Cookies help Arcadja providing its services: browsing the portal you accept their use.
I cookies aiutano Arcadja a fornire i suoi servizi: navigando nel portale ne accettate l'utilizzo.
Cookies disclosure/Informativa cookies

  • Art Auctions, Ventes aux Encheres Art, Kunstauctionen, Subastas Arte, Leilões de Arte, Аукционы искусства, Aste
  • Research
  • Services
  • Enrollment
    • Enrollment
  • Arcadja
  • Search author
  • Login

Wassily Kandinsky

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

888auctions
Jul 19, 2018
Find artworks, auction results, sale prices and pictures of Wassily Kandinsky at auctions worldwide.
Go to the complete price list of works Follow the artist with our email alert

 

Variants on Artist's name :

Kandynski Vasilly

Vasilij Kandinsky

Kandinsky

 

Artworks in Arcadja
1676

Some works of Wassily Kandinsky

Extracted between 1,676 works in the catalog of Arcadja
Wassily Kandinsky - An Abstract Composition

Wassily Kandinsky - An Abstract Composition

Original
Estimate:

Price:

Net Price
Lot number: 114
Other WORKS AT AUCTION
Description:
WASSILY KANDINSKY Russian 1866-1944 OOC Oil on canvas. Featuring an abstract composition. Signed and attr Wassily Kandinsky (Russian, 1866-1944) on the lower right corner. 13 x 9.4 in. (33 x 24 cm). Wassily Kandinsky is one of the pioneers of abstract modern art, Wassily Kandinsky exploited the evocative interrelation between color and form to create an aesthetic experience that engaged the sight, sound, and emotions of the public. He believed that total abstraction offered the possibility for profound, transcendental expression and that copying from nature only interfered with this process.PROVENANCE: Southern Ontario estate
Wassily Kandinsky - Abstract Composition

Wassily Kandinsky - Abstract Composition

Original
Estimate:
Starting price:

Price:

Net Price
Lot number: 113
Other WORKS AT AUCTION
Description:
WASSILY KANDINSKY Russian 1866-1944 Oil on Canvas Oil on canvas painting. Featuring abstract composition. Signed and attr. Wassily Kandinsky (Russian, 1866-1944) with artist's monogram on lower right corner. 22 x 17 in. (55.9 x 43.2 cm). One of the pioneers of abstract modern art, Wassily Kandinsky exploited the evocative interrelation between color and form to create an aesthetic experience that engaged the sight, sound, and emotions of the public. He believed that total abstraction offered the possibility for profound, transcendental expression and that copying from nature only interfered with this process.PROVENANCE: Private collection (Toronto, ON)
Wassily Kandinsky - Ohne Titel

Wassily Kandinsky - Ohne Titel

Original 1933
Estimate:

Price:

Lot number: 103
Other WORKS AT AUCTION
Description:
Wassily Kandinsky (1866-1944) Ohne Titel signed with the monogram and dated '33' (lower left) pen and India ink on paper 8 3/8 x 14 1/4 in. (21.4 x 36.5 cm.) Drawn in 1933 Provenance Nina Kandinsky, Paris, by descent from the artist. Gustav Stein, Cologne, by whom acquired from the above in August 1953. Anonymous sale, Stuttgarter Kunstkabinett, Stuttgart, May 1961, lot 194. Anonymous sale, Sotheby's, London, 30 April 1964, lot 192. Richard L. Feigen, Chicago, by whom acquired at the above sale. Harvey S. Lubitz, New York. Anonymous sale, Sotheby's, London, 2 July 1970, lot 77. H.B. Edwards, by whom acquired at the above sale. Anonymous sale, Sotheby's, London, 28 June 1972, lot 40. Edgardo Acosta Gallery, Los Angeles, by whom acquired at the above sale. Anonymous sale, Palais Galliera, Paris, 26 November - 6 December 1972, lot 54. Anonymous sale, Wolfgang Ketterer, Munich, 28-29 May 1979, lot 603. Anonymous sale, Wolfgang Ketterer, Munich, 26-28 November 1979, lot 891. Galleria Giulia Arte Contemporanea, Rome (no. KANDI202). Giorgio Manzardo, Rome, by whom acquired in 1979 and until 2002. Anonymous sale, Finarte, Rome, 18 April 2002, no. 121. Acquired at the above sale by the present owner.
Wassily Kandinsky - Gabriele Münter Im Freien Vor Der Staffelei (gabriele Münter Painting Outdoors In Front Of An Easel)

Wassily Kandinsky - Gabriele Münter Im Freien Vor Der Staffelei (gabriele Münter Painting Outdoors In Front Of An Easel)

Original 1910
Estimate:

Price:

Gross Price
Lot number: 12
Other WORKS AT AUCTION
Description:
GABRIELE MÜNTER IM FREIEN VOR DER STAFFELEI (GABRIELE MÜNTER PAINTING OUTDOORS IN FRONT OF AN EASEL) Wassily Kandinsky 1866 - 1944 signedKandinsky(lower left) oil on board 32.5 by 44.5cm. 12 3/4 by 17 1/2 in. Paintedin 1910. Alexej von Jawlensky, Munich Helene von Jawlensky, Ascona (by descent from the above) Felix Handschin, Basel (acquired from the above in 1958) Galerie Änne Abels, Cologne (acquired in 1958) Dr. J. Steegmann, Köln-Marienburg (sold: Stuttgarter Kunstkabinett, Stuttgart, 3rd-4th May 1962, lot 192) Galleria Fedeli, Milan (purchased at the above sale) Roman Norman Ketterer, Campione d'Italia Galerie de Seine, Paris (acquired by 1963) Eugene V. Thaw, New York Private Collection, Paris (acquired from the above in 1967) Thence by descent to the present owners Exhibited Paris, Galerie de Seine,Automne 1963,1963, no. 8, illustrated in the catalogue (as dating from 1908) Literature Will Grohmann, Wassily Kandinsky. Life and Work, New York, 1958, no. 582, illustrated p. 397 (as dating from 1908) Hans K. Roethel & Jean K. Benjamin, Kandinsky. Catalogue Raisonné of the Oil Paintings, London, 1982, vol. I, no. 344, illustrated p. 324 A glorious celebration of colour and form, Gabriele Münter im Freien vor der Staffelei dates from a key period of development for Kandinsky and marks the artist\’s definitive transition into the abstract. Depicting Kandinsky\’s companion and lover – the painter Gabriele Münter – at her easel in the surroundings of the Bavarian mountains, it is also testament to his close collaboration with like-minded artists during these formative years working in Murnau and Munich. Kandinsky and Münter met when she began taking classes at the Phalanx School in 1902 and they quickly became close. From the very first they travelled out of Munich into the Bavarian countryside to draw and paint together, and in 1908 they discovered the small town of Murnau in the foothills of the Alps. They recommended it to their friends and fellow-artists Alexej von Jawlensky and Marianne von Werefkin and the group spent the summer there, returning over the following years. The Alpine landscape surrounding Murnau was to have a profound effect on their art and this was augmented by the spirit of collaboration and experimentation between the four friends. As Reinhold Heller explains: \‘The development was communal […]. The artists collaborated, frequently painted identical scenes and, together, discussed the remarkable transformations their work underwent. Long, if not always deep, friendship made such interaction possible. Kandinsky, Werefkin and Jawlensky had known each other since at least 1897 […]. This close association also sought to fulfil the frequent arcadian modernist vision of a utopian community of artists unrestrainedly outside the urban confines of cities\’ (R. Heller, Gabriele Münter. The Years of Expressionism (exhibition catalogue), Milwaukee Art Museum, Milwaukee (and travelling), 1997-99, p. 70). Gabriele Münter im Freien vor der Staffelei offers a particularly valuable insight into this hugely formative relationship. Münter appears in four paintings from this period – of which the present work is the only one still in private hands – and this depiction of her in front of her easel vividly conjures the spirit of productivity and creativity that characterised their time in Murnau. The close ties between the group members are further emphasised by the provenance of the present work which initially belonged to Jawlensky. He kept it in his collection – perhaps as a memento of those happy, productive years in Murnau – until his death in 1941, when it passed to his wife Helene. The unique context of Murnau was key to Kandinsky\’s move towards abstraction. From an early stage in his artistic career, Kandinsky was aware that his pursuit of his own form of expression was leading him toward an entirely new visual idiom. In a letter to Gabriele Münter written on 2nd April 1904 Kandinsky wrote: \‘Without exaggerating, I can say that, should I succeed in this task, I will be showing [a] new, beautiful path for painting susceptible to infinite development. I am on a new track, which some masters, just here and there, suspected, and which will be recognised, sooner or later\’. As predicted, in the years that followed Kandinsky travelled further towards abstraction than any painter previously, and as Will Grohmann observes in his celebrated monograph on the artist, it was 1910 that marked Kandinsky\’s \‘epoch-making breakthrough to the abstract\’ (W. Grohmann, op. cit., p. 62). Kandinsky\’s first major breakthrough was his discovery that colour, when disassociated from representational concerns, could become the principal subject of a painting. Taking his cue from musical composition, Kandinsky determined that every colour corresponded with a particular emotion or \‘sound\’. As Will Grohmann writes, \‘Color becomes increasingly crucial. [...They] transport the subject to the sphere of dream and legend. This was the direction of development. The painter distributes and links the colours, combines them and differentiates them as if they were beings of a specific character and special significance. As in music, the materials now come to the fore, and in this respect Kandinsky stands between Mussorgsky and Scriabin. The language of color – just as in those composers – calls for depth, for fantasy\’ (ibid., pp. 60-61). This revelation was due in part to the journey the artist took to Paris in 1906 and his acquaintance with Fauve paintings by Derain, Delaunay and Vlaminck, as well as his appreciation of Cézanne\’s brushwork in his late works. Though, as Hans Roethel writes: \‘when Kandinsky returned to Munich, ideologically and practically, the ground was well prepared for abstract painting and yet it needed a final spark to come into being\’ (H. K. Roethel & J. K. Benjamin, Kandinsky, London, 1979, p. 25). It was his visits to Murnau and the surrounding landscape and artistic milieu that provided this spark. Through constant experimentation and extensive preparatory work Kandinsky\’s artistic means developed from an essentially figurative Fauve style to pure abstraction. By 1910 he had found the language he sought, with sweeping lines, beautiful iridescent patches of colour and kaleidoscopic compositions (figs. 1 & 2). This is exemplified in the present work; the figurative remains, but the composition is radically altered and the colours have taken on a new vibrancy and autonomy. Kandinsky achieves a delicate balance between the subtle figuration of Münter herself and the almost completely abstracted landscape that surrounds her. It is a powerful illustration of Kandinsky\’s pioneering pictorial language and his unique and important contribution to the history of twentieth century art.
Wassily Kandinsky - Zwi Reiter Vor Rot

Wassily Kandinsky - Zwi Reiter Vor Rot

Original
Estimate:
Starting price:

Price:

Lot number: 156
Other WORKS AT AUCTION
Description:
Wassily Kandinsky (1866 - 1944) Lot 156: Wassily Kandinsky (Russian, 1866-1944), Zwi Reiter vor Rot (Two Riders against Red) Description: woodcut print in colors, 1938, monogrammed in the plate lower left, edition of 1200 printed in XXe Si ècle under Kandinsky's supervision, housed in attractive matting and gilt framing. Image Size 4 1/8 x 6 1/4 in.; DOA 13 3/8 x 14 3/4 in. Private Collection, Efland, NC Additional high-resolution photos are available at Leland Little.com
Arcadja LogoServices
Subscription
Advertising
Sponsored Auctions
Subscription

Arcadja
Our Product
Follow Arcadja on Facebook
Follow Arcadja on Twitter
Follow Arcadja on Google+
Follow Arcadja on Pinterest
Follow Arcadja on Tumblr