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Moskova’da dünyaya gelen Rus ressam Wassily Kandinsky, 1908 yılında Almanya’nın Murnau kasabasına yerleşmiş ve burada Fovizm akımının kendisinde bırakmış olduğu renksel etkiyi, Rus sanat geleneklerine uyarlayarak kendi uslubunda dışavurumcu peyzajlar yapmaya başlamıştır. Kandinsky’nin peyzaj resimler yapması, soyut resimsel anlatımlara ulaşmada kendisine daha çok olanak sunmaktadır. Sanatçı aynı zamanda bir teorisyen olduğundan, düşüncelerini ifade etmede kavramlar üzerinde de durmuştur. Bu uğraşısında Kandinsky, nesneleri resimden dışlayarak soyutlamış ve duyguları renk ve çizgi üzerinden aktarmıştır. Sanatçı küçük yaşlardan beri müzikle de ilgilendiği için, resimsel unsurların müziksel dille ifade edilebileceği üzerinde durmuştur. Bu düşünce, soyut anlatımlarına destek olmuştur. Kandinsky, düşüncelerinin ani ifadelerini yani iç dünyasındaki izlenimlerinin yüzeye yansımalarını “Doğaçlama” olarak adlandırır. Bu çalışmanın amacı, “Doğaçlamalar” serisinden, tuval üzerine renkli resim ve siyah-beyaz gravürler arasındaki benzerlik ve farklılıkları belirlemektir. Bu makalede yöntem olarak, Kandinsky’nin, “Doğaçlamalar” serisinden örnekler analiz edilerek irdelenmiştir. Ayrıca, sanatçının 1913’de yayımladığı “Klänge” adlı kitabında yer alan ellialtı gravürden seçilen örnekler de bu makalede diğer doğaçlama işlerle karşılaştırılmıştır. Kandinsky, gravürlerinde salt biçim ve lekenin dengesini, kendi değimiyle aynı zaman da içsel anlamını ararken, tuval resimlerinde ki doğaçlamalarında biçim ve lekenin ötesinde rengin anlatım olanaklarını sunmuştur.
Russian painter Wassily Kandinsky, born in Moscow, settled in 1908 in the city of Murnau in Germany, where the colourful influence that the Fovism stream left in himself, adapted to the Russian art traditions, began to make exhausting landscapes in his own uslub. Kandinsky's painting of landscapes makes it more possible for him to reach abstract picturesque stories. Since the artist is also a theorist, he has also stood on concepts in expressing his thoughts. In this effort, Kandinsky excluded the objects from the picture and transmitted their feelings through color and line. Since the artist has been interested in music since his young age, he has struck on the fact that the visual elements can be expressed in the musical language. This thought was supported by the abstract stories. Kandinsky calls the sudden expressions of his thoughts, that is, the reflections on the surface of his impressions in his inner world, "Naturalization". The aim of this study is to identify the similarities and differences between colored paintings on the plate from the "Naturalizations" series and black-white gravures. As a method in this article, the examples from Kandinsky's "Naturalizations" series are analyzed. Furthermore, the examples chosen from the fifty-six gravures in the book "Klänge" published by the artist in 1913 were also compared with other naturalization works in this article. Kandinsky, in his gravures, sought the balance of the pure shape and the point, and in his own value, the inner meaning, while in his paintings of the towel, he presented the possibilities of the description of the color beyond the shape and the point.
Russian painter Wassily Kandinsky, who came to the world in Moscow, settled in town Murnau of Germany in 1908 and started to make expressive landscape paintings in his style by adapting the color effect left by the Fovism movement to the Russian art traditions. Kandinsky's making landscape paintings offers him more opportunities to reach abstract pictorial narratives. Since the artist is also an art theorist, he also focused on concepts in expressing his thoughts. In this subject, Kandinsky abstracted objects from painting and conveyed emotions through color and line. Since the artist has been interested in music from his youth, he emphasized that pictorial elements can be expressed in musical language. This thought supported his abstract expression. Kandinsky calls the sudden expressions of his thoughts, namely the "Improvisation" of his impressions in his inner world. The aim of this study is to determine the similarities and differences between the colored paintings and black and white engravings on the canvas from the “Improvisations” series. In this article, examples from Kandinsky's "Improvisations" series are analyzed. In addition, the samples selected from the artist's book "Klänge", published in 1913, were compared with other improvised works in this article. In his engravings, Kandinsky presented the possibilities of expression of color beyond form and stain in his improvisations in canvas paintings, while seeking the balance of the pure form and the stain in his engravings and the inner meaning at the same time as his own.
Alan : Sosyal, Beşeri ve İdari Bilimler
Dergi Türü : Uluslararası
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