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New Harmony: Abstraction between the Wars, 1919–1939 celebrates the spirited trends in abstraction of the interwar period.
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Kandinsky in Munich: 1896–1914
Contributions by Peter Jelavich, Carl E. Schorske, and Peg Weiss
Published in 1982
312 pages, fully illustrated
Softcover, 8.15 x 10 inches
Merging the time-tested formats of the museum solo show and the historic location-centered exhibition, Kandinsky in Munich was the first of a series of in-depth curatorial examinations. Focusing exclusively on the artist's early career in that city, the exhibition and catalogue features over 250 images of both Kandinsky's work and that of his friends, teachers, and colleagues while in Munich. Also included are essays by Peter Jelavich and Peg Weiss, a selected bibliography of works written on and by the artist; a chronology of the artist’s life, and a documents section that lists relevant archival materials.
Within months of Kandinsky's arrival in Munich, Obrist's young disciple Endell published in the pages of Dekorative Kunst his stunning prophecy of a "totally new art," an art "with forms that mean nothing and represent nothing and recall nothing," yet which will excite the human spirit as only music had previously been able to do. Shortly thereafter he elaborated on his prophesy, naming the new art "Formkunst" or "form-art," and stating that the time was soon approaching when monuments erected on public plazas would represent neither men nor animals, but rather "fantasy forms" to delight and intoxicate the human heart.