1912, Wassily Kandinsky, Study for Composition VII (Draft I) -- Albertina (Vienna)
From the museum label: In the days of "Der Blaue Reiter" (The Blue Rider), Kandinsky worked with Gabriele Münter in Murnau. Many of his "Impressions," "Improvisations," and "Compositions" date from there, including this Study for "Composition VII." Kandinsky's "Impressions" capture the imprints of outer nature, his "Improvisations" render spontaneous impressions of the nature inside, while his "Compositions" mirror slowly growing transformations of what he has seen and felt. The present study was painted in the phase of transition from figuration to abstraction. It shows a rearing horse blending into a wildly agitated landscape of colors and forms. Together with more than thirty oil sketches and watercolors, Study for "Composition VII" is one of the numerous works that prepared the final version of Composition VII from 1913. With its format of 2 x 3 meters, the final version was to be Kandinsky's largest work ever.
1912, Wassily Kandinsky, Study for Composition VII (Draft I) -- Albertina (Vienna)
From the museum label: In the days of "Der Blaue Reiter" (The Blue Rider), Kandinsky worked with Gabriele Münter in Murnau. Many of his "Impressions," "Improvisations," and "Compositions" date from there, including this Study for "Composition VII." Kandinsky's "Impressions" capture the imprints of outer nature, his "Improvisations" render spontaneous impressions of the nature inside, while his "Compositions" mirror slowly growing transformations of what he has seen and felt. The present study was painted in the phase of transition from figuration to abstraction. It shows a rearing horse blending into a wildly agitated landscape of colors and forms. Together with more than thirty oil sketches and watercolors, Study for "Composition VII" is one of the numerous works that prepared the final version of Composition VII from 1913. With its format of 2 x 3 meters, the final version was to be Kandinsky's largest work ever.