艺术果酱｜抽象艺术先驱：康定斯基
01
Vasily Kandinsky – a painter and art theorist. Alongside Piet Mondrian and Kazimir Malevich, Kandinsky is regarded as a pioneer of abstract art.
瓦西里·康定斯基-画家和美术理论家。康定斯基与彼埃·蒙德里安和马列维奇一起，被认为是抽象艺术的先驱。
In our perception, Kandinsky is an abstract artist, seemingly not very connected to graphic design. As we continuously study and learn the design process, it is easy to notice his influence.
康定斯基在我们的印象中，是一个抽象派的艺术家，看似和平面设计关联性不大。当我们在不断地研究和学习设计过程，很容易就会注意到。
His promotion of graphic design as a whole and his continuous creation of new forms of expression through painting involved extensive research on the spatial aspect of flat surfaces, as well as point, line, and plane, all of which were ultimately reflected in his works and influenced many art movements.
他对整个平面设计的推动，以及在不断的通过绘画来创造新的表现形式的过程中，对平面的空间型以及点线面的方面做了大量的研究，最终也都体现到了他的画作中，影响了很多的艺术流派。
02
Composition X
构成x
“Composition X” was the last major work completed by Kandinsky before the outbreak of World War II. He created a mysterious and ethereal world using a multitude of colors and shapes, but there is no sense of urgency or impending military conflict apparent in this piece.
《构成X》就是康定斯基在第二次世界大战爆发前完成的最后一幅大型画作。他利用大量的色彩和形状描绘了一个神秘虚幻的世界，但从这件作品中丝毫察觉不到军事冲突一触即发的紧迫感。
rapallo – boat in the sea 1902
He described his earliest color memory as being of intense green, white, vermilion, black, and gray. This unusually clear memory of images and colors accompanied him throughout his life and became a source of inspiration for his work.
他描述生平最初的颜色记忆是葱郁明亮的绿色、白色、洋红色、黑色以及赭石色。这种对图像和色彩异常清晰的记忆能力，伴随着他的一生并成了他创作灵感的源泉
beach baskets in holland 1904
Arthur Lismer’s painting course was crucial for Kandinsky. Lismer used an Impressionist technique in his work and encouraged Kandinsky to use a detached technique in juxtaposition. In “Beach Baskets In Holland,” we can see the manifestation of this style.
阿斯比的绘画课程对于康定斯基是十分重要的，阿斯比用印象派手法进行创作，并且鼓励康定斯基在并置中使用分离的技法，在这幅《Beach Baskets In Holland》我们就能看到这种风格的体现。
Old town II -1902
In Kandinsky’s early work “Old Town II,” he portrayed a highly stylized cityscape. The inspiration for this piece came from Kandinsky’s travels to Rothenburg. The painting uses an Impressionist technique to depict a leisurely and warm afternoon, perfectly capturing Kandinsky’s state of blissful innocence during his time in Munich.
在康定斯基早期的作品《老城 Old town II》，他用色彩表现了一个高度风格化的城镇，这幅作品的灵感来自于康定斯基的罗滕堡之旅，整幅画运用了印象派的手法，表现出了一个悠闲温暖的午后时光，它完美地表达了康定斯基在慕尼黑时不谙世事的美好状态。
Cemetery And Vicarage In Kochel 1909
The use of heavy strokes in the painting occasionally distinguishes between different colors in the background. Even between different areas, varying concentrations of colors and paints are often used interchangeably to draw attention and give the painting a restless and flickering texture.
画面中常使用厚重的笔触，偶尔相互区别以让背景不同的颜色显现出来。甚至在不同区域之间经常轮流使用不同浓度的颜色和画面以使人集中注意力，也让画面有一种焦躁、闪烁的质感。
The figures of the two “Africans” in the painting are almost overwhelmed by the bright, intense colors. There is a consistency in works from this period, characterized by a cautious exploration of color and form as an independent language.
画中的两个「非洲人」的形象几乎被鲜亮激烈的颜色淹没。这一时期的作品在创作上具有一致性，都是谨慎的一步步地发掘色彩和形式的独立语言。
Sky Blue
天蓝色
In the work titled “Sky Blue,” various colored shapes and patterns float against a sky-blue background, reminiscent of an unknown world observed through a microscope. “Color and shape innovation” repeatedly creates an exhilarating effect, displaying a defiant vitality against the mottled, cloud-like background.
在《天蓝色》这件作品中，各种颜色的形状和图形在天蓝色背景上飘浮，就像透过显微镜观察到的未知世界。「颜色和形状的创新」一次又一次地创造出欢快的效果，在色彩斑斓的云状背景上显示出独立顽强的生命力。
Composition VIII
构成VIII
Kandinsky’s major work during the Weimar period was a large-scale piece titled “Composition VIII.” Geometric vocabulary is limited to a concentrated set of elements such as circles, semicircles, rows, straight lines, and curves. The dominant circle is placed in the upper-left corner of the painting, surrounded by other non-concentric circles.
康定斯基在魏玛时期的主要作品是一幅被命名为《构成 VIII》的大型作品。几何词汇被限定为集中有限的元素，例如圆形、半圆、排线、直线还有曲线，处于主导地位的圆形位于画面的左上角，还有其他一些非同心圆围绕在周围。
03
Kandinsky said, “Abstract art exists in a new world, unrelated to ‘reality’ on the surface, but closely connected to the ‘real’ world. Fundamentally, it follows the universal laws of the ‘cosmic world.’ Thus, the ‘new art world’ exists in parallel with the ‘natural world.’ This ‘art world’ is very real and tangible. As such, I would rather call ‘abstract’ art ‘concrete art’.”
康定斯基说：「抽象艺术处于一个新世界中，表面上与“现实”并无关联，但却与“真实”的世界密切相关。究其根本，它也遵循‘宇宙世界’的通行法则。所以“新的艺术世界”与“自然界”平行存在。这个“艺术世界”很真实也很具象。正因为如此，我更愿意将“抽象”艺术称为“具象的艺术”。」
Kandinsky actively participated in significant developments in modern art. However, his most notable contribution lies in creating an entirely new painting philosophy, which he imparted to the masses through various forms.
康定斯基深入的参与了现代艺术的重要发展进程。但他最大的贡献在于创造出一种全新的绘画理念。他通过各种形式将这样的理念传授给大众。
Kandinsky adhered to his conviction in the “inner world” until his last breath.
康定斯基直到去世前都坚持自己认定的「内心世界」。
In this visual world, abstraction is more than just itself or a means of expression; it signifies an exploration of matter and life emerging from desire.
在这个视觉的世界中，抽象并不只是其本身或只是单纯用来表达的一种手段，它意味着从欲望中升华出的对物质和生命的探究。
