If you consider yourself religious, and you also love art, this is a book you need to read. Kandinsky was one of our past masters of art. His works were beautiful essays on music, love, and other spiritual issues. It is not often artists are able to express their feelings verbally, but Kandinsky does an excellent job in this classic. Highly recommended for any library.

The 1910s was surely the most exciting, radical, innovative and genuinely NEW period in the history of all the arts, writing, music, painting, cinema, dance. it was also one of the few periods when creative frenzy was escorted by critical might, and is almost as famous for its artistic collectives, its '-isms', its iconoclasms and its spectacularly aggressive, wipe-the-slate-clean manifestoes as it is for any one artwork produced.

Today, however, there aren't many of these manifstoes that possess more than quaint historical value. Kandinsky's 'Concerning the Spiritual in Art' is one, and probably to our own shame, speaks as loudly to us today as it did to the artist's contemporaries. A cry against all that is bogus or a dead-end in art - the bourgeois-currying; the trend-following; the excessively materialistic, naturalistic or representational; art in which formal invention is not matched by emotional power - the book demands a return to spirituality in art in an age where a godless faith in science has resulted in a soulless culture.

Kandinsky is the artist who said that 'Art was close to religion', and his concept of painting is heavly bound up with his Russian orthodox upbringing (as well as later exposure to theosophy). One does not have to be a card-carrying mystic, however, to recognise the truth of his central argument, that the only art with the power to truly move us is that which is ruthlessly faithful to the artist's inner need, not public taste or contemporary styles.

this belief led Kandinsky towards abstraction: he rejected the idea that a painter should draw what was on the surface, instead of its inherent spirit or harmony (if this led to a cul-de-sac in 20th century art, this is because Kandinsky's mimics lacked his moral drive). This book is fascinating as Kandinsky, still creating recognisably (though distorted) representational works, was struggling towards the abstract geomotry for which he is now famous. It is essential for any lover of Kandinsky's work, and modern art in general, with its revealing analyses of colour and form, their 'psychology', and the various effects they can achieve. it is a portrait of modernism from the inside, and it is goosebumping reading a gifted contemporary passing judgement on Picasso and Matisse, although time has parted company with him in his preference for Maeterlinck and Isadora Duncan.

In his demand for a total art that would unite theatre, music and painting, he looks forward to the great Ballets Russes happenings, most significantly Nijinsky/Stravinsky/Picasso's 'The Rite of spring'. Throughout, he calls for painting to achieve the non-naturalistic liberation of music.

But behind the passion and certainty is an intellectually playful (not always caught by the fusty translation), though deadly earnest artist, who knows that everything he says is provisional and a guide, a record of his own groping, striving, tireless searching.

Kandinsky spent a lifetime painting in search of the spiritual. His body of work was his philosophical opus, provoked initially by the prodigious philosophical works of Madame Blavatsky, founder of the Theosophical Society, in which she introduced the Western world--and Kandinsky--to Eastern philosophies. Kandinsky believed that art had a duty to be spiritual in nature, an expression of "inner need," as he came to call it. He called "art for art's sake" a "vain squandering of artistic power." This book was both his call to artists to meet their obligation to humanity and his attempt to define and explain color and form in its relation to expressing the message of the soul.

This packet of cards contains the essential, and most beautiful works. The vivid colors of Kandinsky will surely lighten the day of who ever you send one to. BRAVO WASSILY!

The definitive collection! A must for any fan

"'Der Blaue Reiter' was neither a school or a movement: it was no more than a brief episode in the history of 20th century art." -- From the Introduction

Led by Wassily Kandinsky and Franz Marc, Der Blaue Reiter lasted just a few months between 1911 and 1912 but attracted such brilliant artists as Arp, Braques, Delauney, Feininger, Klee, Larionov, Malevich, Picasso, and others. This work helped establish or influence Abstraction and the Avant-Garde, and drew upon Rousseau's realism, "primitives," folklore, and other currents. In sum, this "episode" was the foundation for much of modern art in the 20th century.

The book has 180 illustrations (160 in color), and they are sumptuous: Vibrant, textured, full of movement and bold color. Printed on thick luminous paper, this is an opulent book. However, unlike some so-called "coffee-table" books, the scope is manageable, and the text reads intelligently and without hyperbole. Kandinsky is especially well represented here (showing a variety of his styles), and there is an interesting section on his interests in theater and music. Unfortunately, there is no index, and the text could have been longer, but this is an absolutely beautiful collection of paintings. The book has 223 pages, with photo credits that identify the location of the paintings. Very highly recommended.

This book is very interesting for his story. Actually the volume #1 is related to the paintings that are on museum, but this volume #2 represent the paintings that are in private collection. So the most significant fact reside in the fact that it represent the difference of style between the private taste compared by the institutional owners, like museum or foundations. In conclusion this book must be purchased also with the volume 1 for really appreciate the critic importance of his historical value.

An obligatory text for any visual, aural, or literary artist, and a necessity for any true understanding of the nature of artistic creation.

Reading this book is like entering the sanctum sanctorum of mark making. It is a first class journey through the thought processes of a major 20th century innovator as he introduces, evaluates and places in relationship the elements of drawing and composition. While not for the faint of heart, Kandinsky writes with such endearing specificity about the exact function of each component (point, line, plane) the marks take on lives of their own. His simultaneous portrayal of the function of marks through words and the distillation of words through marks offers insights into the creative process for artists at every stage of development. The organization of the material is logical, as expected from a man who started out as a lawyer, as well as magical, coming from a man who ascribed to the spiritual in art. For all its apparent simplicity it is well worth the time to savor in small portions. I particularly like the layers of meaning to be found in his concepts. There is a cascading effect to reading a description, applying the principle to an art process and then revisiting the text to have further meaning reveal itself. He literally views drawing from the inside out.

There are and have been, of course, other poets who pay a heavy devotion to the aural aspects of their work in sacrifice of a literarily traceable constructed set of metaphor and message. Cummings comes immediately to mind. However, to my knowledge (and please write me if you can add any) there are none that create such a level of intrigue and pleasure so simply with such mundane tools. Here Kandinsky shows us the incredible wealth of metaphor and depth in the utterly everyday. To so deftly focus our interest on small phrases, a "hello," a "goodbye," is very difficult to achieve without appearing melodramatic and obvious. These are simple poems for thoughtful people. (As opposed, I suppose, to thoughtless poems for simpletons?)

This is the best book on Kandinsky, his life and his work that has ever been published. Will Grohmann produces over 400 pages of artistic mastery with his pen to compliment the colorful artwork of the Russian master. Packed full with many, many pictures, this book is fun even just to look through. Definitely an enlightening and enjoyable book. If you can find it, it is definitely worth a small investment.

They have destroied everything , have redused to black square and have gone out... You can like Kandinsky or not.His mysteries reflect Russia , epoch of silver century .You can feel the puls of time. Deep penetrating in one's heart of hearts,skill to see in fine its livng connect with epoch,with people,that all fascinate a notprejudice reader of this book.