In the halls of the Tretyakov Gallery in Krymsky Val show two paintings by Wassily Kandinsky – “Composition №6» and «Composition №7». The second picture is permanently exhibited in the Tretyakov Gallery, the first – brought from the Hermitage. That exhibition project Museum celebrates the 150th anniversary of Kandinsky.
In the Redemption deliberate modesty exposition design of the exhibition curators have promised the audience strong emotions. Two paintings are presented persistently called “peaks” of the artist, the triumph of his aesthetics, meeting them in the same space – an event, which waited 27 years (that is how much has passed since a single large retrospective of Kandinsky in the Tretyakov Gallery). Viewers curators promised neither more nor less than “emotional shock»
There is no doubt, for such orations base there, things which have made this exhibition, -. Considerable. “Songs”, which survived seven (from IV to X), – it is a kind of pictorial manifestos Kandinsky, he returned to them during different creative periods. The most long-standing of the surviving “composition” is dated 1911, and later – 1939. Those that agreed today in the Tretyakov Gallery, considered to be the most expressive and important art of Kandinsky system. They came to a turning point of his artistic biography – he recently parted with the union Russian modernists “Jack of Diamonds”, almost disappointed in the “Blue Rider” Art itself he created a collective and decisive, for many years, moved to the abstract painting
<. p> interpretations of abstract paintings of Kandinsky there is a great variety. To argue about their form and content, the correct perception and the process of knowledge is very fond of the artist himself. In his explanations to the public, he somehow simultaneously warned of a rational approach to the painting and certainly from its sensory perception. The plot ( “Songs №VI») he described as:
“This lack of uncertainty and the plane distance can be seen, for example, in the Russian steam bath. The man standing in the middle of the pair, is not close and not far away, he is somewhere ».
« The composition №7 »author gathered not comment, but the critics were able to independently discern where the theme of the day of Judgment, Flood, Paradise garden and the resurrection from the dead. And all this is undeniable: abstraction – a phenomenon inexhaustible, it is possible to find a response to any requests
In the confirmation THG published an excellent catalog of the exhibition.. It provides detailed essays Ozerkova D. and L. Bobrovskaya, chronicles the life and work of Kandinsky, excerpts from his theoretical work.
About the exhibition I would like to note one more thing. The Tretyakov Gallery recently exposition keen innovation. Next to Kandinsky deployed a large-scale exhibition of Soviet artist Helium Korzheva equipped with intricate wooden constructions Architects Eugene and Cyril asses. Constructions in the space occupied by such a prominent place that begin to compete directly with the painting, for which, as a possible suspect, exhibition and arranged. With Kandinsky happens something similar. Good architects Agnes Sterligov and Sergey Choban built cubicle in the hall of the two cylinders. The first placed computer monitors, which show things Kandinsky preceding two “composition” of 1913, in the second – actually two canvases. For large canvases framed space is clearly too small, faulty lighting conditions for meditation that promised curators – no. Dark closely.