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拍品专文
Kandinsky's La Résolution was executed in Paris, where he moved when the Nazis closed the Berlin Bauhaus in 1934 and remained with his wife, Nina, until 1944, the year of his death. They took an apartment in Neuilly-sur-Seine, marking the beginning of the artist's final creative phase, his so called "Paris period."
An important characteristic of Kandinsky's late style was his interest in basing his abstract forms on biomorphic shapes so that they often resemble deep sea organisms as seen under a microscope. Various publications which Kandinsky may have seen have been proposed, including Ernst Heinrich Haeckel's Kunstformen der Natur, published as far back as 1904. Newspaper and magazine clippings kept by the artist also attest to his fascination with the biological sciences. As Jean-Louis Prat points out, "The works from the Neuilly period show a major change in style and theme. Along with the rigid geometric constructions of the Bauhaus years, there now appears a new vocabulary of biomorphic and stylized forms borrowed from molecular biology" (Kandinsky, Retrospective, exh. cat., Fondation Maeght, Saint-Paul-de-Vence, 2001, p. 196).
The use of prepared dark paper as a backdrop for his colorful gouaches, which he called "dessins coloriés," was inspired by his early Art Nouveau years. Another influence on Kandinsky's pictorial vocabulary during this period was his growing acquaintance with the leading figures of the Paris art world, especially the Surrealists and artists associated with the movement. The works of Jean Arp and Joan Miró have often been cited by critics as having had an impact on Kandinsky's painting after 1934. Although the artist was quick to play down the extent of this influence--he was not drawn to automatism, myth or dreams--he clearly absorbed their ideas in a manner that is entirely his own.
An important characteristic of Kandinsky's late style was his interest in basing his abstract forms on biomorphic shapes so that they often resemble deep sea organisms as seen under a microscope. Various publications which Kandinsky may have seen have been proposed, including Ernst Heinrich Haeckel's Kunstformen der Natur, published as far back as 1904. Newspaper and magazine clippings kept by the artist also attest to his fascination with the biological sciences. As Jean-Louis Prat points out, "The works from the Neuilly period show a major change in style and theme. Along with the rigid geometric constructions of the Bauhaus years, there now appears a new vocabulary of biomorphic and stylized forms borrowed from molecular biology" (Kandinsky, Retrospective, exh. cat., Fondation Maeght, Saint-Paul-de-Vence, 2001, p. 196).
The use of prepared dark paper as a backdrop for his colorful gouaches, which he called "dessins coloriés," was inspired by his early Art Nouveau years. Another influence on Kandinsky's pictorial vocabulary during this period was his growing acquaintance with the leading figures of the Paris art world, especially the Surrealists and artists associated with the movement. The works of Jean Arp and Joan Miró have often been cited by critics as having had an impact on Kandinsky's painting after 1934. Although the artist was quick to play down the extent of this influence--he was not drawn to automatism, myth or dreams--he clearly absorbed their ideas in a manner that is entirely his own.