Wassily Kandinsky, 1909 - Studium do improwizacji nr. 2 (marsz żałobny) - druk artystyczny

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W 1909 Wassily Kandinsky made the 20th century piece of art. The painting had the following size: 49,8 cm x 69,8 cm , 50 cm x 69,5 cm and was painted with the technika oil on cardboard. The original artwork has the following text as inscrption: "1909 Wassily Kandinsky began many of his more important new plants in three categories divide into "impressions," "improvisations" and "compositions". Under "impressions" he understood "impressions of external nature," the "compositions" a deliberate, rational as well as emotional painting, which according to their own laws organized itself (see. Table 29, 30). The group of "improvisation", however, Kandinsky described as "mostly unconscious, mostly suddenly resulting expressions of processes internal character as impressions of the 'inner nature'". The "Study of Improvisation 2 (Funeral March)", whose final version is in the Moderna Museet, Stockholm, is one of the first created and numerous other improvisations that Kandinsky to 1913 numbered in a continuous series. Before an unreal, unreal reminiscent of landscape elements scenery three Russian-looking female characters are at the leading edge gathered in the middle, another sits slightly removed their right, while a rider from coming in left on a white horse in the picture. A touch of symbolism is above the enigmatic scene. As later in a series of "improvisation" characterizes the motive treasure of the fairytale, Russian images even here, despite the formal changes the whole character of this "impression of inner nature." The sub-title designation "Funeral March" indicates less an act but rather the image the mood. In its muted, portentous character, the "Image with Kahn" from 1909 or earlier "Three Women" are roughly comparable, giving in compositional terms as in terms of individual elements clues for the interpretation of "Improvisation 2". Thereafter can the deep blue strip forward as separating the pieces on a ramp identify than water, the two large colored blocks behind them are mountains or cliffs, the round annealed form between them a cloud. But these block-like forms, in particular the right to the bright orange and light blue 'back', seem to turn into organic forms, not least due to the sophisticated color that meets their domestic fields with restless life. In a similarly low-slung stance, the schematic female figures and the on-coming riders from the left remain. is with him appears a central figure of the imagination Kandinsky, often encountered, especially in the group of "improvisation" and not least the symbolic figure of the "Blue Rider" are. All figures are cut off by the edge of the image, which obscures their meaning. Apparently Kandinsky studied in the "improvisations" for anti substantive expressions. The Verunklärungen of form and content are steps on the way to a new, autonomous reality of the painting.". It belongs to the digital art collection of Städtische Galerie im Lenbachhaus und Kunstbau München. This modern art masterpiece, which is in the domena publiczna is included with courtesy of Wassily Kandinsky, Studie zur Improvisation Nr. 2 (Trauermarsch), 1909, Oil On Cardboard, 49,8 cm x 69,8 cm , 50 cm x 69,5 cm, Städtische Galerie im Lenbachhaus und Kunstbau München, https://sammlungonline.lenbachhaus.de/objekt/studie-zur-improvisation-nr-2-trauermarsch-30019275.html. : Städtische Galerie im Lenbachhaus i Kunstbau München. Poza tym wyrównanie reprodukcji cyfrowej odbywa się w poziomie format ze współczynnikiem obrazu 1.4: 1, co implikuje długość jest o 40% dłuższa niż szerokość.

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