"The artwork is composed of two elements. The inner and the outer. The inner element, regarded individually, is the emotion that feels the artist' s soul . That emotion is capable to provoke a parallel emotion in the spectator. Generally, while the soul remains bounded to body, only the vibrations will be able to be attracted though the sensation. Hence, the sensation is a bridge from the materialness toward material (artist) and vice versa (spectator). Emotion-Sensation-Work-Sensation- Emotion." (Wassily Kandinsky)
Wassili Kandinski represents by far, one of the highest peaks in what concerns the reinvention and redefinition of art, deeply worried about Theosophy, inaugurated several artistic movements in pursuit of new forms of expression. Indeed, his memories from Moscow, his unforgettable impressions from the childhood, generated a vigorous inner creator impulse that would become a true driving force.
The text describes with zealous detail, his metamorphoses in Munich since 1896 to 1911, his decisive meet with Gabriele Munter, his settlement in Murnau, as well as his breakthrough toward the abstraction "The blue rider" his interlude in Russia 1914-1921, his fruitful period in Bauhaus 1922-1933 until his last stage: the bio-morph abstraction in Paris 1934-1944.
That febrile disposition respect the perpetual innovation, the same fact he could live in worlds so opposite (October 1917, respect the new tendencies of Paris and Munich as gravity centers of fevered proposals), the sharp contrast between tradition and innovation, the breakthrough of so many paradigms, the Fauvism, Cubism, Impressionism, Constructivism, enlivened in his soul the imperious necessity to transcend the Halls of his art and thence, his concerns for publishing and divulgating his standpoints.
His life was a worthy example of Camus statement. "To create is to live twice" and this book provides of a very ordered sequence, every one of his different stages of transformation.