![]() ![]() The name Der Blaue Reiter is widely considered to derive from a 1903 Symbolist canvas by Kandinsky. Beside its own groundbreaking artists, Der Blaue Reiter's traveling exhibitions featured the leading proponents of Fauvism, Cubism, and the Russian avant-garde, creating a vital central European forum for the development and proliferation of modern art.This also led them to explore notions of synesthesia, the crossing or "union" of the senses in perceiving color, sound, and other stimuli. Often naming their works Compositions, Improvisations, and Études (among other things), they explored music as the abstract art par excellence, lacking as it does a tangible or figurative manifestation. In searching for a language that would express their unique approach to abstract visual form, the artists of Der Blaue Reiter drew parallels between painting and music.The name "Der Blaue Reiter" referred to Kandinsky and Marc's belief that blue was the most spiritual color and that the rider symbolized the ability to move beyond. Thus, the move into abstraction resulted partly from radically separating form and color into discrete elements within a painting or applying non-naturalistic color to recognizable objects. Der Blaue Reiter painting was structured around an idea that color and form carried concrete spiritual values.Concerning the Spiritual crystallized the group's pursuit of non-objective or abstract painting and was widely read in avant-garde artistic circles across Europe and beyond. ![]() Though Der Blaue Reiter had no official manifesto, Kandinsky's treatise Concerning the Spiritual in Art (1910) laid out several of its guiding principles.
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