"Russian Dreams" George Shishkina - the Cathedral of Monaco

[tchaika]

"Painting is an art, and art in general is not a senseless creation of works that blurred in a vacuum, and purposeful force, it is designed to serve the development and improvement of the human soul" - Wassily Kandinsky.

[tchaika]

In French it sounds so: «La peinture est un art, et l'art dans son ensemble n'est pas une création sans but qui s'écoule dans le vide.
C'est une puissance dont chainee but doit être de développer et d'améliorer l'âme humaine. »Wassily Kandinsky


Very strong sounds.

[tchaika]

In December 1921, Wassily Kandinsky left Soviet Russia. In Berlin, he began to teach painting .
Since 1933 he lived and worked in Paris. In Russia, he has not returned . He died in the Paris suburb of Neuilly- sur-Seine (Neuilly-sur-Seine) December 13, 1944 .

It is interesting that in my youth got Kandinsky , along with art , music education, - he felt "music painting" and spoke of " sound art" .

[tchaika]

Next, Kandinsky wrote: "Painting - a language that forms only one characteristic of him, says our minds about her daily bread, daily bread, and this may in this case be granted only liking this and any other way.
If art takes on this task, it remains an empty space, since there is no power, able to replace the art . And always, in times when the soul lives a life more intense, comes to life and art, as soul and art related to each other and the interaction vzaimosovershenstvovaniem . And in times when the soul because of materialistic views, distrust and consequent purely practical aspirations stupefies himself and becomes the running, there is the view that "pure" art is not given to people for specific purposes, and aimless, that art exists for art (L 'art pour L'art).
This view - one of the few factors in this idealistic time. He - an unconscious protest against materialism, wanting to do everything practicable. This again proves the strength and inexhaustibility of art and power of the human soul, which is alive and eternal, which can befuddle, but not kill.
Here the connection between art and soul of the half-anesthetized. This, however, is fraught with consequences, so how soon the artist and the viewer (which communicate with each other through emotional language) no longer understand each other and the audience turned their backs to the artist or looking at it as a magician's sleight of external and ingenuity is admired .

The artist must first of all try to change the situation, acknowledging its duty toward art, and thus to himself, not considering himself master of the situation, and the minister of higher goals, commitments which are accurate, high and holy. He should educate yourself and learn to deepen, must first of all to cultivate the soul and to develop it so that it became a cloak of talent for something, and would not be a lost glove with an unfamiliar hand - empty and meaningless similarity hands.

The artist must have something to say, since his task - not ownership form, and the adaptation of form to content. After all, it is clear that we are talking about the education of the soul, and not about to forcibly introduce into every product, or the intentional content of this fictional contents forcibly clothe an art form! Since it would be a dead head work.

Birth of a genuine work of art is a mystery . If the soul lives an artist, it does not need crutches head arguments and theories. She finds something to say, the artist in this case may at the moment and do not realize what it was. He will tell the inner voice of the soul, what he desired shape and learn where it is (whether from external or internal "nature"). Each artist will be guided by the so-called sense, knows how suddenly and unexpectedly to himself, he might be sick of it fictional form them and how "of itself" the first, rejected by another substitute, true. Bocklin says that a true work of art - a great improvisation, that is, that reasoning, construction, pre-arrangement should be only preparatory steps leading to the goal. Even this goal may be to him unexpectedly to himself.

Artist in life - not lucky: he has no right to live without duties, his work tyazhek, and this work often becomes his cross. He should understand that all his actions, feelings, thoughts give rise to very fine, impalpable, but durable material from which grow his creations, and that he therefore did not free in life, but only in the arts.
This naturally implies that the artist has a triple responsibility, compared to the non-artist: 1) it must make productive use of talent given to him, 2) the actions, thoughts and his feelings, as well as any other person, form a spiritual atmosphere, purifying or contaminating the environment environment, and 3) actions, thoughts and feelings are the material for his creations, which, in turn, affect the spiritual atmosphere. "

[tchaika]

Сообщение от tchaika; 1810583 "

It is interesting that in his youth was Kandinsky , along with art , music education, - he felt "music painting" and spoke of " sound art" .

Georgy Shishkin also received his musical education - from six years he studied at the School of Music in violin . They write that " in his paintings, hear the music ."

[Nataly_fr]

Сообщение от tchaika

Georgy Shishkin also received his musical education - from six years he studied at the School of Music in violin . They write that " in his paintings, hear the music ".

And feel the soul , and there is a reason causing the motives . I misspoke , that " forcing " our minds work - to think, to try to " reach out " to the meaning inherent in the film, to thoughts, through which the artist communicates with us - the audience.

[tchaika]

Tomorrow October 21 20ch.30 in the Cathedral of Monaco will be performed oratorio Masna " Maria Magdalene " Chamber Choir Cremona (Coro Camerata di Cremona) and the Philharmonic Orchestra of Italy under Mark Fracassi (Marco Fracassi). The Italian city of Cremona (Cremona) - is the birthplace of composer Claudio Monteverdi worked there the famous violin makers Amati, Stradivari, Guarneri.

[tchaika]

Photos taken during the execution of the oratorio Masna "Maria Magdalene":

[tchaika]

In anticipation of a world cataclysm, Wassily Kandinsky spoke of the messianic role of the artist, believing in the magical power of art.
In his theoretical writings he addressed the issue of music, often resorted to the parallels between the visual and musical art, mentioned the names of composers, among them the most loved them were Richard Wagner, Modest Mussorgsky, Debussy and Skryabin. Artist a good command of the piano and cello.

The artist Kandinsky had something of a "color hearing", like Rimsky-Korsakov and Alexander Scriabin. But unlike them color in Kandinsky associated more with timbre of sound, rather than a specific tone.
Perhaps for the very Wassily Kandinsky colored spots, their combinations, transitions from one to another, the collision mixing "sounded" like resonant orchestral harmonies, as a colorful musical pattern in which the interaction of different timbre, dynamics, pitch, interval composition of sound complexes.
His "hearing" colors, their notions of timbre colors Kandinsky describes in his book "Concerning the Spiritual in Art" (a chapter entitled "Language of colors"). This book appeared in 1911, ie exactly a hundred years ago.

[tchaika]

"Musical tone has direct access to the soul. He immediately finds in her response, as in humans," the music in his soul. "

"Mood" of the work may improve mood and raise the viewer. Such works are protected the heart from vulgarity. They maintain it at a certain height, just as the setting support at an appropriate height of a string musical instrument.

In each picture lies a mysterious whole life, whole life with many torments, doubts, for hours of inspiration and light. Where directed this life? Which areas of the soul cries out the artist, and if it worked? What she wants to usher in? "The vocation of the artist - to send light into the depths of the human heart" - says Schumann.

Spiritual life, part of which is art and where it is one of the most powerful factors, there is movement forward and upward. In the darkness of the underlying causes need to rush "in the sweat of thy face" forward and up - through suffering, evil and suffering. After pass one step removed from the path of some obstacles, some unknown evil hand casts new blocks on the road, which at times, seemingly asleep road, making it unrecognizable.
Then, inevitably comes one of us - the people, it all like us, but is a mysteriously hidden in his power "vision" . He sees and points. Sometimes he would get rid of this supreme gift, which is often the case for a heavy cross. But he can not do. Accompanied by mockery and hatred, always forward and upward pull it stuck in the stone chariot of humanity.

During periods of muteness and blindness, the decline in the spiritual world, where there is no transformed bread, people attach special significance, and exceptional outward success, they care only about material wealth and as a great achievement welcome technological progress, which is and can only serve the body. Purely spiritual forces at best undervalued, if not altogether overlooked.

Lonely and hungry with the ability to see mocked or considered mentally abnormal. A voice of rare souls who can not keep under the cover of sleep, experiencing a vague need of spiritual life, sound plaintive and hopeless in the rough material choir. Gradually, the spiritual night descends deeper and deeper. Everything becomes grayer and grayer around these frightened souls and their carriers, exhausted and weakened by doubts and fears, often prefer a gradual decline that forced a sudden drop in the black.

At such times, art is a humiliating existence, it is used solely for the purposes of the material. It is looking for material for their content in the crude material, as the more exalted he did not know.
"What" in art there is no eo ipso (consequence). The question is "how." This question becomes "Credo" (Creed). Art obezdusheno.

Art continues on the path of the "How". It focuses, it is understandable only by the artists who are beginning to complain about the indifference of the audience for their works. Usually, an artist in such times there is no need to talk a lot and it has already noticed the presence of a minor "differently." During this "other" known a handful of patrons and connoisseurs of art set it apart (which then, in the event that brings great wealth!), So a large mass of seemingly gifted clever people pounced on art, which seems so simple to master. Each "art center" are thousands and thousands of artists, most of whom are looking for just new manner. They are without enthusiasm, with a cold heart, soul sleeping produce millions of works of art.

For his ingenuity, inventiveness and gift for the gift of perception of an artist seeking payment in physical form. Its aim is the satisfaction of ambition and greed. Instead, in-depth collaboration of artists comes a struggle for these benefits. Complain of excessive competition and overproduction. Hatred, partiality, clannishness, jealousy and intrigue are the consequences of this aimless materialism of art.

"Competition" is growing. Wild chase for success makes searching more and more external. Small groups who happen to break out of this chaos, artists and pictures, digging in the conquered areas. The rest of the audience watching, not knowing lost interest in this art, and quietly turned back to him.

But in spite of all blindness, despite the chaos and the wild chase, in fact, spiritual triangle, slowly but surely, with irresistible force moving forward and upward.

The invisible Moses descends from the mountain, seeing a dance around the golden calf. But with him he still has people new wisdom.
His speech inaudible to the masses still above all the other hears an artist. He at first unconsciously and imperceptibly to himself should call. Already in the question "How" hidden seed of healing. If this is the "How" in general, and is sterile, then in the "other", which we still today call "individuality," yet there is an opportunity to see one of the subject is not solely financial.
If it is, "How to" involves mental and emotion of the artist and if it is able to detect its more subtle emotions, the art on the threshold of the way in which accurately be able to find the lost, "What," which is the spiritual bread of spiritual awakening. "

Wassily Kandinsky, "Concerning the Spiritual in Art"