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Wassily Kandinsky

Russian Federation (Mosca 1866 -  Neuilly Sur Seine 1944 ) Wikipedia® : Wassily Kandinsky
KANDINSKY Wassily Untitled

Clars Auction Gallery /Jan 15, 2017
5,678.05 - 8,517.08
Not Sold

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Variants on Artist's name :

Kandynski Vasilly

Vasilij Kandinsky

Kandinsky

 

Artworks in Arcadja
1473

Some works of Wassily Kandinsky

Extracted between 1,473 works in the catalog of Arcadja
Wassily Kandinsky - Unfester Ausgleich

Wassily Kandinsky - Unfester Ausgleich

Original 1930
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Lot number: 108
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Wassily Kandinsky UNFESTER AUSGLEICH (UNSTABLE COMPENSATION) 1866 - 1944 signed with the artist's monogram, dated 1930, titled and numbered 499 on the reverse oil on board 45 by 33cm., 17 1/2 by 13in. Painted in February 1930. Provenance Bernard Maeght, Paris Galerie Maeght, Paris (acquired from the above by 1965) Davlyn Gallery, New York Sale: Sotheby's, London, 29th March 1988, lot 40 Purchased at the above sale by the present owner Exhibited Paris, Galerie Maeght, Kandinsky, Bauhaus de Dessau, 1927-1933, 1965, no. 29 Saint-Paul, Fondation Maeght, Kandinsky Centenaire, 1966, no. 64 New York, Marlborough-Gerson Gallery, Kandinsky, The Bauhaus Years, 1966, no. 35, illustrated in the catalogue Madrid, Fundación Juan March, Kandinsky, 1978, no. 11 Tokyo, Fuji Television Gallery, Kandinsky, Bauhaus & Paris Years, 1922-44, 1986, no. 6, illustrated in colour in the catalogue Literature The Artist's Handlist, IV, no. 499 Will Grohmann, Wassily Kandinsky, Life and Work, London, 1959, no. 348, illustrated p. 378 Werner Haftmann, 'Kandinsky, Bauhaus de Dessau 1927-1933' in Derrière Le Miroir, Maeght Editeur, 1965, no. 29, illustrated n.p. Hans K. Roethel & Jean K. Benjamin, Kandinsky, Catalogue raisonné of the Oil Paintings, 1916-1944, New York, 1984, vol. II, no. 944, illustrated p. 861 Catalogue Note In 1922, Kandinsky joined the teaching staff at the Bauhaus, where he would remain for over a decade. A radically progressive establishment, the Bauhaus was dedicated to the pursuit of aesthetic theory, and as a gathering place for many of the key figures of Modern art and design in Germany, it provided the perfect backdrop to Kandinsky’’’’’’’’s own theoretical and artistic experimentation. His focus on strict geometric forms during this period also reflects the influence of Russian Constructivist art, to which he was exposed during the war years spent in Moscow. With artists such as Kandinsky and Moholy-Nagy, Constructivist art gained in international stature and became an important artistic force in Germany, where geometry was accepted as a universal artistic language. Building on the publication of his seminal text Point and Line to Plane in 1926, Kandinsky used his teaching to continue his investigations into the interrelationship of colour and form, the results of which are evident in Unfester Ausgleich. As Clark V. Poling discusses: ‘Colour interrelationships were central to Kandinsky's concept of pictorial art and of the compositional process. Occasionally Kandinsky's own works resemble colour studies, specifically those in which he places simple shapes of different hues against uniform backgrounds in order to focus on the character of the individual colours and the subtle phenomena of chromatic intersections’’’’’’’’ (Clark V. Poling, Kandinsky: Russian and Bauhaus Years 1915-1933 (exhibition catalogue), The Solomon R. Guggenheim Museum, New York, 1983, p. 65). With a geometrical clarity that is typical of his later years in Dessau – where the Bauhaus relocated in 1925 – Unfester Ausgleich focuses on juxtaposing the complementary colours of red and green around two central geometric forms. The tensions between these colours and the juxtaposition of the forms, with the circle appearing on the verge of capsizing the supporting triangle, result in a composition of spectacular dynamism and hint at the “unstable compensation” of the work’’’’’’’’s title.
Wassily Kandinsky - Deutliche Verbindung (clear Connection)

Wassily Kandinsky - Deutliche Verbindung (clear Connection)

Original 1925
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Lot number: 6
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Description:
Wassily Kandinsky DEUTLICHE VERBINDUNG (CLEAR CONNECTION) 1866 - 1944 signed with the monogram and dated 25 (lower left) watercolour and Indian ink on paper 48.2 by 31.8cm. 19 by 12 1/2 in. Executed in December 1925. Galka E. Scheyer, Los Angeles (acquired from the artist in July 1928; until 1931) Solomon Hale, Mexico City (acquired in 1931. Sold: Parke-Bernet, New York, 21st May 1975, lot 40) Private Collection, New York (sold: Christie's, New York, 11th November 1987, lot 118) Purchased at the above sale by the family of the present owner Exhibited Schloss Brunswick, Gesellschaft der Freunde junger Kunst, Jubiläums-Ausstellung W. Kandinsky, 1926, no. 51 Dresden, Galerie Arnold, Kandinsky: Jubiläums-Ausstellung zum 60. Geburtstage, 1926, no. 90 Mannheim, Städtische Kunsthalle, Wege und Richtungen der abstrakten Malerei in Europa, 1927, no. 117 Oakland, The Oakland Art Gallery, Kandinsky, 1929, no. 6 Hollywood, Braxton Gallery, Kandinsky, 1930, no. 17 San Francisco, California Palace of the Legion of Honor, The Blue Four, 1931, no. 17 Chicago, The Art Institute of Chicago, Eleventh International Exhibition of Water Colors, 1931, no. 120 Oakland, The Oakland Art Gallery, The Blue Four: Feininger, Jawlensky, Kandinsky, Paul Klee, 1931, no. 17 Literature The artist's handlist of watercolours, listed as: xii 1925, 205, Deutliche Verbindung Vivian Endicott Barnett, Kandinsky Watercolours: Catalogue Raisonné, London, 1994, vol. II, no. 768, illustrated p. 153 In 1922 Kandinsky joined the teaching staff at the Bauhaus, where he would remain for over a decade. A radically progressive establishment, the Bauhaus was dedicated to the pursuit of aesthetic theory and as a gathering place for many of the key figures of Modern art and design in Germany it provided the perfect backdrop to Kandinsky’’’’’’’’s own theoretical and artistic experimentation. As early as 1911, in his seminal text Concerning the Spiritual in Art, Kandinsky had described the interrelationship of colour and form: ‘It is evident that certain colours can be emphasised or dulled in value by certain forms. Generally speaking, sharp colours are well suited to sharp forms (e.g. yellow in the triangle), and soft, deep colours to round forms (e.g. blue in the circle). But it must be remembered that an unsuitable combination of form and colour is not necessarily discordant, but may with manipulation show fresh harmonic possibilities’’’’’’’’ (quoted in Paul Overy, Kandinsky. The Language of the Eye, London, 1969, p. 163). Adopting an increasingly purely geometric abstraction that was partly influenced by his time spent in Russia and exposure to Suprematist art, Kandinsky used his teaching at the Bauhaus to continue his investigations into the symbiosis of colour and form. In line with Bauhaus principles, the classes he gave were participatory rather than purely didactic, and the artist designed a series of exercises for his students that challenged them to investigate colour theory, with a specific focus on the relationship between different colours and the correspondence between colour and form. A delicate orchestration of lines, shapes and dots, Deutliche Verbindung exemplifies the fruits of this experimentation. As Armin Zweite explains when discussing Kandinsky’’’’’’’’s work of this period, this move towards abstraction did not entirely preclude a subjective suggestiveness that was the result of the artist’’’’’’’’s careful arrangement of compositional elements: ‘Kandinsky does not simply arrange a variety of abstract forms into a pattern: the forms, in conjunction with the colours, tell their own story. Each defined by its own setting, they take on a specific and – in varying degrees – trenchant character’’’’’’’’ (A. Zweite, ‘Free the Line for the Inner Sound’’’’’’’’, in Kandinsky Watercolors and Drawings (exhibition catalogue), Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 1992, p. 26). The considered deliberation behind a work such as Deutliche Verbindung is further illustrated by the artist’’’’’’’’s technical acuity. Balancing spheres, triangles and half-circles of solid colour with darkly inked lines and subtle washes of watercolour, Kandinsky creates a remarkable dynamic within the present composition. The fine mist of watercolour – which was a technique he adopted from his friend and fellow-Bauhaus teacher Paul Klee (fig. 1) – is deployed to particularly striking effect. His exquisite use of watercolour and ink in this work reflects Kandinsky’’’’’’’’s increasing interest in the medium which would come to define much of his artistic output over the remainder of his career. The first owner of this work was Galka Scheyer, a collector and dealer whose primary interest was in ‘The Blue Four’’’’’’’’: Jawlensky, Kandinsky, Klee and Feininger. In 1924 she moved from Germany to New York, and later settled in California. In America, particularly California, she befriended a number of collectors and museum curators, and energetically promoted the four artists, organising group and solo exhibitions, and giving lectures on their work.
Wassily Kandinsky - Senza Titolo

Wassily Kandinsky - Senza Titolo

Original 1922
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Lot number: 135
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KANDINSKY WASSILY (1866 - 1944) Senza titolo. . 1922. Offset. Cm 50,00 x 39,00. 167/400. Tiratura a matita, firma e anno a stampa in basso. Timbro Maeght in basso a sinistra. Cornice presente KANDINSKY WASSILY (1866 - 1944) Untitled. 1922. Offset. Cm 50,00 x 39,00. 167/400. Edition in pencil, signature and year stamped at the bottom. Maeght stamp lower left. Cornice presente
Wassily Kandinsky - Untitled

Wassily Kandinsky - Untitled

Original 1924
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Lot number: 6132
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Attributed to Wassily Kandinsky (Russian, 1866-1944), Untitled, 1924, watercolor, bears initials and dated lower left 11.5"h x 8.75"w, overall (with frame): 19"h x 16"w. Provenance: Property of a Sacramento collector (by descent); Estate of Darius Talyarken (London, UK); Purchased at Frank Knight & Ruttley Auctioneers (1947). Note: Copy of Mr. Talyarken''s auction inventory invoice/receipt from 1947 available.
Wassily Kandinsky - Kleine Welten X

Wassily Kandinsky - Kleine Welten X

Original 1922
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Lot number: 3
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Description:
WASSILY KANDINSKY (russian, 1866-1944) "KLEINE WELTEN X" 1922, pencil signed, from the edition of 200 (there were also 30 on Japan), with full margins, Propyläen Verlag, Berlin, publisher. Drypoint on wove paper. image: 9 1/4 x 7 3/4 in. (23.5 x 19.7cm) sheet: 11 7/8 x 10 7/16 in. (30.2 x 26.5cm) [Roethel, 173]
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