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Wassily Kandinsky papers, 1911-1940 (bulk 1921-1937)

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Kandinsky (Wassily) Papers
Series I. Bauhaus teaching materials, Berlin/Dessau, 1925-1933 ca. 260 items
Series I.A. Notes for semesters I, II, and IV, 1925-1933 ca. 190 items
Notes for semesters I, II, and IV: 1925-1933

The subseries contains annotated typescripts and manuscripts notes; all text is in German. The arrangement of the notes follows the order of pagination found on the items; however, the numbering is most likely not in Kandinsky's hand. The notes relate mainly to the courses Abstrakte Formelemente [Theory of Form] and Grundlehre [Preliminary Course] and focus on the graphic elements: line, point, plane, and composition, and on Kandinsky's color theory. Also present are notes related to Kandinsky's "freie Malklasse", a course which concentrated on painting not intended as applied art. Several notes are illustrated with geometrical drawings and diagrams, and include descriptions of class exercises and critical evaluations of work by specific students. Kandinsky frequently refers to art history and to current artistic trends in the visual and in the performing arts. Most of the notes are undated; some have dates of lectures and classes to which they relate. The frequent presence of several dates added in pencil indicates that Kandinsky frequently reused his notes between 1925 and 1933.
box folder
1 1-7 Materials for Semester I courses, 1925-1931
1 1 Courses: Abstrakte Formelemente and Grundlehre
20 items, including 1 press clipping. Annotated typescripts and manuscript notes mainly on the concept of analysis and synthesis in visual arts, architecture, dance and poetry; also about the perception of color and the history of artistic trends from Impressionism to abstract art. Kandinsky mentions several contemporary artists, dancers and composers, including Ferdinand Hodler, Isadora Duncan, Mary Wigman, Gret Palucca, Alexander Sacharoff, Rudolf Laban, László [Moholy-Nagy?], Emile Jaques-Dalcroze, Claude Debussy, and Alexander Skriabin, the theater group Meiningen, also the scientist Hermann von Helmholtz, and Der Blaue Reiter.
1 1 I. Semester. Abstrakte Formelemente, Vorträge im Vorkurs des Bauhauses, Sommersemester 1925, Dessau
3 leaves: p. 2bis-6. Title leaf and 2 leaves of annotated typescript. With several small geometrical diagrams and drawings. Notes for lectures no. 1, 2 and 3, held frequently between 1925 and 1928.
1 1 Grundlehre, Aufgaben. Sommersemester 1926
1 leaf: p.7. List of student assignments.
1 1 Supplement to p. 2
1 leaf: p.8. Beginning words: "Nach Charakteristik der extremen Spezialisierung im 19. Jahr."
1 1 Text by Cézanne
1 leaf: p. 9. Typescript of a text by Cézanne; from an article by Christian Zervos published in Cahiers d'art.
1 1 Small card
1 item: p. 10-10bis. Inscribed with references to Wilhelm Ostwald's Die Harmonie der Farben, and to Hermann von Helmholtz's L'optique et la peinture.
1 1 Manuscript note
1 leaf: p. 11-11bis. Concerning the concepts "Wissen" (knowing) and "Erkennen" (realizing); with a Bauhaus stamp and date April 22, 1931.
1 1 Stunde 4, I. Sem. Sommer 1931
1 leaf: p. 12. Annotated typescript for a class held during summer semester, 1931. With a reference to jazz music.
1 1 "Ein tolles Spiel," 1933
1 item: p. 13. Press clipping from Berliner Allgemeine Zeitung from Feb 22, 1933; review of a soccer game.
1 1 Supplement to p.4
1 leaf: p. 14. Annotated typescript beginning with words: "Akademie im griech. Sinne ...."
1 1 Supplement to p.2
1 leaf: p. 15. Typescript beginning with words: "Nach Synth. Reste im 19. Jahr. ...." With a small diagram added in pencil.
1 1 Manuscript notes, 1929
1 leaf: p. 16-17. Includes notes for lecture no. 4, dated Nov 18, 1929. With a small diagram.
1 1 Typescript
1 leaf: p. 18-19. Beginning with words: "warm- kalt ...." With a reference to August Kirschmann's theory of color perception.
1 1 Supplement to p. 8
1 leaf: p. 20. Typescript beginning with words: "2 Klaviere in einem Raum ..." and "Zum Tanz."
1 1 Aufgaben - Sommerferien 1928
1 leaf: p. 21. Student assignment for the summer break of 1928.
1 1 Aufgaben im Vorkurs
1 leaf: p. 22-23. Student assignment with the title "Aufgaben im Vorkurs." With one small geometrical drawing added in pencil, and manuscript notes on verso.
1 1 Manuscript notes referring to Lecture 2
1 leaf: p. 24-24bis. Beginning with words: "Wissen - Analyse ..."
1 1 Manuscript notes
1 leaf: p. 25-25bis. Beginning with words: "Geistige Kunst ...." With a reference to Manet, Cézanne, Mondrian, Klee, Picabia, Schlemmer, and Neue Sachlichkeit.
1 1 Manuscript note
1 leaf: p. 26. With two diagrams representing a pattern of change in art history, and a geometrical sketch on verso; also with a reference to Wilhelm Schaer [?].
1 2 Courses Abstrakte Formelemente and Grundlehre
11 items. Annotated typscripts; mainly on the treatment of form, color and plane, and their interrelationships; also analysis of recent art trends from Impressionism to Abstract Art.
1 2 Grundlehre
1 double-leaf: p. 29-31. A list of lectures for the class Grundlehre; with short descriptions of topics. Extensive notes in pencil on verso.
1 2 Gegensätze von heute
1 leaf: p. 32. A table dividing art into two opposing classes: abstract ("ohne Gegenstand") and representational ("mit Gegenstand"). Kandinsky defines the inspirational basis of art as being either spiritual ("geistige") or mechanical ("mechanistische").
1 2 Stunde 7. I. Semester (Abstrakte Formelemente)
1 leaf: p. 33.-34. Annotated; with small diagrams added in pencil. On the opposites "Intuition - Berechnung " (intuition - calculation) and "Inhalt - Form" (content - form).
1 2 4 Zwecke, die durch alle Zeiten gehen
1 leaf: p. 35. Kandinsky defines the objectives of painting.
1 2 A list of artists' names
1 leaf: p. 36. Names and dates of Manet, Degas, Cézanne, van Gogh, Seurat, Henri Rousseau, Matisse and Picasso. With remarks on the art of Degas, Cézanne, Seurat and Rousseau.
1 2 Was - Wie - Was, 2 gleichzeitige Vorgänge seit Impressionisten
2 leaves: p. 37-39. An analysis of recent trends in art from Impressionism to Abstract Art, including Neoimpressionism, Expressionism, Kubism, Dada, Merz, Futurism, Neue Sachlichkeit, Surrealism, Verism, Constructivism, El Lissitzky's Proun paintings, Suprematism, Neoplasticism, and Purism. With extensive annotations concerning Abstract Art. Annotated in pencil.
1 2 Marinetti: Manifest des Futurismus
1 leaf: p. 40. An excerpt in German.
1 2 Abstrakte Kunst
1 leaf: p. 41. With references to Piet Mondrian, Dominique Braga, André Gide, Dada, Luigi Russolo, and Francis Picabia.
1 2 I. Semester. Vor "Farbe"
1 leaf: p. 42. Kandinsky defines color in painting and analyses the perception of various combinations of colors. With a mention of Philipp Otto Runge, Goethe, Delacroix, and Signac.
1 2 Wellenlänge in M.
1 leaf: p. 43. A list of various ranges of ultraviolet rays and their color manifestations. From: Licht und Arbeit [Light and work] by Matthew Luckiesh (Berlin : Springer Verlag, 1926). Extensive notes in pencil on verso.
1 3 Course Abstrakte Formelemente
7 items. Mainly annotated typescripts. Analysis of the colors red, white, and black.
1 3 Abstr. F-Elemente
3 leaves: p. 49-51bis. Annotated typescript with titles: "Rot," "Weiss u. Schwarz," "Charakteristik von W. u. S.," and "Zusammenstellungen." With several diagrams. Notes for lectures no. 6 and 8, given frequently between 1925 and 1928.
1 3 Text by Siegfried Berndt
1 leaf: p. 53-53bis. Citations from Siegfried Berndt's"Die Entwicklung des farbigen Gefühls und seines Ausdruckes"; issued in Der Pelikan (26/1927). Annotated.
1 3 Clipping of mask
1 leaf: p. 54. Illustration [black and white] of a Chinese actor's face painted as a mask. With a caption explaining the symbolic meaning of the mask colors.
1 3 Manuscript notes
1 leaf: p. 55-56. Particularly about the colors white and black. With a reference to Goethe.
1 3 Supplement to lecture 3
1 leaf: p. 57-57bis. Typescript and manuscript notes concluding lecture no. 3. On the concept of synthesis in the arts. With a mention of Gret Palucca, Oskar Schlemmer, and the musician Heinrich Jacoby [1889-1964].
1 4 Course Abstrakte Formelemente
1 4 Parallele Versuche mit W. u. S., zu Vortrag 8
1 leaf: p. 58-59. Supplement to lecture no. 8. Kandinsky investigates how the colors white and black change their value when combined with blue or yellow.
1 4 Einige Beispiele der Farbwirkung auf lebende Wesen - physiol, bzw. psychol. art
2 leaves: p. 60-61. Notes concerning the physiological and psychological effects of various colors on plants, animals and people. With a reference to Prof. Pomorzeff.
1 4 Manuscript note
1 leaf: p. 61bis. About the graphic elements line and plane.
1 4 Table of color intensities
1 leaf: p. 6 1ter. Typescript. Numerical values of various intensities of the colors white, green, yellow, brown, and black.
1 4 Tabelle der Beziehungen zw. Form, Farbe, Sinne usw.
1 leaf: p. VIII. A table showing the relationships between line, angle, plane and color; vowels; tempo [music]; pulse rate; temperature; thought (Gedanke); feeling (Gefühl); action (Handlung); and the four senses [VIII].
1 4 Zusammenstellungen von Farben
1 small leaf: p. IX. Typescript. Exercises in spatial relationships between colors. With a burn mark.
1 4 9. Vortrag. 14-III-25. Grün-Grau
1 double-leaf: p. X-XIII. Typescript, extensively annotated. With several diagrams and schematic drawings. Detailed notes on the perception of various color combinations and on complementary colors. With a burn mark.
1 4 Abstrakte Elemente
3 leaves: p. XIV-XIX. Extensively annotated. Notes for lectures 9, 10, 11 and 12 about form, color and plane; a lecture given frequently between 1925 and 1928. Titles of discussed topics: "Punkt u. Linie"; "Fläche"; "Drei Grundflächen"; "Charakteristik der 3 G-Formen"; "Beziehungen zu 3 Grundfarben"; "Varianten der Flächen." With numerous geometrical drawings and graphs.
1 4 Kompositionsübungen
1 leaf: unnumbered. Description of exercises in composition for classes of Dec 15, 1925, and Jan 5 and 19, 1926.
1 4 Untitled color graph
1 leaf: unnumbered. A graph of color combinations, based on the colors green and red.
1 4 Untitled notes
2 small papers: unnumbered. Manuscript notes related to exercises in color; one includes drawings.
1 5 Course Abstrakte Formelemente
4 items (on 5 leaves), pages 62 to 67. Annotated typescripts and manuscript notes. About the use of point and plane.
1 5 Zeichnerische Elemente; Punkt
2 leaves: p. 62-63. About the point ("Punkt") as a graphic and spiritual element in painting, music, poetry, architecture, dance and sculpture. With a reference to Gret Palucca, Ewald Mataré and Naum Gabo. Also about the line as a spiritual and logical concept.
1 5 Grundfläche
1 leaf: p. 64. About the plane as a graphic element in art.
1 5 Zu Stunde 12 - GF
2 leaves: p. 65-67. About the plane as a graphic element in art. With several diagrams and small drawings added in pencil. Annotated.
1 6 Course Abstrakte Formelemente
6 items. Typescript and manuscript notes.
1 6 I. Semester 1930 - nach Sommerferien - 8-9-30
1 leaf: p. 68. Notes on the spiritual content in art.
1 6 Manuscript note
1 leaf: p. 69. With a reference to Wilhelm Pinder's Das Problem der Generation in der Kunstgeschichte Europas.
1 6 Titles of lectures, 1927
1 leaf: p. 69bis. A list of titles of lectures held in Apr-May and Oct-Nov 1927.
1 6 Manuscript notes
3 small leaves: p. 70-71ter. Notes on form and color in art.
1 7 Wilhelm Ostwald
1 7 Korrekturen zu Vorträgen von Ostwald
1 leaf of typescript; paged 72. Undated. Kandinsky comments on Wilhem Ostwald's color theory.
1 8-20 Lecture Notes for Semester II, 1927-1933
1 8 Course Malklasse
1 8 II. Semester
Title leaf: unpaged.
1 8 Malklasse, Freitag 6.I.33, Zusammenstellungen
1 leaf: p. 73-74. Student assignment: a comparison between a painting by David and a painting by Manet. Kandinsky also mentions paintings by Otto Dix, Wilhelm Schmid, and Alfred Sisley, and compares one of his own paintings to a painting by Marc Chagall.
1 8 II. Semester - nach Schluss des I. Sem... I. Stunde
1 leaf: p. 75. Notes for the first and the second class. Extensively annotated; with several drawings added in pencil. About rhythm as an element of painting.
1 8 Fragen nach Schluss des I. Semesters
1 leaf: p. 76. A list of main topics addressed by Kandinsky during the first semester.
1 9 Course Abstrakte Formelemente
1 9 II. Semester, Zu Stunde I. Anfang
1 leaf: p. 77. About "Aufbau" (composition) and "Rhytmus" (rthythm) as form elements in art.
1 9 Astronomie - Entfernungen
1 leaf: p. 78. About colors of various frequencies of light.
1 9 Wintersemester 1926/7, and Sommersemester 1928, 1926-1928
1 leaf: p. 79-80. Description of student assignments for classes 6, 12 and 13 of the winter semester of 1926/1927. On verso, notes of the discussion of students' work during the last class of summer semester 1928.
1 9 Typescript and manuscript notes
1 leaf: p. 81-82. Beginning with words: "Was ist das Materielle in allen Künsten?" and "Anfänge der Kunst." An annotation indicates that this note supplements p. 4.
1 9 Abstrakte Formelemente - Grundlehre, Wintersemester 25/6, 1925-1926
1 double-leaf: p. 83-85. Annotated typescript. With several drawings added in pencil. Notes to lecture no. 13, given frequently between 1926 and 1927. Description of students' assignments.
1 9 Stunde [10?] - Fortsetzung
1 leaf: p. 86. Typescript; with several drawings added in pencil. About rhythm in painting, including a comparison of rhythm in paintings by Van Gogh and by Piet Mondrian.
1 9 IV Semester. Konstruktion-Gestaltung. (Malerei)
1 double-leaf: p. 87-89. Typescript, extensively annotated, with several small schematic drawings illustrating rhythm in composition. Notes for two lectures on composition in art and technology.
1 10 Course Abstrakte Formelemente
1 10 II. Semester 1939/31 (Winter)
1 leaf: p. 90. Typescript. A description of students' assignments for Dec. 12, 1930 and "2. Stunde" (second lecture). The assignments concern the square as a "Grundform" (basic form), and the relationship between line and color.
1 10 II. Semester. Zu Stunde 3
1 leaf: p. 91. Typescript. Notes concerning the relationship between art and nature, the line as a form element in art; and a description of students' assignments.
1 11 Course Abstrakte Formelemente
1 11 Zur letzten Stunde Sommersemster 1927-1928
1 leaf: p. 92-93. Typescript. Notes concerning line and color. With a description of students' assignments, and annotations in pencil concerning Kandinsky's teaching plans for the summer semester 1928.
1 12 Course Abstrakte Formelemente
1 12 Stunde 4 - II. Semester Sommer 1931
1 leaf: 94-95. Notes for lectures 4, 5, 6 and 7, concerning the theme "Kunst - Wissenschaft- Technik - Natur" (art - science - technology - nature). With a small table and annotations in pencil.
1 12 Bewegungen der Pflanze
1 leaf: p. 96-97. Typescript, extensively annnotated on verso. Kandinsky refers to Julius Wiesner's theory of phototropism in plants.
1 12 Manuscript note
1 item: p. 96bis. A small note with words "II. Sem. Kugel Kreis."
1 12 II. Semester - zu rhytmische Konstruktion
1 leaf: p. 98. Kandinsky lists the five principles of crystallographic ornamentation ("Kristallograf. Ornamentik"). With five geometrical drawings.
1 12 Supplement to lecture 7
1 leaf: p. 99. Typescript, extensively annotated, with 2 drawings added in pencil.
1 12 Supplement to lecture 5 (II. Semester)
1 leaf: p. 100. Beginning with words: "Kölner Dom und Jupitertempel in Baalbeck." About the vertical and the horizontal line as a form element in architecture.
1 12 Supplement to lecture 5 (II. Semester)
1 leaf: p. 100bis. Beginning with words: "Innere Verbindungen." About nodal points as elements of composition in Venetian mosaics and Russian icons.
1 13 Course Abstrakte Formelemente
1 13 Linie
1 leaf: p. 101-102. Annotated typescript. Notes for lectures 3, 4, 5, and 6; mainly about the form element line; also about the concept of "gesetz- u. zweckmässig" (regular and functional) in art, science and technology.
1 13 Manuscript note
1 item: p. 103-103bis. With a small geometrical drawing.
1 13 Typescript
1 leaf: p. 104. About the form elements plane, line, and point in geometry, botany and zoology. Includes a citation from Abstammungslehre.
1 14 Course Abstrakte Formelemente
About composition.
1 14 II. Semester, zu Konstruktion. Fläche
1 leaf: p. 105-105bis. About the structure of crystals. With two geometrical drawings and a reference to Allgemeine Kristallographie.
1 14 II. Semester - zu Stunde 3 and II. Semester - zu Stunde 4
1 leaf: p. 106-106bis. Notes concerning rhythm, line, and plane.
1 14 Konstruktion - Beziehungen der Einzelteile u. Fernwirkungen II. Sem.
1 leaf: p. 107. With references to theories of Hans Driesch and Henri Bergson.
1 15 Course Abstrakte Formelemente
1 15 II. Semester
1 leaf: p. 108-109. Notes for semester 2, lectures 7, 8, and 9; mainly about the rhythm and harmony of color and line. With several small drawings added in pencil. Kandinsky refers to the color theory of Goethe.
1 15 II. Sem. 1932 - Stunde 9
1 leaf: p. 110-111. Notes for semester 2, lecture 9; mainly analyzing changes of composition in painting from ancient times to present. Kandinsky also analyzes the concept of "Geistige Atmosphäre" (spiritual atmosphere) and its manifestation in art. With a mention of Franz Marc's painting "Gelbe Kuh" (Yellow Cow).
1 15 Stunde 8
1 leaf: p. 112-115. Typescript, manuscript notes and small drawings; beginning with words "Stunde 8." Notes for semester 2, lectures 7 and 8. About composition in painting.
1 16 Course Abstrakte Formelemente
1 16 Bemerkungen zu Bildern, II. Sem. Analyse
1 leaf: p. 116. Typescript. Kandinsky analyzes composition in paintings by Hans Holbein (the Younger), Dieric Bouts, Pieter Bruegel (the Elder), and Leonardo da Vinci.
1 16 Rhytmus in zeichn. u. in maler. Form
1 leaf: p. 117. Typescript. Kandinsky compares rhythm in architecture, painting and sculpture. With a reference to Heinrich Wölfflin's Renaissance und Barock.
1 17 Course Abstrakte Formelemente
1 17 Neue Kunst (Bilder - Beispiele), II. Sem. 1932
2 leaves: p. 118-120. Typescript. Notes for lectures 9, 10, 11, and 13 of the second semester. Mainly an analysis of composition in several recent trends in art, and by individual artists, including Cézanne, Marées, the group Die Brücke, Klee, Dalí, Mondrian, and others. Kandinsky also lists students' questions and answers.
1 18 II. Semester
1 double-leaf, numbered: V-VII. Typescript, with annotations and small geometrical drawings. Notes about rhythm in composition, especially in painting and in dance.
1 19 Course Abstrakte Formelemente
1 19 Hauptlehre Kompositionsübungen Anfang - 18 VII 25
1 double-leaf. Title page. Unnumbered.
1 19 IV. Semester (Winter- 1929/1930)
1 leaf: p. 121. typescript. Teaching plan for the winter session 1929-1930, lectures 1, 2, 3, and 4 held in Nov 1929.
1 19 Hauptlehre, Kompositionsübungen, 1925-1926
3 double-leaves: p. 122-132. Typescript, with several small geometrical drawings: notes for lectures 1 to 15, dated between Jun 1925 to Nov 23, 1926. Annotated. Description of students' exercises in composition and color.
1 20 Course Abstrakte Formelemente
4 items: typescripts and manuscript notes.
1 20 Elementare Kompositionsspiele
1 double-leaf: 4 pages, of which only 1 page of text numbered 133. List of students' exercises in composition, conducted by Kandinsky on Jan 26, 1926 (date added in pencil).
1 20 Supplements to lectures 1 and 2
1 leaf: p. 134-135. Manuscript notes for lectures 1 and 2. About the relationship of man and space (Mensch - Raum).
1 20 Supplement to lectures 3 and 4 1928
1 small leaf: p. 136-136bis. Notes for lectures 3 and 4, dated Nov. 28, 1928. With two small geometrical drawings. About composition.
1 20 Supplement to lecture 8, 1929
1 small leaf: p. 137-137bis. Notes supplementing lecture 8, dated June 21, 1929. About composition in Chinese and Egyptian art.
1 21-22 Lecture Notes for Semester IV, 1928-1929
1 21 Course Abstrakte Formelemente
10 leaves. Typescripts, some annotated. Notes for semester 4, lectures 2 to 10.
1 21 IV. Semster. Zu Stunde 3. Aufgabe: Charakteristik der Abstr. Kunst
1 leaf: p. 138-139. Notes for lecture 3. About the concepts form and content ("Form - Inhalt") in abstract art. With a mention of the art movement New Objectivity ("Neue Sachlichkeit').
1 21 Stunde 4, 30 Nov 1928
1 leaf: p. 140. With three small geometrical drawings. About the stage design at Bauhaus (Bauhausbühne).Kandinsky refers to the stage designer Roman Clemens; mentions a lecture on the functionality of a chair by Dr. Neubert; and names Edward Fischer in the context of lecturing about the definition of the concept "life".
1 21 IV. Semester. 2. Stunde
1 leaf: p. 141-142. Annotated typescript. Notes for lectures 2 (dated in pencil May 4 1928) and lectures 4 and 5 (dated May 18 1928 and Dec 7 1928). With several small geometrical drawings. About form as a psychological concept and about the relationship between form and space. Kandinsky refers to the theories of Hans Driesch, writes about Bauhaus architecture, especially of Le Corbusier and Gropius, and analyses the design of a chair by Marcel Breuer.
1 21 IV. Semester. Stunde 5
2 leaves: p. 143-145. Typescript and extensive manuscript notes for lectures 5 and 6. About form and content in objects and in architecture, and about the relationship between art and functionality ("sachliche Zweckmässigkeit").
1 21 Stunde 6. Mitteilung Ziehkraft - Inhalt und Form
2 leaves: p. 146-148. Typescript and extensive manuscript notes for lectures 6 and 7. Lecture 7 is dated Jun 15 1928. About form and content. Kandinsky justifies the absence of decoration ("Das Ornament") in contemporary art.
1 21 Stunde 7 - 25-I-29, and Stunde 8 - I-2-29
1 leaf: p. 149-150. Notes for lectures 7 and 8, about life, form and content. Lecture 7 has title "Thema - Wohnhausbau (ein Teil des Themas "Leben')." Lecture 8 has title "Thema: Inhalt u. Form."
1 21 Stunde 8. 22-6-28
1 leaf: p. 151-152. Annotated typescript. Notes for lectures 8 , 9 and 10, given in Jun and Jul 1928. About objectivity in technology and in art ("Sachlichkeit in Technik und Kunst", see p. 146). Kandinsky comments on work by the artists Ida Thal, Wilhelm Imkamp, Behrenbrock, and [Albert] Braun; also presents the architectural principles of Philipp Tolziner and Lotte Beese.
1 21 Stunde 8, 21 Jun 1929
1 leaf: p. 153-154. Typescript, with small geometrical drawings added in pencil. Continuation of lecture no. 7; about vertical and horizontal lines as elements of composition.
1 21 Manuscript notes on form
1 small leaf: unnumbered. With several small geomerical drawings.
1 22 Course Abstrakte Formelemente
16 items.
1 22 IV. Semester. Konstruktion-Gestaltung-Komposition
1 double-leaf. Unpaged.
1 22 4. Semester Künstlerische Gestaltung, 1928
1 leaf: p. 22 (numbered in red crayon). List of participants of the summer session 1928: Beese, Bergner, Monastirsky, Sitte, Tolziner, Zierath. Annotated.
1 22 Deklaration der "Vereinigung junger Architekten" Moskau
1 leaf: p. 155-156. Notes for class 8. With several small drawings. Kandinsky presents the aesthetic theories of OMA (Vereinigung junger Architekten) in Moscow, and refers to articles issued in CA [Sovremennaia arkhitektura] on architectural projects by Iwan I. Leonidov (the Lenin Institute Project) and by V. A. Pashkov (the VHUTEMAS art school building and the Lenin Library building). Kandinsky also refers to projects by Hannes Meyer and Hans Wittwer in Geneva, a project by Le Corbusier in Stuttgart, and an article by Leonid Aleksandrovich Vesnin issued in CA [Sovremennaia arkhitektura].
1 22 Illustration of a W33 Junkers airplane
1 leaf: p. 156bis.
1 22 Stunde 9 - 5-7-29, 1929
1 leaf: p. 157. Notes on style and composition in Russian architecture.
1 22 Stunde 10 - 1-3-29, Stunde 11 - 8-3-29, and Stunde 12 - 15-3-29, 1929
1 leaf: p. 158-159. Notes on the horizontal and vertical elements of compostion in architecture, painting and theater. Kandinsky compares the compositions of a Gothic cathedral, a modern factory building, and a Chinese pagoda. With several references to recent trends in painting; and to articles published in CA [Sovremennaia arkhitektura] on Le Corbusier and the Russian avantgarde theater. A short mention regarding class no. 13 (Stunde 13).
1 22 Stunde 14 - 19-10-28, 1928
1 leaf: p. 160. Notes on composition in several European paintings, mainly in 15th century Flemish painting; and on the horizontal and vertical elements in Chinese architecture. Kandinsky refers to specific structures described by Ernst Boerschmann in Baukunst und Landschaft in China [1926].
1 22 Manuscript notes
1 leaf: p. 160bis. About abstract art.
1 22 IV. Semester (28 Sommer) 1928
1 leaf: p. 161-162. Manuscript notes concerning composition and rhythm. With several small drawings illustrating various combinations of lines within a square. With caption: "Gesetz - Zweck."
1 22 Stunde 12 - 28-9-28, and Stunde 13 - 5-10-28, 1928
1 leaf: p. 163-164. Notes concerning student exercises in composition (horizontal and vertical elements). Kandinsky discusses the work by students Ida Thal and Luba Monastirski.
1 22 Stunde 13, 22-3-29 IV. Sem. 1929
1 leaf: p. 165. Kandinsky analyzes the composition in works by Hans Arp (woodcuts), Iwan I. Leonidov, V. A. Pashkov, El Lissitzky, Willy Baumeister, Oscar Schlemmer, and Herbert Bayer; and refers to articles on Leonidov published in CA [Sovremennaia arkhitektura] .
1 22 Stunde 13 - 27-9-29, 1929
1 leaf: p. 165bis. Notes concerning a lecture given by V. Arend [Alfred Arndt?].
1 22 IV. Semester, nach Stunde 10
1 small leaf: p. 166. Notes for lecture no. 10.
1 22 Zu Stunde 12
1 small leaf with manuscript notes: p. 166bis-166ter. Beginning words: "Sachlichkeit u. Romantik."
1 22 Stunde 11 - 21-9-28, 1928
1 leaf: p. 167. Notes for lecture no. 10 concerning the vertical and horizontal elements of composition in architecture. Kandinsky compares the composition of a Gothic cathedral with the composition of a modern factory building; and refers to architectural projects discussed in Internationale Architektur ( Bauhausbücher I) [by Walter Gropius].
1 22 Stunde 10 - 12-7-29 IV. Semester, and Stunde 14 - 18-10-29, 1929
1 leaf: p. 168. Lecture no. 10: about the vertical and horizontal elements in composition in art and technology. Lecture no 14: Kandinsky comments on the concepts of content and form (Inhalt - Form) by Sander [?], and on a lecture on composition in abstract art given by V. Arend [Alfred Arndt?]

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