Art inquiry



"The sun melts all of Moscow down to a single spot that, like a mad tuba, starts all of the heart and all of the soul vibrating. But no, this uniformity of red is not the most beautiful hour. It is only the final chord of a symphony that takes every color to the zenith of life that, like the fortissimo of a great orchestra, is both compelled and allowed by Moscow to ring out," Wassily Kandinsky. The art of the 20th century starts from Kandinsky's abstract watercolor paintings. He is the pioneer in the movement to free art, the one whose works sometimes look like ravings of a madman.

For some people it is difficult to understand what abstract art is, the beauty of non-objective painting. What is the meaning of abstraction? From which angle they have to look at it to see and catch what the artist was trying to reproduce. What is that real object they are referring to in their art? Why these works strike interest of art critics? What makes their work so interesting to the ordinary eye? Wassily Kandinsky is perfect example to talk about this topic. He was the first to create a fully abstract painting. His forms evolved from fluid and organic to geometric and, finally, to pictographic ( e.g., Tempered Élan, 1944). But the main contribution to art was his theory and research of color and shapes in art and its' impression. He strongly believed in unity of art and nature. His writings about relationship between music and art are big piece for inspiration and proper explanation of abstract art. The work long considered essential to understanding the modern art. Also must read manual of color and shape usage for artist, and for ones who want to get into the mystery of Modern art and its shades.

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The story is about the person who wasn't afraid of creating new art. He took brush in his hand without a fear to be judged. Nothing dumped his enthusiasm or art. At his thirty he was studying law at the University of Moscow, and declined a professorship to be able to go and study painting. Because he wanted to speak to everyone thought painting. He had rebelled against the academy, was driven by hew ideas, chivalric fantasies and his world full of forms, vivid colors and agitation.

The new language of art was created with combination and interaction of factors like the meaning of the color in art, synesthesia, and the role of institution in the creative process and other concealed information in art creation process.

Art critic and cultural commentator Hilton Kramer once called Kandinsky's creative work as "Fateful leap into abstraction". He published an article in New York Times at Kandinsky's 100 years anniversary.

Wassily Kandinsky was one of the most innovative practicing artists and art theorists of the 20th century. His achievements in search of a new form of expression in painting, indeed a new conception of art in general, may still strike us as enigmatic and volatile, as if based on no recognizable premise.

He was born in Moscow on December 4th, 1866 in a tea merchant's family. Later his parents moved to Odessa and when Kandinsky was 5 years old they got divorced. The person who took care of him in this period was his aunt. She was the person who gifted first watercolors to small Vasia. His parents apparently couldn't take care of him any longer. Shortly he started to attend private drawing and music lessons. He went to the classic grammar school in Odessa.

He discovered love to a shape and color. Once he said 'Color is the keyboard, the eyes are the harmonies, and the soul is the piano with many strings', his many-sided personality was determinant in his art success. Music influenced his work very much. He claimed that when he saw color he heard music. There is a psychological term called 'Synesthesia' which explains this occurrence:


  1. Physiol. sensation felt in one part of the body when another part is stimulated
  2. Psychol. a process in which one type of stimulus produces a secondary, subjective sensation, as when some color evokes a specific smell (Webster's New World Dictionary (EN-EN))
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The five senses can have ten possible synesthetic pairings. That is very advantageous if you are an artist, designer, musician, architect, writer, etc. Sensory association between color and music was discovered and described before. Tocomposer Alexander Scriabin the key of F# major appeared violet in color (Myers, 1914). Writer Vladimir Nabokov noted in his autobiography Speak, Memory (Nabokov, 1947, p. 21), ''[t]he long ''aaa'' of the English alphabet has for me the tint of weathered wood, but a French ''a'' evokes polished ebony.''

A cellist and a violinist since childhood, Kandinsky also had a well-developed sense of music and much experience with it.

He explains in ''Reminiscences/Three Pictures'' that ''two events stamped my whole life and shook me to the depths of my being'' (Kandinsky, 1913, p. 363). The first was when viewing an exhibition of French Impressionists in Moscow in 1896, where a Monet Haystack painting led him to the realization that a picture can hold a viewer's attention even if the subject cannot be immediately recognized. In Monet's paintings the subject matter played a secondary role to color.

The second critical event was a performance of Richard Wagner's Lohengrin in Moscow, also in 1896. He explained this: "The violins, the deep tones of the basses, and especially the wind instruments at that time embodied for me all the power of that prenocturnal hour. I saw all my colors in my mind; they stood before my eyes. Wild, almost crazy lines were sketched in front of me." (Kandinsky, 1913, p. 364). Music is free from the materiality of the world thought Kandinsky, fine art should exist same way concluded then.

Like Ludwig Tieck (d.1853) who was very much influenced by Wagner wrote: "For every lovely painting, there is without doubt a complimentary piece of music and the two together have but one soul."

At his time, at the beginning of the 20th century, people were interested in synesthesia a lot. And Kandinsky and his group were at the bottom of this interest. In his book he describes several exercises one could do to enhance synesthesia.

He studied law and economics at the University of Moscow, because his parents wished him to. Being artist in that time in Russia considered to be inadmissible luxury. In 1889 went to expedition to Volga. There he was strongly impressed by Northern Russia folk art, by the interior decorations of the village houses.

In 1892 he got married his cousin Anya Chimiakin.

In 1895 Kandinsky attended a French Impressionist exhibition where he saw Monet's Haystacks at Giverny. He stated, "It was from the catalog I learned this was a haystack. I was upset I had not recognized it. I also thought the painter had no right to paint in such an imprecise fashion. Dimly I was aware too that the object did not appear in the picture..."

In 1896 a new period of his life started, at his age 30 he moved to Munich. To the vibrant art center at that time, second after Paris. He began his art studies at Azbe's art school. There he met the painters Alexis von Jawlensky and Marinne von Werefkin.

He was travelling a lot to find his own style. His first works there were sudden, unexpected. He was inspired by variety of topics - Old Russians, knights, oriental. Fairy tale and reality comes across in his early works. That explains his love to folk art.

He was working in Impressionistic manner. Kandinsky gained inspiration from Monet & Blavatsky. He had passion for the decorative effects of Art Nouveau (called Jugendstil in Germany), for the dot technique of Neo-Impressionism (or Pointillism), and by the strong, unrealistic color of central European Expressionism. His early works were impressed by Fauvist palette. And later he went to pure abstraction. He was interested in Theosophical theory which influenced his use of circles, triangles, and squares.

"The German fairy tales, which I often heard as a child, came alive. The high, narrow roofs, which are now gone from Promenadenplatz and Maximilianplatz in old Aswabing, and particularly the meadow which I once discovered quite by accident, transformed these fairy tales into reality . The blue tram moved through the streets like the embodiment of the air of fairy tales that made breathing easy and joyful. The yellow boxes on the corners sang their canary songs. I welcomed the sign "Kunctmuhle" and felt that I was in a city of art, which meant the same to me as a fairy tale city. The medieval pictures that I later painted were inspired by these impressions" - Wassily Kandinsky.

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He became preoccupied with Jugendsil's art after visiting the exhibition of the "Munich Sezession". 1898 Applied unsuccessfully to study with Franz von Stuck at the Munich Academy of Art.

Later in 1900 got to the academy, where he studied with Paul Klee. With Klee they became good friends. They showed consideration for each other's artistic principles. They were affecting each other's creative works. Klee's experimentations reflected on Kandinsky's canvases. Klee considered Kandinsky as his mentor. And Kandinsky's work inspired Klee's palette.

Kandinsky about understanding of art

Kandinsky is art theorist and moralist. He wanted to be artist whole his life tills his thirty as we writes in his memories book. The most difficult part was to wrestle with himself and his love to painting. At his thirty he came up with idea to do it now or never think about it again. And he realized at that time that he is mentally developed enough, he felt his artistic potentialities and has right to start to create art. That is why he went to Munich, to the one of the best known and respected in Russia that time art school. It is not just the place where he made his very first pieces, he wrote there first critical essays.

In 1901 unknown at that time artist entered into newspaper controversy with M.Nordaw and L.N.Tolstoy arguing about necessity of new art. The art that you need to think if you want to understand it. Almost everyone, every sensitive person can appreciate at the true value of beauty. But add to this appreciation element of deliberateness and understanding is difficult task. The task that you can solve only if will know enough about art and if you would like to think and analyze it.

Since that time he started to work on developing new art. By 1910 his thoughts took a shape of theory. According to Kandinsky the picture is the reflection of emotions of artist's soul somehow should deliver message through abstract content. And only proper shapes and colors can provide that connection.

1896 - 1911 The Munich period. When Kandinsky arrived to Munich the city was a cosmopolitan place of art. Lots of directions were going on there. "Munich Secession" was founded in 1892 which was turning the stream of art to the different tendency. Naturalistic school that Kandinsky studied in Russia became old and useless. Kandinsky had to study again to be up-to-date. He went to Anton Azbe's Art School for two years. Under Azbe Kandinsky was drawing in Impressionist style. It was Azbe who taught him to use pure, unmixed colors, the technique that Kandinsky used in his later landscapes.

He hated anatomy classes with Professor Louis Moilliet. Because he was not enjoying that construction of the figures, he was painting them in his style. Professor certainly was not happy with it. Students were calling him "colors" or even worth "landscape painter'. That time made one step to the figurative art, but did not realize it that time. He had an idea that anatomy and art are two different worlds or at least they can live apart.

He was attending Franz von Stucks' lessons, where Stuck accepted him to improve skills, after his fail at the entrance examination to the Academy. He was taught to carry out the composition of a motif.

By 1910 he mould out of himself competent professional artist with a diploma and was in now with modern trends. Kandinsky produced first abstract watercolor, his Composition I hypothetical study for the 1913 Composition VII. Time passed and now his paintings started to lose connectedness. Horse's leg is now apart from the horse and looks more like a bold line. Painting mutated to aquarium with several of bent and curved line and spots swimming in it. Image splits into layers: contours and color spots are on the different floors.

Der Blaue Reiter (The Blue Rider; 1911-14) group of the German Expressionists

The Blue Rider is the art movement created for emancipation of art. The expressionists who wanted to express their feelings on a canvas through color. The main feature which distinguished them from other expressionists is their work were reflection of their emotions without any depressive mood.

The group was established in December 1911 in Munich an informally organized rival group by Wassily Kandinsky and Franc Marc, when they had an exhibition in Tan Hauser. The aim was to change the traditions of academic painting. They were not trying to express the outward appearance they were interested in inner life of the objects. They believed in the future of modern art. But the aims and ideas of the group slightly differ from member to member. Maybe because the group consisted of various type of people. Besides artists there were music composers and dancers. The love to the Medieval, Naïve Art and the art of their time - Fauvism and Cubistic Art united all of them. Franz Marc, August Macke, Alexej von Jawlensky, Marianne von Werefkin, Gabriele Münter, Lyonel Feininger, Albert Bloch, Paul Klee were famous members of the group.

Each person has his own perception of reality that should be combined by the use of art. The idea of perception of art theoretically was founded by Kandinsky. Kandinsky was 'Ideas Generator' of the group. The group sought to achieve equality of any form of art.

Almanac conceived in June 1911, Der Blaue Reiter Almanach (The Blue Rider Almanac) was published in early 1912, by Piper, Munich, in an edition of 1100 copies; on 11 May, Franz Marc received a first print. In almanac were referenced archaic and primitive art, lots of illustrations by children that were examined as a piece of art. August Macke considered children as great creators because they can express their fillings and emotions better that any follower or Greek Ideal does.

The contents of the Almanac included:

  • Marc's essay "Spiritual Treasures," illustrated with children's drawings, German woodcuts, Chinese paintings, and Pablo Picasso's Woman with Mandolin at the Piano
  • an article by French critic Roger Allard on Cubism
  • Arnold Schoenberg's article "The Relationship to the Text", and a facsimile of his song "Herzgewächse"
  • facsimiles of song settings by Alban Berg and Anton Webern
  • Thomas de Hartmann's essay "Anarchy in Music"
  • an article about Alexander Scriabin's Prometheus: The Poem of Fire
  • an article by Erwin von Busse on Robert Delaunay, illustrated with a print of his The Window on the City
  • Macke's essay "Masks"
  • Kandinsky's essay "On the Question of Form"
  • Kandinsky's "On Stage Composition"
  • Kandinsky's The Yellow Sound.

The second issue of Almanac was published in 1914. It was the last issue, not only war prevented to keep publishing it, but evolution of artist's creative minds. Since 1912 Kandinsky, Marc and Macke found their own way.

Originally group was called after Kandinsky's work "The Blue Rider", a forerunner painting from 1903. The rider is a metaphor for the artist for Kandinsky. "The horse carries the rider with strength and speed. But it is the rider who guides the horse. Talent will bring an artist to great heights with strength and speed. But it is the artist who directs his own talent." (Reminiscences).

On the" Almanach Der Blaue Reiter [Blue Rider Almanac]", 1911 we can see the horse rider on his way to art. Way far from it, we can notice the distance that separates them. On the "Impression V (Park)", 1911 Kandinsky made a further step to abstraction so his horse rider in blue did.

Kandinsky explains the origin of the name of the group in humorous way. He says that they came up with this idea with Mark, when they were sitting on the coffee table in Zinzendorf. Mark loved horses, Kandinsky loved riders and they both loved blue!

Blue for Kandinsky is the color of spirituality. The darker the blue, the more it awakes human for the eternal.

Kandinsky suggested new interpretation on color symbolism. Color connected with the spiritual world in abstract art a lot believed Kandinsky. The first attempt to understand the abstract art is to understand the meaning on single colors. By Kandinsky blue is like sky, is mystic; white is silence; yellow is color of earth; green is indifference, it doesn't stimulate any feelings, always immovable; black is the end of everything, the end that will come after fading the sun; and red is an anxiety. The painter thought that colors should attract spectators but shouldn't open truly meaning of the painting. The main idea on his canvas is that he refused to paint any subject forms, but he was expressing them through color spots vibration.

"Color is the keyboard, the eyes are the harmonies, and the soul is the piano with many strings" - Kandinsky used color in a highly theoretical way associating tone with timbre (the sound's character), hue with pitch, and saturation with the volume of sound.

Concerning the Spiritual in Art

In his famed 1912 essay Concerning the Spiritual in Art he explained how he associated certain colors with particular instruments. He associates yellow with the sound of the trumpet, red with the tuba or kettle drum and blue with the cello, contrabass or organ.

John Ferren was interested in the spiritual, transcendental and natural world and studied Zen Buddhism and Taoism. He was inspired by Kandinsky's work and writings. He was an usher for the Los Angeles Philharmonic Orchestra and thought that abstract art could communicate creative emotion better than representational art.

Abraham Walkowitz also was deeply influenced by Kandinsky. Since he met Isadora Duncan in Auguste Rodin's studio she became his muse. He produced more than 5, 000 drawings of her. He is a representation of modern art pioneers in America. For long time the climate for modern art in America was harsh. He started with portraits and developed his art into simple curved lyrical lines with musical references. He was saying: "Abstract art... is a universal language, and dwells in the realm of music with equivalent emotion. Its melody is attuned to the receptive eye as music is to the ear."

Perfect composition in any art could be built on the same principles writes he in the book. Weather it is a theater or abstract oil painting, it affects same way to human being. According to Kandinsky one of the composition elements has to be dominant, either music or abstract shape (color). They can't repeat each other because they are all has one purpose. Guided by unity of human soul with sense organs Kandinsky built comparison not only between colors and senses, colors and symbols, colors and timbres, but also between colors and temperature qualities, colors and different kinds of movement. Those his synesthetic conceptions could be found in a chapter called "Color language".

Have you ever tried to listen to oil painting symphony? Or to think which color is sound of violin, trumpet or bassoon?

1913 Composition IV and Composition III.

In 1914 when he was in Switzerland Kandinsky started to work on new book 'Point and line to plane'. He will finish and publish it only twenty years later.

In 1916 he returned to Russia because of the World War First. There he cooperated with ISO of Narkompros (People's Committee of Education) in the field of art training and museum reform. He opened twenty two museums and founded Academy of Arts and Sciences and became its vice president.

In 1917 Kandinsky married Nina Andreevsky who will give a birth to his son, Vsevdod. Vsevdod died in 1920.

1920 Kandinsky became co-founder of INChUK (Institute for Artistic Culture). He designed a special curriculum for Institute for Artistic Culture, based on the analysis of color and form, developing the ideas stated in On the Spiritual in Art. But his opinion was hard to understand to people who lived their life only in realistic academic regulations. This gave a rise to his incitement to leave Russia, and after death of Vsevolod he left Russia in December 1921. Socialist ideology predominated and put away Kandinsky's' works for long time.

"Just because an artist uses 'abstract' methods, it does not mean that he is an 'abstract' artist. It doesn't even mean that he is an artist. Just as there are enough dead triangles (be they white or green), there are just as many dead roosters, dead horses or dead guitars. One can just as easily be a "realist academic" as an "abstract academic". A form without content is not a hand, just an empty glove full of air".

1922 Moved to Weimar and started to teach at the Bauhaus. He was exhibited and lectured in USA. He created reach in fantasy Small worlds.

Kleine Welten (Small worlds)

In 1922 Kandinsky published by Bauhaus in limited edition a portfolio of twelve graphic works entitled Kleine Welten ( Small worlds) for Propylaen Publishers. He produced the series consists of twelve prints in a few weeks. Surprisingly each work has its own personality. Work has short introduction, where Kandinsky stated that he divided them into three groups. Four lithographs in color; four woodcuts, two of them in color; and four etchings containing a variety of techniques and compositions. Each group is individual character which is made of its own 'small worlds'. Viewer can enter different environments created by the forms and sounds. The six of works are black and white because they supplement themselves. Rest six requires sound, which means color accompaniment. Each of work was created to affect to the viewer mentally, same way as the music could affect to imagination. He was punctilious while creating the work. He used translucent inks to reach exact sound. Unfortunately our generation can't observe them as sensitive to light colors have faded time passed by.

1925 Second period of his life in the Bauhaus, Bauhaus moved to Dessau. He was extremely productive these years in Weimar. Between 1926 and 1933 Kandinsky painted 159 oils and 300 water colors. "Cold romanticism" in Kandinsky's creative work began with "Yellow-Red-Blue". "A circle, which I use recently so often, could not be called otherwise but romantic. And the present day romanticism is essentially deeper, more beautiful, more substantial and more salutary - it is a piece of ice, in which fire is burning. And if people feel only cold and do not feel fire - so much the worse for them..." At that period he created "Red Spot II". This period of his creativity called "Cold romanticism" where he explored the color triad of yellow-blue-red mainly and many others. Color gamma in his paintings was cool and he objects were focused on a circle.

1926 "Point and line to plane" second important theoretical work.

'Point and line to plane'

The book is about theory of impact between point, line, circle, square and their combination. He presented his ideas in 1926 in 'Point and line to plane' in Germany.

In 1922 Walter Gropius the founder of the Bauhaus called on Kandinsky to teach the students at the Bauhaus in Weimar. The new art college, that was founded to teach new free art. Which unites fine and applied arts in contemporary work.

He had a chance and time to develop his ideas while teaching a course about form for which Klee was also engaged. In the Bauhaus he continued to explore abstractionism. Formal, geometrical and relationship between color and their effect on human emotions. Kandinsky popularized fundamental principles of visual art, without which the new, modern, abstract artist cannot create. His paintings were accordingly marked by this logic and austerity.

You can call this book 'Art making manual' it will match it a lot. In 'Point and line to plane' Kandinsky stressed strongly the role of institution in the creative process.

In the Intro he explains externally or inwardly way of interact. Each phenomenon could be experienced two ways: externally or inwardly. For instance when you are observing street through the window the sounds are muffling, movements are more like phantoms and street itself is beyond. If door is open you are dipping into street atmosphere, feeling its life. Your feelings about the same street are different now. Different colors, tones, lines and sounds.

He explains the point as the first result of collision paper and pencil. Form of the point definitely depends on its outer borders, they define its form. In the reality point could take any kind of shape. Its circumference could have sharp or obtuse, small or big teeth.

The meaning of the point: Point has no movement, it is moving neither vertically nor horizontally. Point concentrates all attention on itself, it is very condensed form.

The question is if only one point is enough to consider work as piece of art...

Form is not the most important thing, but rather the content concludes Kandinsky. Form could have positive or negative qualities', it can't in-between. "Necessity creates the form" said he, results from this that form is nothing without idea. It is like a chameleon changes its color. Chameleon didn't change its shape. The form bears the form of personality. No one should consider: "This form is, or ought to be the best for all. Here also full freedom shall prevail: one shall consider valid every form, deem correct (artistic) every form, which represents an inner content" concluded Kandinsky. In conclusion the whole point is, that the spiritual content or essence makes sense, nothing else does. "Greater the epoch is - that is, the greater (quantitatively and qualitatively) the strivings toward the spiritual are - the richer in number the forms become".

This study was essentially new and many people took it as mystical and symbolist theory. Herbert Bayer's design for the staircase in Bauhaus is applicable to this system.

1928 Made "Pictures at the exhibition" the performance that includes Mussorgsky's music with Kandinsky's work as a background at Friedrich Theater in Dessau.

1930 P. Schultze-Naumburg removed Kandinsky, Klee and Schlemmer's works from the museum in Weimar.

1932 The Bauhaus moved to Berlin.

1933 Bauhaus is closed. Kandinsky moved to Paris and spent ten the most the most difficult years of his entire career there from 1934 till 1944. Impressionism and Cubism held whole Paris. Abstract art wasn't recognized in France yet. Kandinsky was lonely with his art. Yet he remained productive, the paintings from these later years were again the subject of controversy. Though out of favor with many of the patriarchs of Paris's artistic community, younger artists admired Kandinsky. In Parisian period he painted 144 pictures and over two hundred watercolors and gouaches where geometrical forms interlaced even sometimes gave way to biomorphic shapes. Floating biomorphic elements felt unconstrained on his canvas. His paintings from French period were far from his "Cold romanticism" of previous years. Works are full of life. "Really a picturesque fairy tale"- was exactly what he said about this period of his creative life. Surrealistic influence is easily noticeable. That is not news because he was friendly with Joan Miró and Jean Arp.

Because of the war crisis and shortage of materials his canvases became smaller and smaller, until that moment when painter could enjoy painting on piece of paper with gauche colors.

1939 Composition X, his last big work.

1944 Kandinsky passed at the age of 78.


Exploring Kandinsky's work made me feel like I have to explore color theory more. I remember when I read explanation of abstract art at first it made me feel like I was daft as a brush. I have spent about a month reading, exploring and analyzing his works. Because it is gripping experience to finally understand fine art and time passing by start to adore rectangles and lines on a plane canvas. Simple geometrical forms colored in plain color that as I was thinking before: "Apparently didn't take long to bring on canvas".

Study and comparing three significant periods of his life and work in Munich, Russia, and Paris was the most exciting part of my research. Watching development of his creativity is like a big lesson about modern art. Teaching that it is not just a movement, it is significant step forward in arts. Emotions on each of his paintings are directly proportional to his understanding of controversial theories. "Each age has its especially assigned task, the revelation possible at a specific age. The reflection of this temporal element is recognized in the work as Style. All these three elements inevitably leave their stamp on a work of art"- Kandinsky.

(Here goes a Timeline of his paintings)

In Composition IV Wassily Kandinsky started from real world and went to geometrical forms while creation process. Composition IV is oil painting on a canvas from 1911. It is kept in Kunstsammung Nordrhein-Westfallen, Dusseldorf in Germany. However sketch for Composition IV attracts me more. It is kept in Teit Weylandt Image Gallery in London. This picture is also known as "Cossacks". Cossacks were members of military communities in Russia. They have Slavic origins.

Kandinsky created "Cossacks" while his search of new language with which he could express new vision, feeling relative with feeling of music.

The riders on the picture are considered to be Cossacks as a symbol of sharp conflict leaded painter to the perception of reality. We can see on the picture two of them fighting on their horses. We can recognize them fighting in red hats, yellow mittens and with sharp sabers on the white horses. Interwoven black lines are horses' legs. This gives us a feeling of abstraction and sharp lines dynamic dramatic scene. There is a rainbow under their bodies. The rainbow forms a road that leads to the castle on a blue hill. Rainbow appears in Kandinsky's works quite often. There is a supposition that rainbow symbolizes the bridge leading to gods abode, to Valhalla. Blue color of the castle symbolizes its connection with divine.

On the right side there are three more Cossacks with their long spades and red hats. The zigzag shaped blue lines on the top of the picture represent bird flock. It is typical Kandinsky's image. Bird flock has something in common with the battle that appears in the center part of the picture. Connection between them doubles feeling of tension. He didn't aim to fill in the details of the picture. He wanted from audience to hip upon his idea. To follow one by one his explanation on the canvas.

Kandinsky helped rise Modern Art who wrote the language of abstract forms. He remains one of the most well known and revolutionary Russian artist, and still very popular nowadays. If you are revolutionary in any art apparently you always have to talk with your public. Because all new will raises doubts, arouse suspicion and even in some cases rises protest. You have to prove that you are right and your creation is not a mistake. His abstractionism is not just a painting. It is a written proves of art. Only freedom of colors and forms could form the new art thought Kandinsky, could get in touch with soul. In that case medium is inexhaustible because amount of colors, forms and their combinations are boundless (and its impression to the audience too).

Kandinsky was working till the last day of his life. Remaining to be follower of abstract art. The new art which he considered to be natural development of art evolution.

"The circle, which I have been using so often recently, can sometimes only be described as romantic. And the coming romanticism is indeed deep, beautiful, meaningful and joyful - it is a piece of ice with a flame burning in it. If people only sense the ice and not the flame, then it is all the worse for them..."- said Kandinsky in 1925.

If you are interested in learning more about Kandinsky's creative work Solomon Guggenheim museum is the best place to visit. Kandinsky is closely linked with Guggenheim museum. His works not only represent a part of the core and essence of the collection, but also helped to inspire the creation of the building. Solomon Guggenheim is a millionaire, manufacturer and collector of modern art who gathered huge collection of avant-garde artists work. Admirer of Kandinsky's art, artist Hilla Rebay promoted Kandinsky to Solomon R. Guggenheim as his art adviser. She introduced Guggenheim to Kandinsky at Dessau Bauhaus in the summer of 1929. By 1937 his collection expanded so much he had to create a fund of his name and public gallery. Two year later Museum of Modern art located in a former automobile salon place opened its doors for visitors, and was called the Museum of Non-Objective Painting in New York. However the collection was still growing until 1943 when Guggenheim offered to American architect Frank Lloyd Wright to create a new building for his museum. Write was in earnest about creating this building. It took him fourteen years to design a museum. Construction started in 1957 and was finished in two years.

The meeting of conceptions happened in this project. At the first sight two artists followed different rules in art. Kandinsky wanted to draw away artist's attention from nature. Frank Lloyd Write father of organic architecture who wanted to create as nature does, he wanted to come back to nature. Kandinsky as art theorist considered continuously movement of art is from nature to spirit: from realism to abstract art, as a way to spiritual necessity. However besides this Kandinsky and Write always insisted on spiritual importance and aesthetical experience of subject.

Recently The Guggenheim Museum celebrated its fiftieth-anniversary by exhibiting the biggest collection of Kandinsky's work. In collaboration with the Centre Pompidou in Paris, the Städtische Galerie im Lenbachhaus in Munich and private collections brought together nearly one hundred paintings dating from 1902 to 1942.

In 1979 the non-profit association Kandinsky society was founded by Nina Kandinsky. The society unites the directors of the three museums of Paris, Munich and New York. Claude Pompidou was the society's president from 1979 to 2007. The society take scare of inviolability his work.

I would like to finish my essay with Kandinsky's quote. That essentially explains his thinking "A form without content is not a hand, just an empty glove full of air."