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In his early expressionist paintings villages glow in radiant colours. These landscapes pulse with wild chromatic splendour that resembles the freedom of the fauves.
In fact Kandinsky’s expressive landscapes are already partly abstract,
in their use of colour. This innovation, that started with the French
fauves and was rapidly adopted by the German expressionists, was the
first, huge step towards abstraction in 20th-century art. But the wild
colours enflaming art in the early years of the century still portray a very recognisable world.
Kandinsky took it a revolutionary step further by reaching a logical
conclusion – what if painting were pure colour? What if it created its
own imaginary world, like the world of a symphony?
Like symphonies, Kandinsky’s great abstract paintings speak directly
to our senses and feelings. Their constellations of mysterious marks are
like waves of sound that trigger emotions. For him, the world they
pointed towards was a spiritual realm, a hidden truth.
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There is a true grandeur to his concept of painting, and a sense of
truth. Whatever we think about his spiritualist beliefs, the result is
an art that is at once purely abstract and plainly rooted in a deep feel
for the nature of things. A profound, paradoxical and rich achievement.
Kandinsky intuits the cosmic complexity of modern physics. His art can
be set alongside today’s images of the fabric of the universe.
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