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拍品專文
Vivian Endicott-Barnett has kindly confirmed the authenticity of this work.
L'Ouverture was executed in 1938 while Kandinsky was living in Neuilly near Paris. Thrown out of the Bauhaus and forced to live in exile from his adopted homeland of Germany after Hitler's access to power, Kandinsky moved to Paris - a move which marked an important development in his art, away from the strict geometry of the Bauhaus years, in favour of the use of more natural and organic form.
After an initial block of creativity, the Paris years marked an era of new experimentation and departure. Kandinsky began to regard oils and gouaches almost equallly, varnishing the gouaches so that the opaque body colour became semi-transparent and imitated the appearance of tempera and also ink drawings in his oils. Around 1935 he began to use dark and black paper for many of his gouaches. They proved easier to sell and helped to ease his difficult financial situation. There were various sources for the organic shapes in Kandinsky's work. Having been interested in the similarities between structures in nature and art for some time, in 1935 Kandinsky wrote of 'the experience of the small and great, the micro- and macrocosmic, coherence ', referring to the "hidden soul" in all things, seen either by the unaided eye or trhourgh microscopes or binoculars'. This "internal eye" [...] penetrates the hard shell, the external "form", goes deep into the object and lets us feel with all our senses its intenal "pulse"'. (quoted in F. Whitford, Ibid., p. 82).
Kandinsky believed art and the creative process to be a medium between these various spheres. L'ouverture, through an organised harmony of colour and form, attempts to explore and express this innate correlations between the macrocosm and the microcosm.
L'Ouverture was executed in 1938 while Kandinsky was living in Neuilly near Paris. Thrown out of the Bauhaus and forced to live in exile from his adopted homeland of Germany after Hitler's access to power, Kandinsky moved to Paris - a move which marked an important development in his art, away from the strict geometry of the Bauhaus years, in favour of the use of more natural and organic form.
After an initial block of creativity, the Paris years marked an era of new experimentation and departure. Kandinsky began to regard oils and gouaches almost equallly, varnishing the gouaches so that the opaque body colour became semi-transparent and imitated the appearance of tempera and also ink drawings in his oils. Around 1935 he began to use dark and black paper for many of his gouaches. They proved easier to sell and helped to ease his difficult financial situation. There were various sources for the organic shapes in Kandinsky's work. Having been interested in the similarities between structures in nature and art for some time, in 1935 Kandinsky wrote of 'the experience of the small and great, the micro- and macrocosmic, coherence ', referring to the "hidden soul" in all things, seen either by the unaided eye or trhourgh microscopes or binoculars'. This "internal eye" [...] penetrates the hard shell, the external "form", goes deep into the object and lets us feel with all our senses its intenal "pulse"'. (quoted in F. Whitford, Ibid., p. 82).
Kandinsky believed art and the creative process to be a medium between these various spheres. L'ouverture, through an organised harmony of colour and form, attempts to explore and express this innate correlations between the macrocosm and the microcosm.