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Lot Essay
This work, executed in 1904, was one of the earliest examples of Kandinsky's woodblocks. Having lived and travelled in Russia, Kandinsky interpreted much of what he saw into his works. In his application and choice of playful colours Kandinsky reveals his Russian heritage and, in so doing, produces a kaleidoscope of colour in his prints. As John Russell explains, "In these remote provinces, colour was everywhere: houses were painted inside and out with a richness, a power of invention, and a spiritual energy which was deeply impressive to Kandinsky. He felt while there as if he were living in a world that was all art; and when he became an artist himself his ambition was not to produce beautiful and lucrative objects but to communicate something that was of vital importance to the spiritual well-being of mankind." (Russell, op. cit. p. 16.)
Stylistically, the simplicity and the flatness of the subjects show both Jugendstil and Symbolist influences. The woodblock medium forced Kandinsky to simplify his design in order to focus on the most important elements of his compositions. Both these influences show the link between ornament and abstraction which were later to become important features of his work.
There is also another woodcut on the reverse which is another version of Kandinsky’s Frühling executed in the same year and recorded as no. 42 in Roethel’s catalogue raisonné of Kandinsky’s prints.
Stylistically, the simplicity and the flatness of the subjects show both Jugendstil and Symbolist influences. The woodblock medium forced Kandinsky to simplify his design in order to focus on the most important elements of his compositions. Both these influences show the link between ornament and abstraction which were later to become important features of his work.
There is also another woodcut on the reverse which is another version of Kandinsky’s Frühling executed in the same year and recorded as no. 42 in Roethel’s catalogue raisonné of Kandinsky’s prints.