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Wassily Kandinsky

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

Sotheby's /May 17, 2017
229,863.92 - 321,809.49
269,850.00

Find artworks, auction results, sale prices and pictures of Wassily Kandinsky at auctions worldwide.
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Variants on Artist's name :

Kandynski Vasilly

Vasilij Kandinsky

Kandinsky

 

Artworks in Arcadja
1499

Some works of Wassily Kandinsky

Extracted between 1,499 works in the catalog of Arcadja
Wassily Kandinsky - Improvisation 7

Wassily Kandinsky - Improvisation 7

Original 1913
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Lot number: 1060
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Description:
Wassily Kandinsky (Russian, 1866-1944) IMPROVISATION 7 Woodcut, 1913, from the book 'Klänge' (Sounds), the edition was 300 with 45 HC impressions, printed by Poeschel & Trepte, Leipzig, published by R Piper & Co., Munich, on Van Gelder Zonen laid paper, with full margins image 19 x 12.5cm, mounted
Wassily Kandinsky - Watermelon

Wassily Kandinsky - Watermelon

Original 1939
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Net Price
Lot number: 88
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Description:
Description: Wassily Kandinsky (Russian, 1866-1944) Watermelon, 1939, edition of 300. Monogrammed and dated within the matrix, numbered "145/300" in pencil l.l. Color lithograph on Arches paper with watermark, image size 11 7/8 x 20 in. (30.0 x 50.6 cm), unmatted, unframed. Condition: Deckled right edge, subtle staining near edges, subtle soiling (primarily to upper margin), subtle handling creases (not affecting ink), glue/residue to corner l.l., pencil annotations to verso. N.B. Accompanied by two mailings printed by Maeght Éditeurs, Paris, in 1959; one depicts Kandinsky's Évasion of 1931, and the other his Sur Blanc, 1923
Wassily Kandinsky - Ohne Titel

Wassily Kandinsky - Ohne Titel

Original 1941
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Gross Price
Lot number: 24
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Description:
Wassily Kandinsky (1866-1944) Ohne titel signed with monogram and dated '41' (lower left) gouache on black paper laid down to the artist's mount 19 3/8 x 12 5/8 in (49.2 x 32 cm) Painted in 1941 Provenance Nina Kandinsky, the artist's wife, Paris. Galerie Maeght, Paris. Irving Galleries, Milwaukee. Acquired from the above by H. Lee Turner in 1970. Exhibited New York, Sidney Janis Gallery, Kandinsky, 21 November-24 December 1949. Literature The artist's handlist, Watercolors, as '1941, 712 (g.s. noir)'. V. Endicott Barnett, Kandinsky, Watercolours, catalogue raisonné, vol. II, 1922-44, London, 1994, no. 1347 (illustrated). The present work dates from Kandinsky's years of exile in France after 1934. A professor at the Bauhaus from 1921, he had at first taught mural painting, later going on to teach a popular free-painting class. When the Bauhaus was closed down under pressure from the Nazi regime in 1933, Kandinsky was forced to leave Germany, moving with his wife Nina to Paris. Working in a small studio at Neuilly-sur-Seine, he increasingly focused on organic forms, developing a synthesis between Nature and his own inner world, connecting both to a grander Utopian goal. In Paris, he allowed his surroundings to alter his viewpoint for the first time, and the light and color he experienced made him acutely aware of the natural world around him. Characteristically he used this as a means of examining his own thoughts. 'That particular morning, let us say, all of nature, life, and the whole world surrounding the artist, and the life of his own soul - these are the unique source of each art. It is too dangerous to leave out one part of that source (external life around the artist) or another (his inner life); ...the painter "feeds" himself on external impressions (external life), he transforms them with in his soul (inner life), reality, and dream! without being aware of it. The result is a work of art.' (K.C. Lindsay and P. Vergo, Kandinsky: Complete Writings On Art, vol. II, New York, 1994, p. 768). His later works, such as the present gouache, show the 'inner necessity' for which he was striving. In his exploration of abstraction, Kandinsky developed an intense interest in color and form. Every color in his palette had meaning, and his forms expounded his views on the interconnectedness of the cosmos. While his works during the Paris years seem abstract, he differed from his contemporaries in his desire to link his inner vision or the 'inner necessity' of the subconscious and unconscious with an essentially Utopian view. His exploration of this 'inner necessity' can clearly be discerned in the present work. For Kandinsky, art was developed from the combination of forms and the harmony of colors. Each color carried a meaning, for instance black, as in the background of this work, represents closure and the finality of the end. The circles seen in the lower right corner were peaceful shapes representing the human soul. In his later years, he tended to mix black with brighter colors and pastel hues, delineating biomorphic forms with non-geometric outlines which under closer inspection appear to be microscopic organisms. These all combine to present the mystery that is the artist's inner life. As he declared 'The painter never worries about the aim, or to put it better, he is not aware of it while he is painting. His attention is focused exclusively on form. The goal remains in the subconscious and guides his hand. While painting a picture, the painter always "hears" a "voice" that simply tells him, "That's right!" or "That's wrong!" If the voice becomes very faint, the artist must put his brushes down and wait' (K.C. Lindsay and P. Vergo, op. cit., p. 769). He continued, 'but most wonderful of all is this: to add up all these voices together with many, many others (there are really, in addition to the simple forms, many colors and form) in a single painting - the whole painting becomes a single "HERE I AM."' (K.C. Lindsay and P. Vergo, op. cit., p. 781). The microscopic organisms that are introduced into Kandinsky's work in the 1930s revisit his earlier investigations in biology. In 1934, the year he moved to Paris, what appear to be simple single cell life forms or amoebas begin to flourish. Womb-like shapes enclose his geometric figures, such as the form seen in the upper right quadrant of the present work. These may have been inspired by scientific illustrations of embryology, such as the work of the German zoologist Ernst Haeckel, which Kandinsky also copied in this period. These investigations were paralleled in the sculpture of Kandinsky's contemporary Hans Arp, for example in the latter's Human Concretion II, conceived in 1933, which also depicts a curving and organic form resembling an embryo or womb. While Arp was an active adherent of Surrealism, Kandinsky never considered himself to be part of the movement. In works such as the present gouache, however, a Surrealist influence is hard to avoid. 'The new motifs the artist introduced in 1934 must be singled out and identified. These forms derive from the world of biology – especially zoology and embryology... there is a remarkable incidence in his painting of images of amoebas, embryos, larvae and marine invertebrates, as well as leaf forms and punctuation marks' (V. Endicott Barnett, Kandinksy in Paris 1934-1944, exhib. cat., Solomon R. Guggenheim Museum, New York, 1985, p. 62-63). The appearance of these new forms, together with exclamation marks, arrows and apostrophes may also reflect the influence of Paul Klee, Kandinsky's friend and Bauhaus colleague. These two visionaries had met in Munich in 1911 and were among the first teachers at the Bauhaus. Their close relationship continued after the closure of the school. Although already gravely ill, Klee made a close study of Kandinsky's exhibition at Kunsthalle Bern in February 1937, praising his friend's Paris paintings to his wife. The present work dates from the year following Klee's death, a period of extended mourning for Kandinsky. The present work comes from the collection of H. Lee Turner. Mr. Turner was an innovator who evolved the practice of using paralegals, assistants who were qualified to work in support of lawyers in the American legal system. As his innovation became industry standard, his success allowed him to transfer his energies into collecting, spanning many disciplines including Pre-Colombian art, Books and Manuscripts and Modern and Contemporary Art. His collection was assembled, in part, through the friendship and guidance of the gallerist Madeleine Chalette, owner of Galerie Chalette in New York and Irving Luntz at the Irving Galleries in Milwaukee, from whom he acquired the present work in 1970.
Wassily Kandinsky - Ohne Titel

Wassily Kandinsky - Ohne Titel

Original
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Gross Price
Lot number: 149
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Description:
Wassily Kandinsky OHNE TITEL (UNTITLED) 1866-1944 Watercolor and brush and ink over pencil on paper 14 3/8 by 12 5/8 in. 36.4 by 32.2 cm Executedcirca 1922. Provenance Nina Kandinsky, Paris Private Collection Galerie Thomas, Munich Galerie di Meo, Paris Private Collection, New York (acquiredfrom the above in 2000 and sold: Sotheby's, New York, November 5, 2008, lot 197) Acquired at the above sale
Wassily Kandinsky - Oben Und Links

Wassily Kandinsky - Oben Und Links

Original 1925
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Gross Price
Lot number: 29A
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Description:
Wassily Kandinsky (1866-1944) Oben und links signed with monogram and dated '25' (lower left) oil on board 27 ½ x 19 5/8 in. (69.9 x 49.8 cm.) Painted in Weimar, March 1925 Oben und links (Above and Left), painted in March 1925, is a radiant and dynamic work that Kandinsky completed during the last weeks of the Weimar Bauhaus. Intensifying opposition from right-wing elements in the Thuringian regional government led to the closing of the Weimar school in April 1925. The faculty and students moved to new quarters in Dessau, and reopened the school in June. Kandinsky and his wife Nina took an apartment in Dessau; he resumed teaching in July. The Bauhaus curriculum and staff was then at the height of its fame, and the influence of the school was being felt throughout Europe and in America. The roster of teachers included Josef Albers, Marcel Breuer, Lionel Feininger, Johannes Itten, Paul Klee, Làszlò Moholy-Nagy and Oskar Schlemmer, under the directorship of Walter Gropius. The lively exchange of ideas in the Dessau Bauhaus, freely crossing the lines of various disciplines in the fine and applied arts, stimulated teachers and students alike, and the classroom experience greatly enriched Kandinsky\\\’s painting. The increasing emphasis on architecture and technological design in the Bauhaus curriculum during this period encouraged Kandinsky to experiment more broadly with geometric imagery and a complex structuring of space, as seen in the present work. His over-riding concern for the spiritual dimension in art nonetheless transcended the utilitarian origins of the means he employed; his paintings, never mere exercises in form, contained veiled meanings and feelings in their sign-like imagery. The work of Klee was especially important to Kandinsky during the mid-1920s. Kandinsky admired Klee\\\’s improvisational approach to form and materials, the great variety of his subjects, and his ability to connect with the spiritual significance in art through his astonishing flights of imagination and fantasy. In 1926 Kandinsky and Klee, with their wives, moved into one of the dual-unit masters\\\’ houses on the Bauhaus grounds. The palpable energy, movement and rhythm in Oben und links, evoked through jutting lines, arrows and triangles which spring forward from the brilliantly colored central form, is built out of overlapping squares and rectangles. The richness of the colors and contrasting geometric shapes are, in turn, anchored by a deep rust ground. The painting is one of a series of outstanding paintings from this period that deal analytically with the formal relationship between independent shapes and which echo both Kandinsky's theoretical studies and his experimental teachings. Over the summer of 1925, Kandinsky would temporarily abandon painting in order to concentrate on a written explanation of these studies, his theoretical treatise Pünkt und Linie zu Fläche. Beitrag zur Analyse der malerischen Elemente. (Point and Line to Plane. A Contribution to the Analysis of Pictorial Elements). In his new treatise, which the Bauhaus published in 1926, Kandinsky demonstrated the compositional laws inherent in those abstract forms which arose from the artist's "inner necessity," which he believed must replace conventional objects taken from "external" nature. His grand design was to create "a science" of this new art. The prevailing aesthetic ethos at the Bauhaus had been, up until this time, expressionist in outlook. Indeed, one major reason Gropius had engaged Kandinsky as a teacher was that he wanted to bring to the school alternative creative ideas from elsewhere in Europe. From Russia, this meant a new movement that had caught Gropius' eye as an architect: the group of artists that followed the concept of constructivism, Rodchenko and Tatlin chief among them, who sought to forge a new synergy between the artist, his work and society. The first major exhibition in Germany of post-Revolutionary Russian art at the Van Dieman gallery, Berlin, in the fall of 1922 confirmed the significance and likely influence of this group, whose principles, Gropius believed, were similar to Bauhaus aims. The constructivists aimed at the creation of form derived from the most fundamental elements of the medium itself, which in painting meant line, plane, and color. They sought absolute freedom from natural forms and to throw off the psychological burden of expressionist subjectivity. Theirs was a genuinely proletarian approach, taking art out of the solitary ivory tower, and into the co-operative factory workshop. Mondrian, Van Doesburg and the artists of the Dutch De Stijl group had already developed ideas along similar lines by which they had achieved radical results, which Mondrian called "neo-plasticism" and Van Doesburg termed "elementarism." Kandinsky's arrival at the Bauhaus was most timely in light of these contemporary developments. The addition to the Bauhaus faculty of Moholy-Nagy during the spring of 1923 further bolstered those few who advocated constructivist ideas at the institute; Gropius could correctly foresee that it was only through this approach that the Bauhaus could ultimately realize its professed goal, as he wrote, "the unification of all training in art and design" toward the eventual goal of creating "the collective work of art—the Building—in which no barriers exist between the structural and decorative arts" ("The Theory and Organization of the Bauhaus," 1923; in C. Harrison and P. Wood, Art in Theory, Malden, Mass., 2003, p. 311). In late 1925 Kandinsky discussed with his friend Willi Grohmann the idea that, the cool geometry of his forms notwithstanding, there was a strong impulse toward Romanticism in his paintings of this period. "It is no part of my program to paint with tears or to make people cry, and I really don't care for sweets, but Romanticism goes far, far, very far beyond tears... Why should there not be a New Romanticism? The meaning, the content of art is Romanticism" (ibid., pp. 179 and 180). Kandinsky considered the lyrical thread that had run through his art, and which lay at the heart of his recent geometric compositions as well: "The circle, which I have been using so often of late, is nothing if not romantic. Actually, the coming Romanticism is profound and beautiful...it is meaningful, joy-giving, it is a block of ice with a burning flame inside. If people perceive only the ice and not the flame, that is just too bad. But a few are beginning to grasp this" (ibid.). Moreover, Kandinsky was still fighting the battle to justify the value of abstract art, and protecting his hard-won gains of the past decade and a half, which had met with increasing criticism, especially in France, where a new classicism had endorsed a return to the object and figure as the proper subjects of the artist. In his 1925 text Abstrakte Kunst, he declared, \\\“…the transvaluation that very gradually abandons the external and very gradually turns toward the internal…is the natural herald of one of the greatest spiritual epochs… Art has set foot on this pioneering path, and it may be assumed that the great dawning of abstract art, this fundamental turning point in the history of art, represents one of the most important beginnings of the spiritual overthrow that, in its day, I dubbed the \\\‘Epoch of the Great Spiritual\\\’\\\” (quoted in K. C. Lindsay and P. Vergo, Kandinsky: Complete Writings on Art, New York, 1994, pp. 512 and 518). Special Notice On occasion, Christie's has a direct financial interest in the outcome of the sale of certain lots consigned for sale. This will usually be where it has guaranteed to the Seller that whatever the outcome of the auction, the Seller will receive a minimum sale price for the work. This is known as a minimum price guarantee. Where Christie's has provided a Minimum Price Guarantee it is at risk of making a loss, which can be significant, if the lot fails to sell. Christie's therefore sometimes chooses to share that risk with a third party. In such cases the third party agrees prior to the auction to place an irrevocable written bid on the lot. The third party is therefore committed to bidding on the lot and, even if there are no other bids, buying the lot at the level of the written bid unless there are any higher bids. In doing so, the third party takes on all or part of the risk of the lot not being sold. If the lot is not sold, the third party may incur a loss. The third party will be remunerated in exchange for accepting this risk based on a fixed fee if the third party is the successful bidder or on the final hammer price in the event that the third party is not the successful bidder. The third party may also bid for the lot above the written bid. Where it does so, and is the successful bidder, the fixed fee for taking on the guarantee risk may be netted against the final purchase price. Third party guarantors are required by us to disclose to anyone they are advising their financial interest in any lots they are guaranteeing. However, for the avoidance of any doubt, if you are advised by or bidding through an agent on a lot identified as being subject to a third party guarantee you should always ask your agent to confirm whether or not he or she has a financial interest in relation to the lot. Provenance Solomon R. Guggenheim, New York (acquired from the artist, August 1936). The Solomon R. Guggenheim Foundation, New York (gift from the above, 1937); sale, Sotheby\\\’s, London, 30 June 1964, lot 14. Acquavella Galleries, Inc., New York (acquired at the above sale). Fort Worth Art Museum (acquired from the above, 1968 and until 2001). Acquavella Galleries, Inc., New York. Acquired from the above by the present owner, October 2007. Pre-Lot Text Property from a Distinguished Collection Literature H. Rebay, Innovation: Une nouvelle ère artistique, Paris, 1937, p. 49 (illustrated in color). W. Kandinsky and H. Rebay, On the Spiritual in Art, New York, 1946, p. 105 (illustrated in color, p. 119). W. Grohmann, Wassily Kandinsky, Life and Work, New York, 1958, p. 364, no. 181 (illustrated). P. Overy, Kandinsky: The Language of the Eye, New York, 1969, pp. 7 and 108, no. 35 (illustrated in color). H.K Roethel and J.K Benjamin, Kandinsky: Catalogue Raisonné of the Oil Paintings, 1916-1944, New York, 1984, vol. II, p. 692, no. 737 (illustrated). K. Vail, The Museum of Non-Objective Painting: Hilla Rebay and the Origins of The Solomon R. Guggenheim Museum, New York, 2009, p. 127 (illustrated in situ). Exhibited Erfurt, Kandinsky, April 1925. Dusseldorf, Summer 1925. Dresden, Internationale Kunstausstellung, June-September 1926. Berlin, Galerie Ferdinand Möller, Die Blaue Vier: Feininger, Jawlensky, Kandinsky, Klee, October 1929. Philadelphia, Art Alliance; Charleston, Charles Gibbes Memorial Art Gallery and Baltimore Museum of Art, The Solomon R. Guggenheim Collection of Non-Objective Paintings, 1937-1939 (illustrated in color). New York, 1939, no. 265 (illustrated in color). New York, Museum of Non-Objective Painting, The Kandinsky Memorial Exhibition, March-May, 1945, no. 79 (illustrated in color on the cover). Pittsburgh, Carnegie Institute, Memorial Exhibition of Paintings by Wassily Kandinsky, April-May 1946, no. 39 (illustrated, pl. 9). The Solomon R. Guggenheim Museum, 1954-1961 (on extended loan). Corpus Christi, Centennial Art Museum, Renoir to Chagall, October 1964. Austin, University Art Museum of the University of Texas, Not So Long Ago: Art of the 1920s in Europe and America, October-December 1972, p. 51 (illustrated in color). Fort Worth Art Museum, Exponents of Modernism: From the Collections of the Fort Worth Art Museum, A Museum of Twentieth Century Art, September 1973-May 1974. Fort Worth Art Museum, Twentieth Century Art from Fort Worth Dallas Collections, September-October 1974 (illustrated). Waco Creative Art Center, At the Line of the House, April-May 1976. Fort Worth Art Museum, The Permanent collection: 75th Anniversary Retrospective, June-October 1976. Amarillo, Art Center Association, Between the Wars: A Brief Survey of Art from 1918-1940, 1978. New York, The Solomon R. Guggenheim Museum and Atlanta, The High Museum, Kandinsky: Russian and Bauhaus Years 1915-1933, December 1983-April 1984, p. 212, no. 158 (illustrated; with incorrect medium). San Antonio, Marion Koogler Mc Nay Art Museum, Collecting: A Texas Phenomenon, November-December 1986. Washington, D.C., The Phillips Collection; Dayton Art Institute; Chicago, Terra Museum of American Art and Fort Worth, Amon Carter Museum, Theme & Improvisation: Kandinsky & The American Avant-Garde,1912-1950, September 1992-August 1993, p. 41 (illustrated in color, pl. 9). Essen, Museum Folkwang, Bauhaus: Dessau, Chicago, New York, August-November 2000, no. 10 (illustrated in color).
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