Tate Modern | Past Exhibitions | Kandinsky: The Path to Abstraction

Kandinsky’s paintings during the years immediately preceding the First World War often convey a dramatic sense of a world on the verge of destruction. It was a time of enormous upheaval, with the old social order on the verge of collapse in his native Russia. An artistic revolution was also underway, with Kandinsky emerging as one of the key figures, as his works showed a distinct move away from figuration.

Improvisation 30 (Cannons) (1913) evokes the imagery of war. Whilst placing increasing emphasis on lines, shapes and colours to convey emotion, Kandinsky still uses recognisable elements, such as cannons, a castle and a crowd of figures. Although Kandinsky admitted that it was probably the perpetual talk of war that led him to include the cannons, he went on to explain that the painting was not intended as a literal representation. Instead, he said, the recognisable elements in the painting were expressions of what the spectator feels while looking at the painting.

Composition VII and the closely related Composition VI, in the next room, were painted in quick succession in 1913. His two largest paintings, they embody his complex philosophical and pictorial ideas of that time. Composition VII was the result of two months of preliminary work: Kandinsky made more studies for this composition than for any other – over thirty drawings, watercolours and sketches. However, according to Gabriele Münter, the final version was painted in just three days. Münter took four photographs of the painting at critical stages of its evolution. These, together with the many studies, give an insight into Kandinsky’s working methods and underlying vision. While the final painting appears to be totally non-figurative, the photographs and studies, together with Kandinsky’s own writings, suggest apocalyptic themes of Deluge, Last Judgement, Resurrection and Paradise. It is possible to detect recognisable motifs, such as the boat and oars in the lower left corner, but Kandinsky has deliberately veiled these external, representational elements in favour of the internal, spiritual meaning.

Room 6

Wassily Kandinsky
Improvisation 30 (Cannons) 1913
oil on canvas 1100 x 1100 mm
The Art Insititute of Chicago

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Wassily Kandinsky
Composition VII 1913
oil on canvas 2000 x 3000 mm
The State Tretyakov Gallery

Wassily Kandinsky
Black Spot I 1912
oil on canvas 1000 x 1300 mm
The State Russian Museum

Wassily Kandinsky
Improvisation 34 (Orient II) 1913
oil on canvas 1200 x 1400 mm
The State Museum of Fine Arts of Tartarstan

Wassily Kandinsky
Study for Composition VII 1913
oil and tempera on canvas 785 x 1005 mm
Städtische Galerie im Lenbachhaus, Munich

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Wassily Kandinsky
Landscape with Red Spots I 1913
oil on canvas 780 x 1000 mm
Museum Folkwang, Essen

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Wassily Kandinsky
Sketch for Deluge II 1912
oil on canvas 950 x 1075 mm
Acquavella Galleries, Inc.


	About Visiting Information Book Tickets Events & Education Room Guide Shop Teachers' Pack Further Resources Room 6 Room plan Room 1 Room 2 Room 3 Room 4 Room 5 Room 6 Room 7 Room 8 Room 9 Kandinsky’s paintings during the years immediately preceding the First World War often convey a dramatic sense of a world on the verge of destruction. It was a time of enormous upheaval, with the old social order on the verge of collapse in his native Russia. An artistic revolution was also underway, with Kandinsky emerging as one of the key figures, as his works showed a distinct move away from figuration. Improvisation 30 (Cannons) (1913) evokes the imagery of war. Whilst placing increasing emphasis on lines, shapes and colours to convey emotion, Kandinsky still uses recognisable elements, such as cannons, a castle and a crowd of figures. Although Kandinsky admitted that it was probably the perpetual talk of war that led him to include the cannons, he went on to explain that the painting was not intended as a literal representation. Instead, he said, the recognisable elements in the painting were expressions of what the spectator feels while looking at the painting. Composition VII and the closely related Composition VI, in the next room, were painted in quick succession in 1913. His two largest paintings, they embody his complex philosophical and pictorial ideas of that time. Composition VII was the result of two months of preliminary work: Kandinsky made more studies for this composition than for any other – over thirty drawings, watercolours and sketches. However, according to Gabriele Münter, the final version was painted in just three days. Münter took four photographs of the painting at critical stages of its evolution. These, together with the many studies, give an insight into Kandinsky’s working methods and underlying vision. While the final painting appears to be totally non-figurative, the photographs and studies, together with Kandinsky’s own writings, suggest apocalyptic themes of Deluge, Last Judgement, Resurrection and Paradise. It is possible to detect recognisable motifs, such as the boat and oars in the lower left corner, but Kandinsky has deliberately veiled these external, representational elements in favour of the internal, spiritual meaning. Room 6 Wassily Kandinsky Improvisation 30 (Cannons) 1913 oil on canvas 1100 x 1100 mm The Art Insititute of Chicago enlarge Wassily Kandinsky Composition VII 1913 oil on canvas 2000 x 3000 mm The State Tretyakov Gallery Wassily Kandinsky Black Spot I 1912 oil on canvas 1000 x 1300 mm The State Russian Museum Wassily Kandinsky Improvisation 34 (Orient II) 1913 oil on canvas 1200 x 1400 mm The State Museum of Fine Arts of Tartarstan Wassily Kandinsky Study for Composition VII 1913 oil and tempera on canvas 785 x 1005 mm Städtische Galerie im Lenbachhaus, Munich enlarge Wassily Kandinsky Landscape with Red Spots I 1913 oil on canvas 780 x 1000 mm Museum Folkwang, Essen enlarge Wassily Kandinsky Sketch for Deluge II 1912 oil on canvas 950 x 1075 mm Acquavella Galleries, Inc. next room back to top