Intersecting Lines, 1923 by Wassily Kandinsky

Intersecting Lines, 1923

(Schnittlinien, 1923)

Wassily Kandinsky

Expressionism
abstract · abstraction · diagonals · study · german expressionism · german expressionist
Intersecting Lines, 1923 by Wassily Kandinsky
1923   ·  oil on canvas  ·  Picture ID: 557692   ·  Kunstsammlung Nordrhein-Westfalen, Dusseldorf, Germany / bridgemanimages.com
   Add to favorites


07.08.2018
Jana D.
Art Print on Photo paper matte/satin, 50cm x 35cm.


09.07.2020
Josef O.
Art print on Canvas Satin, 69cm x 48cm, with 3cm additional border (White) stretched on stretcher.


26.08.2020
simone t.
Art print on Canvas Satin, 200cm x 140cm, stretched on stretcher. With painting frame .


28.10.2020
Joost V.
Art print on Canvas Matte, 125cm x 87cm, stretched on stretcher.


28.10.2020
.
Art Print on Aluminum composite, 86cm x 60cm, with 3cm additional border (10% gray).


11.11.2020
Pedro C.
Art print on Hand painted oil painting, 69cm x 48cm, stretched on stretcher. With painting frame .
Wassily Kandinsky (1866-1944) was marked by an energetic and contradictory era in the transition from the 19th to the 20th century. He is considered one of the representatives of the "Silver Age" of Russian art, an era that brought an unprecedented heyday to the visual and performing arts as well as to literature and music. The interests of the artist included music (he played the violin himself), the study of mysticism and occultism as well as a taste for Russian folk art. He also dealt with the doctrine of the harmony of colors. It is exactly these manifold impulses and feelings that flow into his work and culminate in 1911 in the painting "The Last Judgment / Composition V". Today, this is regarded as the first abstract image of modern art history.

In this sense, the "cutting lines" of 1923 must also be considered. The artist consistently renounces natural models. By not even trying to depict familiar phenomena, he avoids all contradictions and comparisons. He goes further in this project than about the French Cubists of his time. A painter like Fernand Léger built his paintings out of crystalline or cubist forms, giving them an extraordinarily plastic appearance. There is nothing in the "cut lines" of this. Both geometry and stereometry reject Kandinsky as a means to an end. However, as the artist breaks with familiar ways of seeing and image, he gives us the key to - if you will - understand the work. Because this way we are encouraged to see colors and shapes as if they were something completely new. A free fantasy like the "cut lines" requires openness and curiosity in the eye of the beholder.

The name of the picture is program: In his unmistakable formal language Kandinsky designs a wild "confusion" of straight and curved lines, squares, triangles, circles and ellipses. A clearly marked foreground or background can not be determined; Likewise, conventional categories such as "above" and "below" fail. Finally, the picture can be viewed from left to right as well as vice versa. The attempt to reconcile certain forms with real existing objects is obvious. For example, the blue area with the colored dots in the upper left corner of the picture could be a palette. The grid or the rectangle with checkerboard pattern also evokes associations with the familiar world. However, these things present themselves out of any known context and thereby gain their autonomy. They exist solely as components of the artistic work. This view is supported not least by the completely free lines and surfaces. Clearly, the picture shows how Kandinsky sought new ways of expression. The fact that he used existing forms such as triangles or squares is in the nature of things. For every artist appeals to a more or less proven range of forms. Even Kandinsky can not completely free himself in the "cutting lines". Nevertheless, he does not confront us with a fixed, immovable statement. The "cut lines" are foreign to any dogmatic approach. The picture is an invitation to the beholder to let the casual composition and the interplay of the colors appear without any ulterior motive. © Meisterdrucke
Intersecting Lines, 1923 by Wassily Kandinsky

Intersecting Lines, 1923

(Schnittlinien, 1923)

Wassily Kandinsky

Expressionism
abstract · abstraction · diagonals · study · german expressionism · german expressionist
Intersecting Lines, 1923 by Wassily Kandinsky
1923   ·  oil on canvas  ·  Picture ID: 557692   ·  Kunstsammlung Nordrhein-Westfalen, Dusseldorf, Germany / bridgemanimages.com
   Add to favorites


07.08.2018
Jana D.
Art Print on Photo paper matte/satin, 50cm x 35cm.


09.07.2020
Josef O.
Art print on Canvas Satin, 69cm x 48cm, with 3cm additional border (White) stretched on stretcher.


26.08.2020
simone t.
Art print on Canvas Satin, 200cm x 140cm, stretched on stretcher. With painting frame .


28.10.2020
Joost V.
Art print on Canvas Matte, 125cm x 87cm, stretched on stretcher.


28.10.2020
.
Art Print on Aluminum composite, 86cm x 60cm, with 3cm additional border (10% gray).


11.11.2020
Pedro C.
Art print on Hand painted oil painting, 69cm x 48cm, stretched on stretcher. With painting frame .
Wassily Kandinsky (1866-1944) was marked by an energetic and contradictory era in the transition from the 19th to the 20th century. He is considered one of the representatives of the "Silver Age" of Russian art, an era that brought an unprecedented heyday to the visual and performing arts as well as to literature and music. The interests of the artist included music (he played the violin himself), the study of mysticism and occultism as well as a taste for Russian folk art. He also dealt with the doctrine of the harmony of colors. It is exactly these manifold impulses and feelings that flow into his work and culminate in 1911 in the painting "The Last Judgment / Composition V". Today, this is regarded as the first abstract image of modern art history.

In this sense, the "cutting lines" of 1923 must also be considered. The artist consistently renounces natural models. By not even trying to depict familiar phenomena, he avoids all contradictions and comparisons. He goes further in this project than about the French Cubists of his time. A painter like Fernand Léger built his paintings out of crystalline or cubist forms, giving them an extraordinarily plastic appearance. There is nothing in the "cut lines" of this. Both geometry and stereometry reject Kandinsky as a means to an end. However, as the artist breaks with familiar ways of seeing and image, he gives us the key to - if you will - understand the work. Because this way we are encouraged to see colors and shapes as if they were something completely new. A free fantasy like the "cut lines" requires openness and curiosity in the eye of the beholder.

The name of the picture is program: In his unmistakable formal language Kandinsky designs a wild "confusion" of straight and curved lines, squares, triangles, circles and ellipses. A clearly marked foreground or background can not be determined; Likewise, conventional categories such as "above" and "below" fail. Finally, the picture can be viewed from left to right as well as vice versa. The attempt to reconcile certain forms with real existing objects is obvious. For example, the blue area with the colored dots in the upper left corner of the picture could be a palette. The grid or the rectangle with checkerboard pattern also evokes associations with the familiar world. However, these things present themselves out of any known context and thereby gain their autonomy. They exist solely as components of the artistic work. This view is supported not least by the completely free lines and surfaces. Clearly, the picture shows how Kandinsky sought new ways of expression. The fact that he used existing forms such as triangles or squares is in the nature of things. For every artist appeals to a more or less proven range of forms. Even Kandinsky can not completely free himself in the "cutting lines". Nevertheless, he does not confront us with a fixed, immovable statement. The "cut lines" are foreign to any dogmatic approach. The picture is an invitation to the beholder to let the casual composition and the interplay of the colors appear without any ulterior motive. © Meisterdrucke
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Other art prints by Wassily Kandinsky
Composition IX, 1936 Sign, 1926 (oil) Ludwigskirche in Munich Composition VIII Painting by Vassily Kandinsky (or Wassily Kandinski or Kandinskij, 1866-1944). 1915 Sun. 201x140 cm New York, Guggenheim Museum Soft Hard Intersecting Lines, 1923 Three Sounds Drei Klänge. 1926 Improvisation 28 Musical overture. Purple wedge.  Musikalische Ouvertüre, Violetter Keil. 1919 Yellow Red Blue Leger, Abstract Art, 1930 (oil on card) Chat, 1926 Dominant Curve Courbe dominante. 1936 Untitled, 1923 (pen and ink on paper) (bw photo) Murnau - Garden II
Other art prints by Wassily Kandinsky
Composition IX, 1936 Sign, 1926 (oil) Ludwigskirche in Munich Composition VIII Painting by Vassily Kandinsky (or Wassily Kandinski or Kandinskij, 1866-1944). 1915 Sun. 201x140 cm New York, Guggenheim Museum Soft Hard Intersecting Lines, 1923 Three Sounds Drei Klänge. 1926 Improvisation 28 Musical overture. Purple wedge.  Musikalische Ouvertüre, Violetter Keil. 1919 Yellow Red Blue Leger, Abstract Art, 1930 (oil on card) Chat, 1926 Dominant Curve Courbe dominante. 1936 Untitled, 1923 (pen and ink on paper) (bw photo) Murnau - Garden II
Excerpt from our top sellers
Composition IX, 1936 Sign, 1926 (oil) Suprematist Composition No.56, 1936 Soft Hard Intersecting Lines, 1923 Leger, Abstract Art, 1930 (oil on card) Untitled, 1923 (pen and ink on paper) (bw photo) Supremus No. 58 Dynamic Composition in Yellow and Black, 1916 Abstract designs, from Decorations and Colours, published 1930 Abstract Lulli, 1919 Untitled, 1940 Upwards to Blue, 1999 Periphery, 2003 (mixed media) Composition X, 1939 Lyrical, 1911
Excerpt from our top sellers
Composition IX, 1936 Sign, 1926 (oil) Suprematist Composition No.56, 1936 Soft Hard Intersecting Lines, 1923 Leger, Abstract Art, 1930 (oil on card) Untitled, 1923 (pen and ink on paper) (bw photo) Supremus No. 58 Dynamic Composition in Yellow and Black, 1916 Abstract designs, from Decorations and Colours, published 1930 Abstract Lulli, 1919 Untitled, 1940 Upwards to Blue, 1999 Periphery, 2003 (mixed media) Composition X, 1939 Lyrical, 1911
Excerpt from our top sellers
Melencolia I Portrait of the Artist The Langlois Bridge at Arles with Washerwomen Self-Portrait Man in Oriental Dress Balaam and his Ass The Origin of the World View of the village, Castelnau, 1868 Wild Poppies, near Argenteuil Composition IX, 1936 Belshazzars Feast c.1636-38 The Three Trees, 1643 Thadée Natanson and his wife Misia Godebska in the drawing room of their apartment in the rue Saint-Florentin, Paris, c.1899 Oriental Nude I lock my door upon myself, 1891.
Excerpt from our top sellers
Melencolia I Portrait of the Artist The Langlois Bridge at Arles with Washerwomen Self-Portrait Man in Oriental Dress Balaam and his Ass The Origin of the World View of the village, Castelnau, 1868 Wild Poppies, near Argenteuil Composition IX, 1936 Belshazzars Feast c.1636-38 The Three Trees, 1643 Thadée Natanson and his wife Misia Godebska in the drawing room of their apartment in the rue Saint-Florentin, Paris, c.1899 Oriental Nude I lock my door upon myself, 1891.

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Schnittlinien, 1923 (AT) Schnittlinien, 1923 (DE) Schnittlinien, 1923 (CH) Intersecting Lines, 1923 (US)
Intersecting Lines, 1923 (IT) Lignes d&39;intersection, 1923 (FR) Kruisende lijnen, 1923 (NL) Intersecting Lines, 1923 (ES) Пересекающиеся линии, 1923 (RU)
1923 में इंटरसेक्टिंग लाइन्स (HI) 相交线,1923年 (ZH) Linhas de interseção, 1923 (PT) 交差する線、1923 (JP) خطوط متقاطعة ، 1923 (AE)

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Schnittlinien, 1923 (AT) Schnittlinien, 1923 (DE) Schnittlinien, 1923 (CH) Intersecting Lines, 1923 (US) Intersecting Lines, 1923 (IT) Lignes d&39;intersection, 1923 (FR) Kruisende lijnen, 1923 (NL) Intersecting Lines, 1923 (ES) Пересекающиеся линии, 1923 (RU) 1923 में इंटरसेक्टिंग लाइन्स (HI) 相交线,1923年 (ZH) Linhas de interseção, 1923 (PT) 交差する線、1923 (JP) خطوط متقاطعة ، 1923 (AE)


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