"Compostion IX" by Wassily Kandinsky (1934)

Master Artist Museum Print
Size: 11.7" x 16.5"
Status: Unframed

About the Artist

The term "Composition" can imply a metaphor with music. Kandinsky was fascinated by music's emotional power. Because music expresses itself through sound and time, it allows the listener a freedom of imagination, interpretation, and emotional response that is not based on the literal or the descriptive, but rather on the abstract quality that painting, still dependent on representing the visible world, could not provide.

Kandinsky's special understanding of the affinities between painting and music and his belief in the Gesamtkunstwerk, or the total work of art, came forth in his text "On Stage Composition", his play "Yellow Sound", and his portfolio of prose poems and prints Klange (Sounds, 1913). Music can respond and appeal directly to the artist's "internal element" and express spiritual values, thus for Kandinsky it is a more advanced art. In his writings Kandinsky emphasizes this superiority in advancing toward what he calls the epoch of the great spiritual.

It was at this special moment that Kandinsky realized the tremendous power that art could exert over the spectator and that painting could develop powers equivalent to those of music. He felt special attraction to Wagner, whose music was greatly admired by the Symbolists for its idea of Gesamtkunstwerk that embraced word, music, and the visual arts and was best embodied in Wagner's The Ring of the Nibelung, with its climax of global cataclysm. One can also presume thatKandinsky, philosophically a child of the German Romantic tradition, was strongly attracted to Wagner's use of medieval Germanic myths and legends, including those of the world's creation and destruction, as symbols that allowed for the translation of his philosophical attitudes toward the world view, religion, and love.

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