Андрей Рублев, Василий Кандинский, Казимир Малевич

                                                          Content

Andrey Rublev………………………………………………………………………………….…….…………….3

   Biography…………………………………………………………………………………………….……………..….…….3

Wasily Kandinsky…………………………………………………………………………..……………….…….4

   Artistic periods……………………………………………………………………………….…….…………….….…….5

   Artistic metamorphosis (1896–1911)………………………………………….…………………….……...….6

   The Blue Rider (1911–1914)……………………………………………………….………………..………..…....7

   Return to Russia (1914–1921)……………………………………………………………………….……..….…..8

   The Bauhaus (1922–1933)…………………………………………………………………………..……….….……8

   The great synthesis (1934–1944)………………………………………………………….……………..…..……9

Kazimir Malevich…………………………………………….…………………………………………..…..……10

   Life and work…………………………………………………………………………………….……………….….………10

   Date of birth……………………………………………………………………………………….…………….……….….13

   Posthumous sales………………………………………………………………………………….……………….…….13

References…………………………………………………………………………………………………………….14 
 
 
 
 
 
 
 
 
 
 
 

   In my essay is devoted to the three great Russian artists: Andrey Rublev, Wasily Kandinsky and Kazimir Malevich; about their biographies, famous works, the individual style of each. 

    Andrei Rublev

   Andrei Rublev, born in the 1360s, died 1427 or January 29, 1430) is considered to be the greatest medieval Russian painter of Orthodox icons and frescoes. 

   Biography

   There is little information about his life. It is not known where he was born. Andrei Rublev probably lived in the Trinity-St. Sergius Lavra near Moscow under Nikon of Radonezh, who became hegumen after the death of Sergii Radonezhsky (1392).

    The first mention of Rublev is in 1405 when he decorated icons and frescos for the Cathedral of the Annunciation of the Moscow Kremlin in company with Theophanes the Greek and Prokhor of Gorodets. His name was the last of the list of masters as the junior both by rank and by age. Theophanes was an important Byzantine master who moved to Russia, and is considered to have trained Rublev.

                                                                                                                             

   Chronicles tell us that in 1408 he painted (together with Daniil Cherni) the Assumption Cathedral in Vladimir and in 1425–1427 the Cathedral of St. Trinity in the Trinity-St. Sergius Lavra. After Daniil's death Andrei came to Moscow's Andronikov Monastery where he painted his last work, the frescoes of the Savior Cathedral.

   He is also believed to have painted at least one of the miniatures in the Khitrovo Gospels.

   The only work authenticated as entirely his is the icon of the Trinity, ca. 1410 (shown at left), currently in the Tretyakov Gallery, Moscow. It is based upon an earlier icon known as the "Hospitality of Abraham" (illustrating Genesis 18). Rublev removed the figures of Abraham and Sarah from the scene, and through a subtle use of composition and symbolism changed the subject to focus on the Mystery of the Trinity.

   In Rublev's art, two traditions are combined: the highest asceticism and the classic harmony of Byzantine mannerism. The characters of his paintings are always peaceful and calm. After some time his art came to be perceived as the ideal of Church painting and of Orthodox iconography.

   Andrei died at Andronikov Monastery on January 29, 1430 (this date is still questionable). His work has influenced many different artists including Dionisy. At the Stoglavi Sobor (1551) Rublev's icon style was announced as a model for church painting. He was canonized a saint in 1988 by the Russian Orthodox Church. The church celebrates his feast day on January 29 and July 4.

    Andrei Rublev is honored with a feast day on the liturgical of the Episcopal Church in the United States of America on January 29.

                                                                                                           

   Since 1959 the Andrei Rublev Museum has been open at the Andronnikov Monastery, displaying the art of his works and his epoch.

   In 1966, Andrei Tarkovsky made his celebrated film, Andrei Rublev loosely based on the artist's life, which shows him as "a world-historic figure" and "Christianity as an axiom of Russia's historical identity" during a turbulent period in the history of Russia. 
 
 
 

    Wassily Kandinsky

   Wassily Wassilyevich Kandinsky, 16 December [O.S. 4 December] 1866 –  13 December 1944) was a Russian painter, and art theorist. He is credited with painting the first modern abstract works.

   Born in Moscow, Kandinsky spent his childhood in Odessa. He enrolled at the University of Moscow and chose to study law and economics. Quite successful in his profession — he was offered a professorship (chair of Roman Law) at the University of Dorpat — he started painting studies (life-drawing, sketching and anatomy) at the age of 30.

   In 1896, he settled in Munich and studied first in the private school of Anton Ažbe and then at the Academy of Fine Arts, Munich. He went back to Moscow in 1914, after World War I started. He was unsympathetic to the official theories on art in Moscow and returned to Germany in 1921. There, he taught at the Bauhaus school of art and architecture from 1922 until the Nazis closed it in 1933. He then moved to France where he lived the rest of his life, and became a French citizen in 1939. He died at Neuilly-sur-Seine in 1944.

   His great-grandson, Anton S. Kandinsky, is also a New York-based artist working in a style called 'Gemism'. 

   Artistic periods

   Kandinsky's creation of purely abstract work followed a long period of development and maturation of intense theoretical thought based on his personal artistic experiences. He called this devotion to inner beauty, fervor of spirit, and deep spiritual desire inner necessity, which was a central aspect of his art.

   Kandinsky learned from a variety of sources life in Moscow. Later in his life, he would recall being fascinated and unusually stimulated by colour as a child. The fascination with colour symbolism and psychology continued as he grew. In 1889 he was part of an ethnographic research group that travelled to the Vologda region north of Moscow. In Looks on the Past he relates that the houses and churches were decorated with such shimmering colours that, upon entering them, he had the impression that he was moving into a painting. The experience and his study of the folk art in the region, in particular the use of bright colours on a dark background, was reflected in much his early work. A few years later, he first related the act of painting to creating music in the manner for which he would later become noted and wrote, "Colour is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul."

   It was not until 1896, at the age of 30, that Kandinsky gave up a promising career teaching law and economics to enroll in art school in Munich. He was not immediately granted admission in Munich and began learning art on his own. Also in 1896, prior to leaving Moscow, he saw an exhibit of paintings by Monet and was particularly taken with the famous impressionistic Haystacks which, to him, had a powerful sense of colour almost independent of the objects themselves. Later he would write about this experience:

   «That it was a haystack the catalogue informed me. I could not recognize it. This non-recognition was painful to me. I considered that the painter had no right to paint indistinctly. I dully felt that the object of the painting was missing. And I noticed with surprise and confusion that the picture not only gripped me, but impressed itself ineradicably on my memory. Painting took on a fairy-tale power and splendour.»

   He was similarly influenced during this period by Richard Wagner's Lohengrin which, he felt, pushed the limits of music and melody beyond standard lyricism.

   Kandinsky was also spiritually influenced by H. P. Blavatsky (1831–1891), the most important exponent of Theosophy in modern times. Theosophical theory postulates that creation is a geometrical progression, beginning with a single point. The creative aspect of the forms is expressed by the descending series of circles, triangles, and squares. Kandinsky's book Concerning the Spiritual In Art (1910) and Point and Line to Plane (1926) echoed this basic Theosophical tenet. Illustrations by John Varley in Thought Forms (1901) influenced him visually. 

   Artistic metamorphosis (1896–1911)

   Kandinsky's time at art school, typically considered difficult to get through, was eased by the fact that he was older and more settled than the other students. It was during this time that he began to emerge as a true art theorist in addition to being a painter. The number of existing paintings increased at the beginning of the 20th century and much remains of the many landscapes and towns that he painted, using broad swathes of colour but recognizable forms. For the most part, however, Kandinsky's paintings did not emphasize any human figures. An exception is Sunday, Old Russia (1904) where Kandinsky recreates a highly colourful (and fanciful) view of peasants and nobles before the walls of a town. Riding Couple (1907) depicts a man on horseback, holding a woman with tenderness and care as they ride past a Russian town with luminous walls across a river. Yet the horse is muted, while the leaves in the trees, the town, and the reflections in the river glisten with spots of colour and brightness. The work shows the influence of pointillism in the way the depth of field is collapsed into a flat luminescent surface. Fauvism is also apparent in these early works. Colours are used to express the artist's experience of subject matter, not to describe objective nature. Perhaps the most important of Kandinsky's paintings from the first decade of the 1900s was The Blue Rider (1903), which shows a small cloaked figure on a speeding horse rushing through a rocky meadow. The rider's cloak is a medium blue, and the shadow cast is a darker blue. In the foreground are more amorphous blue shadows, presumably the counterparts of the fall trees in the background. The Blue Rider in the painting is prominent, but not clearly defined, and the horse has an unnatural gait (which Kandinsky must have known). Indeed, some believe that a second figure, a child perhaps, is being held by the rider, though this could just as easily be another shadow from a solitary rider. This type of intentional disjunction, allowing viewers to participate in the creation of the artwork, would become an increasingly conscious technique used by Kandinsky in subsequent years, culminating in the (often nominally) abstract works of the 1911–1914 period. In The Blue Rider Kandinsky shows the rider more as a series of colours than of specific details. In and of itself, The Blue Rider is not exceptional in that regard when compared to contemporary painters, but it does show the direction that Kandinsky would take only a few years later. 

   From 1906 to 1908 Kandinsky spent a great deal of time travelling across Europe, (he was an associate of the Blue Rose symbolist group of Moscow) until he settled in the small Bavarian town of Murnau. The Blue Mountain (1908–1909) was painted at this time and shows more of his trend towards pure abstraction. A mountain of blue is flanked by two broad trees, one yellow and one red. A procession of some sort with three riders and several others crosses at the bottom. The faces, clothing, and saddles of the riders are each a single colour, and neither they nor the walking figures display any real detail. The flat planes and the contours also are indicative of some influences by the Fauvists. The broad use of colour in The Blue Mountain, illustrates Kandinsky's move towards an art in which colour is presented independently of form, and which each colour is given equal attention. The composition has also become more planar, as it seems that the painting itself is divided into four sections- the sky, the red tree, the yellow tree, and the blue mountain containing the three riders. 

   The Blue Rider (1911–1914)

   The paintings of this period are composed of large and very expressive coloured masses evaluated independently from forms and lines which serve no longer to delimit them but are superimposed and overlap in a very free way to form paintings of an extraordinary force.

   The influence of music has been very important on the birth of abstract art, as it is abstract by nature—it does not try to represent the exterior world but rather to express in an immediate way the inner feelings of the human soul. Kandinsky sometimes used musical terms to designate his works; he called many of his most spontaneous paintings "improvisations", while he entitled more elaborated works "compositions".

                                                                                                

   In addition to painting Kandinsky developed his voice as an art theorist. In fact, Kandinsky's influence on the history of Western art stems perhaps more from his theoretical works than from his paintings. He helped to found the Neue Künstlervereinigung München (New Artists' Association) and became its president in 1909. The group was unable to integrate the more radical approach of those like Kandinsky with more conventional ideas of art and the group dissolved in late 1911. Kandinsky then moved to form a new group The Blue Rider (Der Blaue Reiter) with like minded artists such as August Macke and Franz Marc. The group released an almanac, called The Blue Rider Almanac, and held two exhibits. More of each were planned, but the outbreak of World War I in 1914 ended these plans and sent Kandinsky home to Russia via Switzerland and Sweden.

   Kandinsky's writing in The Blue Rider Almanac and the treatise On the Spiritual In Art, which was released at almost the same time, served as both a defense and promotion of abstract art, as well as an appraisal that all forms of art were equally capable of reaching a level of spirituality. He believed that colour could be used in a painting as something autonomous and apart from a visual description of an object or other form. 

   Return to Russia (1914–1921)

   «The sun melts all of Moscow down to a single spot that, like a mad tuba, starts all of the heart and all of the soul vibrating. But no, this uniformity of red is not the most beautiful hour. It is only the final chord of a symphony that takes every colour to the zenith of life that, like the fortissimo of a great orchestra, is both compelled and allowed by Moscow to ring out.»

      — Wassily Kandinsky 

   Through the years 1918 to 1921, Kandinsky dealt with the cultural development politics of Russia and collaborated in the domains of art pedagogy and museum reforms. He devoted his time to artistic teaching with a program based on form and colour analysis, as well as participating in the organization of the Institute of Artistic Culture in Moscow. He painted little during this period. In 1916 he met Nina Andreievskaia, who in the following year became his wife. His spiritual, expressionistic view of art was ultimately rejected by the more radical members of the Institute as too individualistic and bourgeois. In 1921 Kandinsky received the mission to go to Germany to attend the Bauhaus of Weimar, on the invitation of its founder, the architect Walter Gropius.

   

   The Bauhaus (1922–1933)

   The Bauhaus was an innovative architecture and art school whose objectives included the merging of plastic arts with applied arts, reflected in its teaching methods based on the theoretical and practical application of the plastic arts synthesis. Kandinsky taught the basic design class for beginners and the course on advanced theory, and also conducted painting classes and a workshop where he completed his colour theory with new elements of form psychology. The development of his works on forms study, particularly on point and different forms of lines, lead to the publication of his second major theoretical book Point and Line to Plane in 1926.

                                                                                                                          

   Geometrical elements took on increasing importance in his teaching as well as in his painting, particularly circle, half-circle, the angle, straight lines and curves. This period was a period of intense production. The freedom of which is characterised in each of his works by the treatment of planes rich in colours and magnificent gradations as in the painting Yellow – red – blue (1925), where Kandinsky shows his distance from constructivism and suprematism movements whose influence was increasing at this time.

   The large two meter width painting that is Yellow – red –  blue (1925) consists of a number of main forms: a vertical yellow rectangle, a slightly inclined red cross and a large dark blue circle, while a multitude of straight black or sinuous lines, arcs of circles, monochromatic circles and scattering of coloured checkerboards contribute to its delicate complexity. This simple visual identification of forms and of the main coloured masses present on the canvas only corresponds to a first approach of the inner reality of the work whose right appreciation necessitates a much deeper observation—not only of forms and colours involved in the painting, but also of their relation, their absolute position and their relative disposition on the canvas, of their whole and reciprocal harmony.

   Kandinsky was one of Die Blaue Vier (Blue Four), with Klee, Feininger and von Jawlensky formed in 1923. They lectured and exhibited together in the USA in 1924.

   In front of the hostility of the political parties of the right, the Bauhaus left Weimar and settled in Dessau from 1925. Following a fierce slander campaign from the Nazis, the Bauhaus closed at Dessau in 1932. The school pursued its activities in Berlin until its dissolution in July 1933. Kandinsky then left Germany and settled in Paris. 

The great synthesis (1934–1944)   

   In Paris he was quite isolated since abstract painting—particularly geometric abstract painting—was not recognized, the artistic fashions being mainly Impressionism and cubism. Kandinsky lived in a small apartment and created his work in a studio constructed in the living room. Biomorphic forms with supple and non-geometric outlines appear in his paintings; forms which suggest externally microscopic organisms but which always express the artist's inner life. He used original colour compositions which evoke Slavonic popular art and which are similar to precious watermark works. He also occasionally mixed sand with paint to give a granular texture to his paintings.

   This period corresponds, in fact, to a vast synthesis of his previous work, of which he used all elements, even enriching them. In 1936 and 1939 he painted his two last major compositions; canvases particularly elaborate and slowly ripped that he hadn't produced for many years. Composition IX is a painting with highly contrasted powerful diagonals and whose central form give the impression of a human embryo in the womb. The small squares of colours and the coloured bands seem to stand out against the black background of Composition X, as stars' fragments or filaments, while enigmatic hieroglyphs with pastel tones cover the large maroon mass, which seems to float in the upper left corner of the canvas.