'Lyrisches' in the Depot
Europe, The Netherlands, Zuid Holland, Rotterdam, The Depot, Lyrisches, Wassily Kandinsky,
The Museum Boijman Van Beiningen's Depot is all about storing art and not so much displaying it. For some influential art works, an exeception was made. E.g. for ‘Lyrisches’ here. A neo-modernist building hosting a tribute to an early-modernist painting. Nice.
The painter Wassily Kandisnky was one of the founders of the Blaue Reiter (the blue rider) art movement. For the members, the countryside and its symbols were the only way to authenticity. The painting of the time with its neat and bourgeois conventions was frowned upon. The bourgeois art world in its turn, was not charitable towards the movement : ‘Hysterical daubs’, ‘crude intolerable outrages’ and ‘childish rubbish’ were some of the charcterizations used.
A ‘the established and the outsiders' thing….. Early modern music, e.g. Starvinsky’s ‘Le sacre du printemps’ was treated in a same way. It was nicknamed `the massacre of printemps', and called `a strange spectacle of laborious and puerile barbarism”. And orchestra members initially were opposed to playing it, they thought that the partiture was full of faults.
The quotes were used by historian Philipp Blom in his fabulous ‘The vertigo years’ (2008).
About Lyrisches: “With minimal means, a few striking lines and areas of color, Kandinsky captured this rider on horseback at full gallop. The canvas dates from 1911, Kandinsky's breaking point from realism to abstraction. Through the free use of shapes, colors and lines he wanted to achieve a synthesis of emotion and intellect. This made him one of the founders of abstract art.” Source: here.
This is number 15 of the Museum Boijmans van Beuningen album.
'Lyrisches' in the Depot
Europe, The Netherlands, Zuid Holland, Rotterdam, The Depot, Lyrisches, Wassily Kandinsky,
The Museum Boijman Van Beiningen's Depot is all about storing art and not so much displaying it. For some influential art works, an exeception was made. E.g. for ‘Lyrisches’ here. A neo-modernist building hosting a tribute to an early-modernist painting. Nice.
The painter Wassily Kandisnky was one of the founders of the Blaue Reiter (the blue rider) art movement. For the members, the countryside and its symbols were the only way to authenticity. The painting of the time with its neat and bourgeois conventions was frowned upon. The bourgeois art world in its turn, was not charitable towards the movement : ‘Hysterical daubs’, ‘crude intolerable outrages’ and ‘childish rubbish’ were some of the charcterizations used.
A ‘the established and the outsiders' thing….. Early modern music, e.g. Starvinsky’s ‘Le sacre du printemps’ was treated in a same way. It was nicknamed `the massacre of printemps', and called `a strange spectacle of laborious and puerile barbarism”. And orchestra members initially were opposed to playing it, they thought that the partiture was full of faults.
The quotes were used by historian Philipp Blom in his fabulous ‘The vertigo years’ (2008).
About Lyrisches: “With minimal means, a few striking lines and areas of color, Kandinsky captured this rider on horseback at full gallop. The canvas dates from 1911, Kandinsky's breaking point from realism to abstraction. Through the free use of shapes, colors and lines he wanted to achieve a synthesis of emotion and intellect. This made him one of the founders of abstract art.” Source: here.
This is number 15 of the Museum Boijmans van Beuningen album.