Weiches Hart (Soft Hard) 1927  by Wassily Kandinsky

Weiches Hart (Soft Hard) 1927

(Soft Hard (Softhard) 1927)

Wassily Kandinsky

Expressionism  ·  Abstract shapes
la-bas · blaue reiter · blue four · abstract · triangle · circle · crescent
Weiches Hart (Soft Hard) 1927 by Wassily Kandinsky
1927   ·  Öl auf Leinwand  ·  47.89 Megapixel  ·  Picture ID: 39363   ·  Galerie Maeght, Paris, France / bridgemanimages.com
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Gregor B.
Art print on Canvas glossy, 110cm x 88cm, stretched on stretcher.

Sacha K.
Art print on Canvas glossy, 50cm x 40cm, stretched on stretcher.
With "Soft Hard", the Russian painter Wassily Kandinsky (1866-1944) created a work of unimaginable explosiveness. It was last seen in the villa of a Weimar art dealer - who was murdered during a burglary. Fortunately, the drama was only in the television fiction of the "crime scene" from. However, the image itself also has a dramaturgy, namely of colors, forms, their contrasts and similarities.

Organized picture composition
In contrast to Kandinsky's energetic, suspenseful work from the 1920s, "Weiches Hart" is organized and reassuring. The composition appears balanced by the skillful installation of horizontal and vertical. The free sickle shapes and the circle provide a restrained dynamic. Overall, the impression of well thought-out conditions prevails.

Basic colors and basic shapes
In his function as a Bauhaus teacher (from 1922) Kandinsky focused on the primary colors red-yellow-blue and the basic forms circle-triangle-quadrilateral. Exemplary, we find these components in the composition "soft hard" against, of course, in variations. As if divided by an invisible border, the blue and cool elements are on the left, the red and yellow (warmer) ones on the right. Despite this apparent incompatibility, the artist seeks a compromise. Through interpenetration he solves the color conflict and produces a well-proportioned overall result. This is shown by the yellow bar on the blue-cool half or blue triangle and sickle on the yellow-red-warm half.

Kandinsky and clover
A slight relationship with similar works by Paul Klee (1879-1940) can not be denied. This is no coincidence, because both worked as teachers at the Bauhaus and dealt intensively with basic colors and basic forms. There was a friendly relationship between the two artists. Even more: Klee saw in the Russian artist a "friend and teacher". Irrespective of this, the 13-year-old Kandinsky may have "picked" one or the other from Klee. In particular, the coordinated interaction of colors and shapes, as we find it in "Soft Hart" realized.

Contrast of forms
"Soft Hard" - this title, of course, alludes to the formal canon of the picture. The attribute "soft" comes primarily to the circle on the left half of the picture. Although it is not placed in the center, its exclusivity makes it a kind of center point. In contrast, the triangles, rectangles and, to a certain extent, the sickles appear hard and pointed. With much goodwill the circle and inner circle could be interpreted as an eye. But Kandinsky avoided such attributions. The geometric figures as well as the colors exist in the reality of the work of art for themselves. Whether the painter unconsciously envisioned a portrait, a group of figures, a landscape or a building - who can say that? © Meisterdrucke
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Other art prints by Wassily Kandinsky
Floors Steamed embers Nature study from Murnau III Impression V (Park) Autumn in Murnau Counterweights, 1926 Gray row in one another Untitled - First Abstraction, 1910 (pen, ink and wc on paper) Murnau - Autumn landscape with church With the Triangle (wc and gouache) Intersecting Lines, 1923 Untitled Improvisation, 1914 Expressionism: cover project for the almanac of “” The Blue Rider”” (Der Blaue Reiter) by Vassily Kandinsky (or Wassily Kandinski or Kandinskij, 1866-1944). China ink and watercolor. 1911 Dim. 27,7x21 Houses in Munich, 1908 (oil on cardboard)
Other motives from the category Abstract shapes
Abstract Composition, 1933 Counterweights, 1926 With the Triangle (wc and gouache) Intersecting Lines, 1923 Untitled Improvisation, 1914 Modern Architecture Abstract designs, from Decorations and Colours, published 1930 Lighthouse,2016,(c-print) Portrait of the Artist Ivan Vasilievich Klyun (1873-1942) as a Builder, 1911 Two Black Lines, 1930 Composition with a Blue Background, 1927 Composition, 1930 (wc and indian ink) Unknown picture On the Points, 1928 Closed Circles, 1933
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