Kandinsky's and Severini's Paintings Comparison - Essay Example

Comparison of Vasily Kandinsky, Picture with an Archer, 1909 and Gino Severini, Dynamic Hieroglyphic of the Bal Tabarin, 1912 Kandinsky’s Picture with an Archer, 1909 constitutes a vibrant depiction that presents a patchwork surface, which can be hard to decipher forms and shapes and shy further from conventional representation and nears pure abstraction. Kandinsky was inclined more with postimpressionism as well as with Fauvism. Such movements were more appealing to him than futurism or cubism due to their strong color penchant as well as emotion and for their lack of stress of rationalism. Such dematerialization of true forms is vividly depicted in the painting. On the other hand Severinis Dynamic Hieroglyphic of the Bal Tabarin, 1912 falls into an art movement in which artists were concerned with portraying the motion sensation. They were motivated by innovative techniques of photography as well as other types of new technologies along with transportation. They selected dynamic and dynamic themes such as the train station hubbub as well as nightclub energy. Before the advent of advanced photography, the movement of humans and animals could be studied only through observation for an action as it occurred before people. This article investigates these two paintings based on the way they are depicted, the technique used to portray them and their unique features. Vasily Kandinsky, Picture with an Archer, 1909 The depiction constitutes a mix of nostalgia, promise, and excitement and evokes an intimate environment of a dream. During the year of the painting, the artist was residing in Germany and was far from his home Russia. However, in the presence of the vivid pictures color energy offers some promise and excitement (Kandinsky et al. 32). The setting of the scene is an abstract landscape consisting of multi-hued trees and mountain that have a little house along with a domed tower shaped like an onion (Galenson 263). A group of men wearing Russian costumes is in the left foreground. To the right the artist adds an outpouring of chivalric drama where a dashing horse along with its ride emerges and point a bow at an unobserved aim. At the center are two spherical mountains peaks, which are cousins of the fixed necked pinnacle. The Russian representations depict the same rock that is present in the East locations with cold airs. The single rider with the ancient weapon, the regular clothes, and constructions, as well as the countryside environment, intensifies the fantasy note/passionate desire. The artist combines the Murnau countryside natural look that was affected by the artists recollections of the beautiful Russian art with a lively hue palette as well as the Bavarian folk art (Kandinsky et al. 36). The painting has an intense color that was motivated in part by the French painters, particularly Fauves, who he met while residing in Paris; and in part by Munter, who preferred intense colors, extraordinary opinions, and bumpy brushwork (Kandinsky et al. 20). Although the painting is figural, it points in the direction of abstraction through the patchwork of excellent color along with vivacious liveliness on its. In turn, this creates music like effect. The color is so vibrant that it is hard to establish the scene. The patchwork surface also appears to be shrugging off the role of describing a form or space. The horse rider represents a symbol of the artists campaign against traditional values as well as his belief that art had the potential to set a trend to spiritual regeneration. Kandinskys theme was motivated by St.George, a heroic Christian saint mostly shown destroying a dragon while on horseback and who was the main figure both in Bavarian and Russian folk art. The horse rider was first depicted by the artist earlier at the turn of the century and constituted a recurrent motif in Kandinskys Bavarian landscapes during the same era. Gino Severini, Dynamic Hieroglyphic of the Bal Tabarin, 1912 The dancehall as a theme for the demonstration of multisensory experience fascinated the Severini. In the depiction, a woman is portrayed with brown locks along with a bleached, blue and rosy bounced costume as she raves to a song in a Paris nightclub. Various components of the picture point to current activities. The Arad with a Carmel is a representation of the Turco-Italian war of 1911 while flags communicate nationalist sentiments. In the portrayal of Bal Tabarin, Severini combines the interest of futurist to capture the motion vitality through the incorporation of collage and text components, for instance, glitters, affected by the artists study of Cubism in France (Ottinger 35). The artist depicts the pace and dynamism of contemporary life. The artists works lack the political overtones that area characteristic of Futurism (Galenson 67). While Futurists had the costume of painting moving machines, Severini depicted the personal picture as the origin of dynamic movement in his images. The inclusion of nightclub evokes the motion sensations along with sound through filling the painting with rhythmic types as well as flickering and cheerful colors. The artist retains the theme of nightlife and adds the cubist method of collage along with other irrational components such as a genuine nude riding a couple of shears. Dance appears to be a significant theme to Severini as he chose to highlight procedure instead of things and he touts the intuition power to synthesize memory and sense into a coherent simultaneity (Ottinger 56). Together with the artists expressed desire to downplay the separated human picture in preference of the whole surrounding settings as well as to integrate the congruence of the creases and crinkles of contemporary clothes, the artists process of the dynamism of dance proves extremely appropriate to him. The painting compels the issue of abstract synthesization of rhythmic types and deals with the wish of the futurist to paint the entire of its atmosphere. While the painting is dominated by a single dancer, numerous other depictions fill the margin of the dance floor. It appears that the artist has developed a sensual complex of learned dances, proved in the jittery design of the sounds ‘polka in the greater left as well as the methodical "valse in, the lesser right, literary across the glossy practice of a glass, topmost-capped man. The polka and waltz remained the typical ballroom parties of the era but were soon confronted by glamorous imports from the south and North America on the way to Paris (Galenson 288). In the painting, there is chaos that is intentional and created to preserve the frenticim unmoving in a recollected indication of a Parisian dance floor. In conclusion, Severinis dance paint forms an extremely logical development, from the earlier near literality forms to the more cryptic blue and white dancer to the flashing paints such as the Dynamic Hieroglyphic of the Bal Tabarin, 1912. The portrayal is full of dynamism and energy. The artists vision of energy shows lines of force emerging out from the center. Such opening and closing of valves create rhythms that are simply as fascinating to observe as the motion of the eyelids. He targeted the pure plastic rhythm by using spiral, linear, transparent, wavelike and overlapping forms. Kandinsky is regarded as an important contributor to the twentieth-century art, and he used most of his initial profession looking for a voice that would distinguish him from other artists. It was not until 1908 that he achieved his first breakthrough in the art. He, along with his friend used most of their time in a village town from which he got his inspiration. The Picture with an Archer, 1909 dates from that era, and it offers a suggestion regarding everything the artist would become. The author got rid of expressive detail and reduced methods to numbers to calligraphic streak and hue. The artist compared painting to music and believed that recurrent themes along with bright hue may provoke feelings. Works Cited Galenson, David W. Conceptual Revolutions in Twentieth-Century Art. New York: Cambridge University Press, 2009. Print. Kandinsky, Wassily, Hartwig Fischer, and Shulamith Behr. Kandinsky: The Path to Abstraction; [on the Occasion of the Exhibition Kandinsky, the Path to Abstraction, Tate Modern, London, 22 June - 1 October 2006; Kandinsky, Malerei 1908 - 1921, Kunstmuseum Basel, 21 October - 4 February 2007]. London: Tate, 2006. Print. Ottinger, Didier. Futurism: [the Original Exhibition "le Futurisme À Paris. Une Avant-Garde Explosive" ... Centre Pompidou, Paris, 15 October 2008-26 January 2009, Scuderie Del Quirinale, Rome, 20. February - 24 Max 2009, Tate Modern, 12 June - 20 September 2009]. Milan: 5 Continents Ed, 2009. Print Read More