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WASSILY KANDINSKY
With Black Arch (1912)
Oil on canvas/ 186cm X 193.3cm/73in X 76in

At the age of 30, Kandinsky abandoned a career in law in order to study art in Munich. From 1909 on wards he struggled to achieve an abstract art of emotional and spiritual intensity derived from the mingling of forms and colors. It is worth emphasizing Kandinsky's Russian origins because his mystical conception of art as a spiritual presence acting as a link with a higher plane of reality has more in common with his native tradition of religious icon paint-ing than with the European tradition of naturalistic representation. Kandinsky equated naturalism with materialism, and believed that it was the mission of the artist to instil a con-sciousness of the soul of man and of the hidden laws of the universe into a materialistic society which was doomed to destruction. With Black Arch, painted in 1912, can thus be seen as the expression of an inner spiritual struggle.

Kandinsky's principal artistic problem was how far he could reduce the representation of objects without lapsing into mere decorative pattern making. To achieve this, he developed a technique characterized by bold brushstrokes and areas of color which were inspired by such sources as icon painting and Bavarian peasant glass paintings. It was Kandinsky's hope that the public could be educated to experience his new language of abstract art in the same direct way as music. In 1912 he wrote that music was devoted 'not to the reproduction of natural phenomena but to the expression of the artist's soul and to the creation of an autonom-ous life of musical sound'. Kandinsky wished to apply this approach to his own art.

Kandinsky described his working methods in the most general and metaphysical of terms
"Each work arises technically in a way similar to that in which the cosmos arose - through catastrophes, which from the chaotic roaring of instruments, finally create a symphony, the music of the spheres'. For his major composi-tions, Kandinsky did preliminary paintings, watercolors and drawings. However, these are self-contained stages in the process of making the image abstract, rather than studies in the usual sense. The main objective of
Kandinsky's approach was to maintain the identity and impact of the pictorial elements.
Throughout his long career, Kandinsky was associated with a number of artistic movements including the "Blue Rider' group.

The scale of the picture is large, so that the viewer can experience to the full the 'spiritual vibration' of the colors and forms, as Kandinsky put it. Important use is made of the of f-white ground whici covers the canvas giving vibrancy and impact to the colors. Kandinsky felt that the abstract forms painted in opaque black denoted negative forces. The movement of the painting i concentrated towards the center and the illusion of speed is suggested by the technique of leaving the wake of a passing color in a pale glaze and by the scumbled passages of white. The shapes in the painting cannot be identified with any degree of certainty. Similarly, it it impossible to tell exactly what order the painting was done in.

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