Vasily Kandinsky - Upward (Empor)

Upward (Empor), October 1929Oil on cardboard, 70 x 49 cmPeggy Guggenheim Collection, Venice 76.2553 PG 35© Vasily Kandinsky, by SIAE 2008

Vasily Kandinsky here achieves an effect of energy rising upward, while anchoring the forms together by balancing them on either side of a continuous vertical line. Geometric shapes and sections of circles combine in a structure suspended in a field of rich turquoise and green. A partial circle rests delicately on a pointed base. Another fragment of a circle glides along its vertical diameter, reaching beyond the circumference of the first form to penetrate the space above it. A linear design in the upper right corner of the present canvas echoes the vertical thrust of the central motif. This configuration resembles the letter E, as does the black cutout shape at the base of the central motif. These forms may at once be independent designs and playful references to the first letter of Empor, the German title of the painting.The physiognomic character indicates Kandinsky’s association at the Dessau Bauhaus with fellow Blaue Vier artists Paul Klee and Alexej Jawlensky. Jawlensky showed sixteen abstract heads in an exhibition of the Blaue Vier in 1929, which offered Kandinsky the model of large, abstract faces composed of geometric planes of non-naturalistic color and accented by bar-shaped features. However, Kandinsky’s working method more closely resembled that of Klee, who began with intuitively chosen forms that gradually suggested counterparts in the natural world, than that of Jawlensky, who began with the model and moved toward abstraction.

Vasily Kandinsky was born December 4, 1866, in Moscow. From 1886–92, he studied law and economics at the University of Moscow, where he lectured after graduation. In 1896, he declined a teaching position in order to study art in Munich with Anton Azbe from 1897 to 1899 and at the Kunstakademie with Franz von Stuck in 1900. Kandinsky taught in 1901–03 at the art school of the Phalanx, a group he had cofounded in Munich. One of his students, Gabriele Münter, would be his companion until 1914. In 1902, Kandinsky exhibited for the first time with the Berlin Secession and produced his first woodcuts. In 1903 and 1904, he began his travels in Italy, the Netherlands, and North Africa and his visits to Russia. He showed at the Salon d’Automne in Paris from 1904.In 1909, Kandinsky was elected president of the Neue Künstlervereinigung München (NKVM), a newly founded group that in the same year gave its first show at the Thannhauser’s Moderne Galerie in Munich. In 1911, Kandinsky and Franz Marc withdrew from the NKVM and began to make plans for Der Blaue Reiter Almanac. In December of the same year the Blaue Reiter group’s first exhibition was held at the Moderne Galerie in Munich and Kandinsky’s published On the Spiritual in Art. In 1912, the second Blaue Reiter show was held at the Galerie Hans Goltz, Munich; Der Blaue Reiter Almanac was published, and Kandinsky’s first solo show was held at Der Sturm gallery in Berlin. In 1913, one of his works was included in the Armory Show in New York and the Erste deutsche Herbstsalon at the Der Sturm gallery in Berlin. Kandinsky lived in Russia from 1914 to 1921, principally in Moscow, where he held a position at the People’s Commissariat of Education.Kandinsky began teaching at the Bauhaus in Weimar in 1922. In 1923, he was given his first solo show in New York by the Société Anonyme, of which he became vice-president. Lyonel Feininger, Alexej Jawlensky, Kandinsky, and Paul Klee made up the Blaue Vier group, formed in 1924. He moved with the Bauhaus to Dessau in 1925 and became a German citizen in 1928. The Nazi government closed the Bauhaus in 1933 and later that year Kandinsky settled in Neuilly-sur-Seine, near Paris; he acquired French citizenship in 1939. Fifty-seven of his works were confiscated by the Nazis in the 1937 purge of “degenerate art.” Kandinsky died December 13, 1944, in Neuilly.