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拍品专文
The Société Kandinsky has confirmed the authenticity of this work.
Ohne Titel is an important work executed by Kandinsky in Murnau in 1911 at the time when his art stood on the brink of abstraction. Kandinsky's work of this period represents the artist's final phase of figuration before his already loose and brilliantly coloured forms finally freed themselves almost completely from representational reality in a series of 'improvisational' works made in 1912 and 1913.
As the artist himself explained this development, "Our point of departure is the belief that the artist, apart from those impressions that he receives from the world of external appearances, continually accumulates experiences within his own inner world. We seek artistic forms that should express the reciprocal permeation of all these experiences - forms that must be freed from everything incidental, in order powerfully to pronounce only that which is necessary - in short, artistic synthesis. This seems to us a solution that once more today unites in spirit increasing numbers of artists.'(Wassily Kandinsky, 'Text from catalogue for the first Munich exhibition of the Neue Knstler-Vereinigung' 1909, reproduced in Kandinsky: Complete Writings on Art, ed. Peter Vergo & Kenneth Lindsay, London, 1982, p.53.)
Thus, during this period in Kandinsky's art, form and colour began to be defined in his paintings solely for their own sake becoming almost entirely independent from any narrative or figurative function they may once have had. Standing on the threshold of complete abstraction and of immersion into what Kandinsky believed was the spiritual realm of non-objectivity, his paintings resound with pictorial colour harmonies and complex juxtapositions and counterbalances of form which teeter on the brink of being recognizable. His paintings from this period are each intuitively organised into a compositional harmony of form and colour that seems to define a tumultuous and potentially unstable world in which appearances could be swept aside at any moment. There is a sense of an absence of gravity and of everything radiating around one another, indeed, of being independent free-floating parts of an integrated but non-material whole.
In this articulation of a dissolving of formal appearance Kandinsky's paintings reflect his Theosophist-inspired belief that he was living in a time of apocalyptic change from the era of materialism into a new age of the spirit. They also reflect the pioneering nature of his art into a realm that he felt had been vacated by science and materialism ever since it had been discovered that that formerly indivisible unit of matter, the atom, might not be indivisible after all. 'The collapse of the atom was equated, in my soul, with the collapse of the whole world,' Kandinsky wrote in 1913, reminiscing about his decision to become an artist. 'Science seemed destroyed: its most important basis was only an illusion, an error of the learned who...were groping at random for truth in the darkness and blindly mistaking one object for another.' (Wassily Kandinsky, 'Reminiscences', 1913, in K. Linsay & P. Vergo, Kandinsky, Complete Writings on Art, New York, 1994, p.364).
Ohne Titel is an important work executed by Kandinsky in Murnau in 1911 at the time when his art stood on the brink of abstraction. Kandinsky's work of this period represents the artist's final phase of figuration before his already loose and brilliantly coloured forms finally freed themselves almost completely from representational reality in a series of 'improvisational' works made in 1912 and 1913.
As the artist himself explained this development, "Our point of departure is the belief that the artist, apart from those impressions that he receives from the world of external appearances, continually accumulates experiences within his own inner world. We seek artistic forms that should express the reciprocal permeation of all these experiences - forms that must be freed from everything incidental, in order powerfully to pronounce only that which is necessary - in short, artistic synthesis. This seems to us a solution that once more today unites in spirit increasing numbers of artists.'(Wassily Kandinsky, 'Text from catalogue for the first Munich exhibition of the Neue Knstler-Vereinigung' 1909, reproduced in Kandinsky: Complete Writings on Art, ed. Peter Vergo & Kenneth Lindsay, London, 1982, p.53.)
Thus, during this period in Kandinsky's art, form and colour began to be defined in his paintings solely for their own sake becoming almost entirely independent from any narrative or figurative function they may once have had. Standing on the threshold of complete abstraction and of immersion into what Kandinsky believed was the spiritual realm of non-objectivity, his paintings resound with pictorial colour harmonies and complex juxtapositions and counterbalances of form which teeter on the brink of being recognizable. His paintings from this period are each intuitively organised into a compositional harmony of form and colour that seems to define a tumultuous and potentially unstable world in which appearances could be swept aside at any moment. There is a sense of an absence of gravity and of everything radiating around one another, indeed, of being independent free-floating parts of an integrated but non-material whole.
In this articulation of a dissolving of formal appearance Kandinsky's paintings reflect his Theosophist-inspired belief that he was living in a time of apocalyptic change from the era of materialism into a new age of the spirit. They also reflect the pioneering nature of his art into a realm that he felt had been vacated by science and materialism ever since it had been discovered that that formerly indivisible unit of matter, the atom, might not be indivisible after all. 'The collapse of the atom was equated, in my soul, with the collapse of the whole world,' Kandinsky wrote in 1913, reminiscing about his decision to become an artist. 'Science seemed destroyed: its most important basis was only an illusion, an error of the learned who...were groping at random for truth in the darkness and blindly mistaking one object for another.' (Wassily Kandinsky, 'Reminiscences', 1913, in K. Linsay & P. Vergo, Kandinsky, Complete Writings on Art, New York, 1994, p.364).