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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 Paris: 1934–1944
Contributions by Vivian Endicott Barnett and Christian Derouet
Published in 1985
268 pages, fully illustrated
Softcover, 8.50 x 10 inches
Representing the third show in a project organizing Kandinsky's artistic output by his geographical location, this catalogue along with Kandinsky in Munich and Kandinsky: Russian and Bauhaus Years, represents an extensive investigation into the life and work of the nonobjective artist. This final installment focuses on the last decade of his life, when biomorphic forms entered into much of his work. The catalogue includes essays by Christian Derouet and Vivian Endicott Barnett as well as over 250 color and black-and-white images, a selected bibliography, chronology, and a documents section of relevant archival materials.
After the summer of 1942 he devoted all of his time to gouaches and works combining several techniques; less dense than the paintings, conveying less tension, they were close relatives or iridescent reflections of the "bagatelles" of his earlier days. They were meant to be instantly appealing. As such they were probably more influenced by the spirit of the times than the paintings were. Kandinsky did not go into detail about his methods. While his letters are full of allusions to his leisure activities, his walks and excursions, he was very secretive when it came to his creative life.