Pioneering work by the great modernist painter, considered by many to be the father of abstract art and a leader in the movement to free art from traditional bonds. 12 illustrations.

Kandinsky sees the spiritual life of humanity as a pyramid. The artist must lead the layman to the top of this pyramid through the soulful exercise of art. Kandinsky differentiates between the superficial pleasure art inspires and the inner resonance created when art is considered attentively and allowed to touch the soul. The artist is allowed absolute freedom in order to express their soul's art, but they must not abuse this freedom if they are not expressing a personal inner resonance. Once the artwork is complete, the mystic quality they have poured into it become independent of them and filled with a spiritual breath.

A pioneering work in the movement to free art from its traditional bonds to material reality, this book is one of the most important documents in the history of modern art. Written by the famous nonobjective painter Wassily Kandinsky (1866?1944), it explains Kandinsky's own theory of painting and crystallizes the ideas that were influencing many other modern artists of the period. Along with his own groundbreaking paintings, this book had a tremendous impact on the development of modern art. Kandinsky's ideas are presented in two parts. The first part, called "About General Aesthetic," issues a call for a spiritual revolution in painting that will let artists express their own inner lives in abstract, non-material terms. Just as musicians do not depend upon the material world for their music, so artists should not have to depend upon the material world for their art. In the second part, "About Painting," Kandinsky discusses the psychology of colors, the language of form and color, and the responsibilities of the artist. An Introduction by the translator, Michael T. H. Sadler, offers additional explanation of Kandinsky's art and theories, while a new Preface by Richard Stratton discusses Kandinsky's career as a whole and the impact of the book. Making the book even more valuable are nine woodcuts by Kandinsky himself that appear at the chapter headings. This English translation of šber das Geistige in der Kunst was a significant contribution to the understanding of nonobjectivism in art. It continues to be a stimulating and necessary reading experience for every artist, art student, and art patron concerned with the direction of 20th-century painting.

This book examines the art and writings of Wassily Kandinsky, who is widely regarded as one of the first artists to produce non-representational paintings. Crucial to an understanding of Kandinsky's intentions is On the Spiritual in Art, the celebrated essay he published in 1911. Where most scholars have taken its repeated references to "spirit" as signaling quasi-religious or mystical concerns, Florman argues instead that Kandinsky's primary frame of reference was G.W.F. Hegel's Aesthetics, in which art had similarly been presented as a vehicle for the developing self-consciousness of spirit (or Geist, in German). In addition to close readings of Kandinsky's writings, the book also includes a discussion of a 1936 essay on the artist's paintings written by his own nephew, philosopher Alexandre Kojève, the foremost Hegel scholar in France at that time. It also provides detailed analyses of individual paintings by Kandinsky, demonstrating how the development of his oeuvre challenges Hegel's views on modern art, yet operates in much the same manner as does Hegel's philosophical system. Through the work of a single, crucial artist, Florman presents a radical new account of why painting turned to abstraction in the early years of the twentieth century.

2014 Reprint of 1947 Edition. Full facsimile of the original edition, not reproduced with Optical Recognition Software. An updated version of the Sadleir translation, with considerable re-translation by Francis Golffing, Michael Harrison and Ferdinand Ostertag. Published in 1912, Kandinsky's book defines three types of painting; impressions, improvisations and compositions. While impressions are based on an external reality that serves as a starting point, improvisations and compositions depict images emergent from the unconscious, though composition is developed from a more formal point of view. Kandinsky compares the spiritual life of humanity to a pyramid-the artist has a mission to lead others to the pinnacle with his work. The point of the pyramid is occupied by few great artists. It is a spiritual pyramid, advancing and ascending slowly even if it sometimes appears immobile. During decadent periods, the soul sinks to the bottom of the pyramid; humanity searches only for external success, ignoring spiritual forces. This edition contains a new introduction by Nina Kandinsky, his widow, providing Kandinsky's own corrections and additions for a new edition that never appeared in his lifetime. She has also written for this edition a memoir of Kandinsky's development.

This famous work by a pioneer in the movement to free art from the bonds of tradition explores the role of the line, point, and other key elements of non-objective painting. 127 illustrations.