context and on the language we are speaking in: is it violet or purple?

This pigment and it’s extracting process is known since 1500 b.C. It was, though, quite expensive: some specific sea snails’ glands were needed, and around 250000 to obtain 1 g. of  dye! (Nowadays the pure pigment would cost 2440 euros per gram) This is why it was always considered a hardly affordable privilege, which led it to be related to power and authority. For example: we can find purple velvet on Elizabeth II of England’s throne and crown. In Ancient Rome, only the Emperor, Empress and the heir were allowed to wear this color; senators were allowed to add this color only on their togas’ borders. The rest of the mortals would be condemned to death if they wore purple. Diocletian (300 a.C.) took the dye techniques and the masters of them to Constantinople, which turns into the centre of a true monopoly that would last until 1453, with the arrival of the Turks. And since that caused the disappearance of the pure violet/purple, it stopped being exclusive for those in power.

For its expensiveness, it’s always been associated with luxury: jewels tend to be presented on purple velvet. Being those commonly for women, purple and violet are said to be feminine: it’ll be hard to find any purple car!

Klimt, Life and death, 1816
Due to its resistance, it’s considered a symbol of ethernity, of divinity and faith. It’s the color of theology and also of Evangelical Church. In case of Catholic Church, it’s used in Advent and Lent, in Masses for the Dead and in Sacrament of Penance. Last one is because it’s the last color of the visible spectrum, the closest one to black, which is darkness and death, and, therefore, it’s sign of penance, fast and wait. As a fun fact: in Middle Age, it was generally used by ageing single women since they were waiting for life while being close to death.

Due to the presence of red, it’s also connected to sensuality and fantasy: we can find it on chocolate’s wrappers. It’s also the color of magic and witches.

Klimt, Emilie Flöge's
Portrait, 1902
By the end of XIX century, it was finally produced in a laboratory and it soon turned into a trend for inner decoration: would you imagine the mysterious atmosphere created by a purple wallpaper in a living room? It was also fashionable in the 70’s, due to rock and to the attempt to overcome the limits of the conscience. You’ve probably heard already about Deep Purple or Purple Rain.

In our next ‘Colors’ post, we’ll talk more about these colors. To be continued.


In case you want to listen to any purple song:







Welsch,N.-Liebmann, C.Chr. Farben. München, Elsevier V.2004;
Heller, E. Wie Farben auf Gefühl und Verstand wirken. München, Droemer V., 2000;
Gage, J. Color and Meaning. Los Ángeles, University California Press, 1999;

notas personales
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Thursday, October 2, 2014

Rhapsody in Blue

(Rhapsody in blue, G. Gershwin)[1]

Blue is the favorite color of the majority of human beings, without sex, age or culture distinctions. It has no negative connotations and it’s accepted in all circumstances, but the one of food. (You can read this post about it.)
Picasso, The old blind gitarist,
1903

If red is the color that approaches, blue is the color that takes us to the horizon, to the distance. That’s why it also represents melancholy, the nostalgia found in the American slaves’ “blues”. Picasso starts his “Blue Period” when he suffers the death and the absence of his friend Casagemas.

If red is the synonym of heat, blue is the one of cold: walls and window frames tend to be painted blue in places with hot climates. Also frozen and cleaning products are sold in blue packages.
Our planet looks blue from the outer space! It’s also linked with the spiritual and divinity, with the eternity, for being the sky’s and the sea’s color. It used to be exclusive for pharaohs and the French Kings, which is why it’s said that the noble are blue blood.  Dreams, fantasies, the intellectual, lasting values and confidence are also related to this color. ‘Deep blue’ was a chess playing machine. The United Nation’s World Peacekeeping Body are the Blue Berets. And the artists of the group ‘The Blue Rider’ (Kandinksy, Marc…) painted blue horses to obtain the essence and spirit of the animal. 
Marc, The little blue horses, 1911

We have already talked about Yves Klein. (Here's the post.)
Virgin Mary used to wear a blue veil in Middle Age representations. But since it was the most expensive pigment, it was kept only for the most important figure, which is why also Christ was mostly painted in blue, instead of the Virgin being the one. After the Lourdes apparition (1858), the Virgin Mary is commonly represented wearing a blue dress and a white veil.

January, Très Riches Heures du
 Duc de Berry
, 1411
The ultramarin blue, which receives its name from being imported from Afghanistan, was so so expensive that artists had to stipulate how much of it they would use. 1 kg (Slightly over 2 pounds) of this pigment might cost nowadays 18000€ (around $22700 or £14000). It was later substituted by the indigo blue, which is much cheaper, but also much less bright. It’s worth mentioning that the ultramarin blue found in Très Riches Heures du Duc de Berry still shines like it did in the XV century.

In 1834, it was achieved to produce it in a laboratory, and it’s now quite affordable. It appears now in the executive’s suits, in work clothing, in pilot’s uniforms and in our everday jeans, which formerly appeared as hard work pants for the American miners.

How many songs are inspired by sky’s or sea’s blue?
And why are Smurfs also blue?


Welsch, N.-Liebmann, C.Chr. Farben. München, Elsevier V.2004;
Heller, E. Wie Farben auf Gefühl und Verstand wirken. München, Droemer V., 2000;
personal notes.
Translation: Lorenzo Vigo







[1] If you want to listen to it, click here.


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Thursday, May 8, 2014

Reading for you…
Artist writings:

Wassily Kandinsky

“In an obscure and puzzling way, the artist develops a work of art. As it gains a life of its own, it becomes an entity, an independent spiritual life, which as a being, leads the life of material realism. It is, therefore, not simply a phenomenon created casually and inconsequentially indifferent to spiritual life. Instead as a living being, it possesses creative active forces. It lives, has power, and actively forms the above-mentioned spiritual atmosphere. From an innermost point of view, the question finally should be answered as to whether creation is strong or weak. (…) In reality, no picture can be considered "well painted" if it possesses only correct tone values.


(…) One should call a picture well painted if it possesses the fullness of life. A "perfect drawing" is the one where nothing can be changed without destroying the essential inner life, quite irrespective of whether this drawing contradicts our conception of anatomy, botany, or other sciences. (…) The artist is not only justified in using any form necessary for his purposes, but it is his very duty to do so.  (…) Painting is an art, and art is not vague production, transitory and isolated, but a power which must be directed to the improvement and refinement of the human soul, (…). It is its language which speaks to the soul."


Wassili Kandinsky
"The art and artists"
In: On the Spiritual on Art

First Abstract Aquarelle, 1912
Kandinsky  wrote this around 1910 and it hasn’t got outdated at all.
The creative act of the artist is in first place a spiritual need. We could ask ourselves if we really mind about what kind of feelings got this and that artist to paint. But an artwork is fruit of the artist’s will to create, but the result -which, according to Kandinsky, will only be an artwork if it has a whole and invulnerable inner life - is destined to have its own. And whenever it leaves its creator, it’s aim is to reach the deepest of the viewer’s soul.




cristinadelrosso.com // cristinadelrosso.artproject@gmail.com
Source: Kandinsky, V., On the Spiritual in Art, S.R.Guggenheim Foundation, 1946
Image: Wikipedia
Design and translation: Lorenzo Vigo

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