How many paintings wassily kandinsky paint

He quotes a vivid line from Kandinsky describing the experience of painting in this way and once again using a musical metaphor: "I had little thought for houses and trees, drawing coloured lines and blobs on the canvas with my palette knife, and making them sing just as powerfully as I knew how. Although Kandinsky's hyper-Romantic language of musical and sensual connections is vivid and often original, it was also of its time.

At this period many artists and adventurers, often of quite different cultures, talked in generally similar terms. WB Yeats's journals of his early London years touch on some of the same themes, French art and music of the Debussy era is full of associations and theories of this kind, and the Viennese were given an especially fruity prompt in this direction by Freud.

It was Vienna that produced for Kandinsky perhaps his most remarkable artistic friendship, with the composer Arnold Schoenberg. In , Kandinsky heard a concert of Schoenberg's music and realised he had found a comrade-in-arms. The two began a long and often stormy friendship involving fierce criticism of one another's works, and the intense sharing of ideas and influences. Schoenberg, who was also a painter and writer, was as deeply involved in the idea of breaking down the barriers between the different arts as Kandinsky.

Nowhere is this more vividly seen than in their theatrical experiments of these years. In , Kandinsky wrote the mysterious text of his proposed music-drama The Yellow Sound the composer was supposed to be Thomas de Hartmann, who later worked with the "mystic" Gurdjieff.

The fifth scene begins: "The stage is gradually saturated with a cold, red light, which slowly grows stronger and equally slowly turns yellow. The giants become visible as do the rocks. The following year, Schoenberg wrote the libretto for his opera The Lucky Hand. The second scene begins: "In the background a soft blue, sky-like backdrop.

Below, left, close to the bright brown earth, a circular cut-out five feet in diameter through which glaring, yellow sunlight spreads over the stage. And this before the invention of modern lighting.

There was something else about Kandinsky, however, that separated him from many of his German and French contemporaries. He was a Russian. Born in in Moscow and brought up there and in the southern city of Odessa on the Black Sea, he was steeped in the habits and passions that characterised so much Russian art from Dostoevsky to modernism.

Take synaesthesia, for example. Dostoevsky touched on this subject when making notes about his experience of migraines. By the lateth century it had become downright fashionable among Russian composers to claim to suffer, or take pleasure and inspiration, from this condition. Always it was the same brand of synaesthesia, the confusion of sound and colour, even though, as Richard Cytowic - the modern authority on synaesthesia - has pointed out, this is in fact an extremely rare variety.

So Rimsky-Korsakov, a composer a generation older than Kandinsky, was convinced that he heard musical keys as colours, while Scriabin, a composer of Kandinsky's own generation, not only declared that he heard keys and chords as colours, but composed his sumptuous orchestral work Prometheus: Poem of Fire in to include a "colour keyboard" illuminating the concert hall with a flood of colours and transporting the meaning of the music into another dimension. To help us, Scriabin wrote out in schematic form his personal vocabulary of music-colour-emotion.

Unsurprisingly, given such preoccupations, Scriabin, along with Schoenberg, was one of several musical contributors to The Blue Rider, the pioneering magazine that Kandinsky and a group of like-minded artists issued in Similar concerns are also found in the work of many of the modernist and experimental writers who flourished in Russia in the very early 20th century. As a child he studied music and art, but he didn't start painting until he was His parents wanted him to study law, which he did, but when he turned 30, he decided to give up his successful career in law and study painting.

Two events caused him to change careers. He saw an exhibition of impressionists and Claude Monet's 'Haystacks at Girverny' had a special affect on him. The other even was hearing Wagner's Lohengrin at the Bolshoi Theater. Music profoundly influenced his desire to paint art that caused people to not only feel deep emotions, but to hear sound as music could cause people to see color.

His study of painting was mostly self-directed. Because he also studied spirituality deeply and believed that music produced emotions and colors for the listener, his goal was to produce art that would come from expressing emotion instead of painting the true representation of nature or other subjects. This is how he became the father of abstract art. Today -. Kandinsky was inspired to create art and paintings that expressed the artist's deep inner spiritual experience.

He wanted to show and express the deeper themes and emotions common to all people. Squares with Concentric Circles. Composition VII. Composition VIII. Composition IX. Composition IV. Composition VI. Composition X. Yellow, Red, Blue. Transverse Line. Black and Violet. Between Heaviness and Lightness. Several Circles. The Blue Rider. Merry Structure. Sky Blue. Dominant Curve. On White II. Autumn Landscape with Boats. Colourful Life. Winter Landscape.

Houses in Munich. Munich-Schwabing with the Church of St Ursula. Autumn in Bavaria. Yellow Rose. Varied Rectangles. Accent on Rose. At Rest. Black Lines. Blue Mountain. Blue Segment. See all. All artworks by year Never aged a day His art is very unique and should not be treated A lot. Haters just arent getting lost in the color theory and abstract magic of it all! All photos.

Winter Landscape, Composition IV, Untitled First Abstract Watercolor , Murnau Street With Women, Autumn Landscape with Boats, Houses in Munich, Couple Riding, Colorful Life, Port, Impression III Concert , Color Study. Composition VII,