艺术果酱｜抽象艺术先驱：康定斯基
Wassily Kandinsky – painter and art theorist. Kandinsky, along with Piet Mondrian and Kazimir Malevich, is considered 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 impression, Kandinsky is an abstract artist whose work seems to have little connection with graphic design. However, as we continually study and learn about the design process, it becomes easy to notice the influence he had on the field.
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 well as his continuous creation of new forms of expression through painting, involved extensive research on aspects of planar space and point, line, and plane. Eventually, these were all reflected in his work and influenced many artistic styles.
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。
Composition X/构成 X
“Composition X” is the last large-scale work that Kandinsky completed before the outbreak of World War II. He used a large number of colors and shapes to depict a mysterious and dreamlike world, but there is no sense of urgency in the imminent military conflict in this work.
《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 memories as the bright green of onion shoots, white, carmine, black, and slate gray. This extraordinary ability to clearly remember images and colors accompanied him throughout his life and became a source of inspiration for his creations.
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
Asbury’s painting course was very important to Kandinsky. Asbury used Impressionist techniques in his creations and encouraged Kandinsky to use deconstructive techniques in his juxtapositions. In this work “Beach Baskets in Holland”, we can see the embodiment 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。
In Kandinsky’s early work “Old Town II”, he used colors to portray a highly stylized town. The inspiration for this work came from Kandinsky’s travels in Rothenburg. The entire painting employs Impressionist techniques to express a leisurely and warm afternoon, perfectly capturing Kandinsky’s idyllic state of mind while in Munich.
在康定斯基早期的作品《老城 Old town II》中，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。
In the painting, heavy strokes are often used, with occasional contrasts to distinguish between different background colors. Even different concentrations of colors and textures are often alternated between different areas to draw attention, giving the painting an anxious 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 African figures in the painting are almost submerged in bright, intense colors. The works from this period are consistent in their creation, carefully exploring the independent language of color and form one step at a time.
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。
天蓝色 Sky Bluedivbrdiv
In the work “Sky Blue”, various shapes and graphics of colors float on the sky-blue background, like an unknown world observed through a microscope. The “innovation of color and form” creates a cheerful effect time and again, showing independent and strong vitality on 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 work titled “Composition VIII”. Geometric vocabulary was limited to a concentrated set of elements such as circles, semicircles, rows, straight lines, and curves. The dominant circular shape is located in the upper left corner of the picture, 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。
Kandinsky said, “Abstract art exists in a new world, seemingly unrelated to ‘reality’ on the surface, but is closely related to the ‘real’ world. It follows the universal laws of the ‘cosmic world’. Therefore, the ‘new world of art’ exists in parallel with the ‘natural world’. This ‘world of art’ is both real and concrete. For this reason, I prefer to 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 was deeply involved in the important development process of modern art. But his greatest contribution was to create a completely new concept of painting. He communicated such concepts to the public 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 persisted in his identified “inner world” until his death.
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 not just itself or just a means of expression, it implies a sublimation from desire to explore matter and life.
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。
