Concerning The Spiritual In Art

The work of art is born of the artist in a mysterious and secret way. From him it gains life and being. Nor is its existence casual and inconsequent, but it has a definite and purposeful strength, alike in its material and spiritual life. It exists and has power to create spiritual atmosphere; and from this inner standpoint one judges whether it is a good work of art or a bad one. If its 'form' is bad it means that the form is too feeble in meaning to call forth corresponding vibrations of the soul. Therefore a picture is not necessarily 'well painted' if it possesses the 'values' of which the French so constantly speak. It is only well painted if its spiritual value is complete and satisfying. 'Good drawing' is drawing that cannot be altered without destruction of this inner value, quite irrespective of its correctness as anatomy, botany, or any other science. There is no question of a violation of natural form, but only of the need of the artist for such form. Similarly colours are used not because they are true to nature, but because they are necessary to the particular picture. In fact, the artist is not only justified in using, but it is his duty to use only those forms which fulfil his own need. Absolute freedom, whether from anatomy or anything of the kind, must be given the artist in his choice of material. Such spiritual freedom is as necessary in art as it is in life.

WASSILY KANDINSKY Concerning The Spiritual In Art

I suppose Kandinsky's manifesto does not sound quite so revolutionary today, and the argument for the spiritual and technical freedom of the artist has long since been won, but it's always good to be reminded of this influential treatise on modernism published early last century. It had a huge effect in its day, impacting decisively on the development of modern art.

Of course there are countries in the world (I'm thinking of China and its treatment of Ai Weiwei) where certain artistic freedoms are frowned on, even severely curtailed by the state - though no country or state will ever be able to restrict an artist's inner, spiritual freedom.

Nouvelle 55: Landschaft Mit Roten Flecken, Nr. 2

Wassily Kandinsky: Landschaft mit roten Flecken, Nr. 2

That is beautiful which is produced by the inner need, which springs from the soul. KANDINSKY

I am one among multitudes yet my soul

Raps out a unique rhythm through the woods

And forests, hills and mountains of my desires,

Singing a soft and sinuous path

On cliffs as tall as longing and in chasms

Deep as dreaming, dancing its course

Under rainbow bridges, tree-trunk chimneys,

Coal-black peaks and death-black doorways.

Colour is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibration in the soul. KANDINSKY

(For Kandinsky's ideas on the spiritual significance of colour, and colour's relation to music, see this Wikipedia article. On the colour red: Red is a warm colour, lively and agitated; it is forceful, a movement in itself. On the colours blue and yellow: Yellow is a typically terrestrial colour, whose violence can be painful and aggressive. Blue is a celestial colour, evoking a deep calm. The combination of blue and yellow yields total immobility and calm, which is green. On the colour black: Black is nothingness without possibility, an eternal silence without hope, and corresponds with death.)