INTRODUCTION



I do believe that the footprints of life’s beauty can be seen and perceived in many forms of art such as poems, sculpture as well as paintings and one detailed  example of an existing epitome’ of art are the amazing and world class masterpieces as made possible by Wassily Kandinsky as reflected through his wonderful art works through paintings such as the ‘The Great Synthesis’ and ‘Blue Mountain’ as his masterpieces really soothes to receive a better judgment that an individual can give in a particular piece of art created by Kandinsky. Thus, Kandinsky’s great works is a manifestation that art is a part of every day living, that Kandinsky’s works have affected people’s emotions and feelings and how they perceive things in their environment as well as deal with the unpredictable waves of life. Moreover, Wassily Kandinsky can be considered as one of the greatest artist of time and is the pillar personality when it comes to depicting various views of abstract in terms of shapes, figures and diagrams that has contributed in the world of graphics and designs as being carried out by the contemporary artists as of the present as well as students like in the field of fine arts designing and other related field that is art related.


 


MAIN BODY


Wassily Kandinsky from Moscow Russia was being fascinated by art and music’s poignant influence because it allows the individual to have the freedom of imagination, interpretation and emotional response that can be based from abstract emotions through art designs and paintings and Kandinsky’s extraordinary understanding of the resemblance between painting and music came forth in his text “On Stage Composition,” and “Yellow Sound,” of prose poems and expresses certain spiritual values as an advanced art as Kandinsky emphasizes such superiority in advancing toward what the epoch of the great spiritual. Moreover, he realized the tremendous power that art could exert over the spectator and that painting could develop powers equivalent to those of music within the magnitude of revolutionary change as compared to the fundamental transformation in Kandinsky’s painting from a figurative idiom to gratis, open, intangible work as the works of Kandinsky is an example of the intellectual likeness of artists in search of latest vehicles for articulating their deepest feelings and passion through art.


Thus, Kandinsky believes that,  if the objective element of a painting is to be taken away, the building blocks of the composition would reveal themselves to cause a feeling of repose and tranquil repetition and of well-balanced parts in a manner that has great modernism in lieu to modern graphic design. The analysis made by Kandinsky did not result from simple arbitrary ideas associations, but from the inner experience of the painter who has passed years creating abstract paintings of an incredible sensorial richness, working on forms and with colors, observing for a long time and tirelessly his own paintings and those of other artists, noting simply their subjective and pathetic effect on the sensibility to colors of the artist and poetic soul.


Henceforth, the point of the Triangle is constituted only by some individuals who bring the sublime bread to men. It is a spiritual Triangle which moves forward and rises slowly and sometimes remains immobile. The inner necessity for Kandinsky is the principle of the art and the foundation of forms and colors’ harmony. He defines it as the principle of the efficient contact of the form with the human soul. ‘’Every form is the delimitation of a surface by another one; it possesses an inner content which is the effect it produces on the one who looks at it attentively’’. This is the right of the artist to an unlimited freedom, but this freedom becomes a crime if it is not founded on such a necessity.


The art is born from the inner necessity of the artist in an enigmatic and mystic way and acquires life as it becomes an independent subject by a spiritual breath. For instance, the mixing of white with black leads to gray, which has no active force and the affective tonality is near that of green and that the red and the green form the third big contrast, as the orange and the purple. Thus, he has been fascinated by the expression power of linear forms that is an important aspect when dealing to graphics designing as the ‘’pathos of a force entering in action and the effort is annoyed by no obstacle because the straight line proceeds from the action of a unique force with no opposition that its domain when on the opposite two forces are in presence and enter in conflict with the angular line.” (Michel Henry, Seeing the invisible, on Kandinsky) Furthermore, ‘’Kandinsky calls abstract the content that painting must express, that’s to say this invisible life that individuals are, as there needs to be ‘’the use of Kandinskian equation, to which peopke have alluded to, can be written in reality as follows : Interior = interiority = invisible = life = pathos = abstract.” 


Generally, Kandinsky analyzes the geometrical elements which compose every painting, namely the point and the line, as well as the physical support and the material surface on which the artist paints and which he calls the basic plane and doesn’t analyze them on an objective and exterior point of view, but on the point of view of their inner effect on the living subjectivity of the observer who looks them and let them acting on his sensibility so, the the point used by the painter is not a geometric point, it is not a mathematical abstraction, it possesses a certain extension, a form and a color. This form can be a square, a triangle, a circle, which is like a star that will take a different tonality in resonance with other points or with lines. The line is the product of a force, it is a point on which a living force has been applied in a given direction, the force applied on the pencil or on the paint brush by the hand of the artist. The produced linear forms can be of several types : a straight line which results from an unique force applied in a single direction, an angular line which results from the alternation of two forces with a different direction and a curved-like line produced by the effect of two forces acting simultaneously.


The subjective effect produced by a line depends on its orientation : the horizontal line corresponds to the ground on which man rests and moves, to flatness, it possesses a dark and cold affective tonality similar with black while the vertical line corresponds to height which offers no support, it possesses on the opposite a luminous and warm tonality close from white and yellow. A diagonal by consequence a less warm or cold tonality according to its inclination according to the horizontal and to the vertical. The angle formed by the angular line possesses as well an inner sonority which is warm and close to yellow for an acute angle, cold and similar to blue for an obtuse angle and similar to red for a right angle. The artist possesses the intuition of this inner effect of the dimensions, which he chooses according to the tonality he wants to give to his work. Kandinsky even considers the basic plane as a living being that the artist “fertilizes” and of which he feels the “breathing” as it evokes the condensation and heaviness and that the work of the painter to listen to know these effects in order to produce paintings which are not just the effect of a random process, but the fruit of an authentic work and the result of an effort toward the inner beauty.


Henceforth, the abstract ‘’language’’ of line, shape and color has been theorized as a system of visual communication from verbal language but in universal faculties of perception as theorists of “visual language” aimed to locate a universal code that communicates through the mechanics of the eye and brain, bypassing the contingencies of verbal language and cultural context. The modernist theory of “visual language” compares verbal and visual expression in order to keep the two systems apart from one another, had tried to identify abstract and universal grammar of visual expression and elaborated the theory of “visual language” and gave it a scientific rationale and excavates some of the origins of contemporary design theory with the goal of finding a place within those assumptions for a more expansive “language of vision’’, intersects with verbal language to discuss the laws of visual form, calling simple geometric shapes “‘forms belonging to the sphere of graphic language, constituting a “‘sphere of draftsmanship with its limited means of expression respectively.


CONCLUSION


Therefore, there is a realization that it would be necessary to develop such a style in terms of modern graphics designing through the power of art in different mediums in fostering knowledge and talents of an artist to create acceptance and comprehension. Most of the works of Kandinsky had retained fragments of recognizable imagery and still bound to the outward appearance of nature and must draw forms from it’’. There need to achieve the sublimity of the image by freeing color from its descriptive function to reveal its latent expressive content. Kandinsky indicates the naturalistic content of subject matter with abbreviated signs, emphasizing the purely pictorial aspects of color and form in order to dematerialize the objective world. In addition, Kandinsky retains a measure of formal freedom, refusing to accede to the dictates of pure geometricization; there is even a touch of playfulness in the picture, whose forms have a vaguely toy-like appearance as the geometry is orchestrated in a euphoric riot of color, set against and anchored deep blue background which introduces a musical connotation and transports the picture into the realm of dream and the irrational. Kandinsky frequently declared that geometrical form as a means to an end in terms of seemingly ‘rational’ phase in the development of his art he refrained from casting aside the ideas of dream and romance per se.




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