Point and Line to Plane

Fülszöveg

Wassily Kandinsky
POINT AND LINE TO PLANE
"I had the impression that here painting itself comes to the foreground; I wondered if it would not be possible to go further in this direction."
Thus did the young Russian painter Wassily Kandinsky (1866-1944) react to his first viewing of Monet's Haystack, included in an 1895 Moscow exhibit of French Impressionists. It was his first perception of the dematerialization of an object and presaged the later development of his influential theories of non-objective art.
During study and travel in Europe, the young artist breathed the heady atmosphere of artistic experimentation. Fauvism, Cubism, Symbolism and other movements played an important role in the development of his own revolutionary approach to painting. Decrying literal representation, Kandinsky emphasized instead the importance of form, color, rhythm and the artist's inner need, in expressing reality.
In Point and Line to Plane, one of the most influential books in... Tovább

Fülszöveg

Wassily Kandinsky
POINT AND LINE TO PLANE
"I had the impression that here painting itself comes to the foreground; I wondered if it would not be possible to go further in this direction."
Thus did the young Russian painter Wassily Kandinsky (1866-1944) react to his first viewing of Monet's Haystack, included in an 1895 Moscow exhibit of French Impressionists. It was his first perception of the dematerialization of an object and presaged the later development of his influential theories of non-objective art.
During study and travel in Europe, the young artist breathed the heady atmosphere of artistic experimentation. Fauvism, Cubism, Symbolism and other movements played an important role in the development of his own revolutionary approach to painting. Decrying literal representation, Kandinsky emphasized instead the importance of form, color, rhythm and the artist's inner need, in expressing reality.
In Point and Line to Plane, one of the most influential books in 20th-century art. Kandinsky presents a detailed exposition of the inner dynamics of non-objective painting. Relying on his own unique terminology, he develops the idea of point as the "proto-element" of painting, the role of point in nature, music and other art, and the combination of point and line that results in a unique visual language. He then turns to an absorbing discussion of line — the influence of force on line, lyric and dramatic qualities, and the translation of various phenomena into forms of linear expression. With profound artistic insight, Kandinsky points out the organic relationship of the elements of painting, touching on the role of texture, the element of time, and the relationship of all these elements to the basic material plane called upon to receive the content of a work of art.
Originally published in 1926, this essay represents the mature flowering of ideas first expressed in Kandinsky's earlier seminal book. Concerning the Spiritual in Art (Über das Geistige in der Kunst), also available in a Dover paperback edition (#23411-8). As an influential member of the Bauhaus school and a leading theoretician of abstract expressionism, Kandinsky helped formulate the modern artistic temperament. Point and Line to Plane amply demonstrates the importance of his contribution and its profound effect on 20th-century art.
Unabridged Dover republication (1979) of the work published by the Solomon R. Guggenheim Foundation for the Museum of Non-Objective Painting, New York, 1947. Translated by Howard Dearstyne and Hilla Rebay, edited and prefaced by Hilla Rebay. Originally published in 1926 as Punkt und Linie zu Fläche, the ninth in a series of 14 Bauhaus books edited by Walter Gropius and L. Moholy-Nagy. 102 figures, 25 diagrams. 192pp. 6'/, x 9'/,. Paperbound.
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