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The similarity of spiritual aspirations through the medium
moral-spiritual, the aspiration towards goals, persecuted, were later forgotten; that is, the similarity of feeling intimate for an entire period may logically lead to the use of forms which, in the past, effectively served the same trends. Thus, in part, our sympathy arose, our understanding, our spiritual kinship with the primitive. Like us, these pure artists tried to reflect only the essentials in their work; the renunciation of external contingency arose by itself.
After a period of materialistic temptation, to which it apparently succumbed, and yet rejected as a bad temptation, the soul rises refined by struggle and suffering. The coarser feelings such as fear, joy, sadness, etc., that could be used in times of temptation as a content of art, draw the artist a little.
This is a subtle attempt to awaken feelings that currently have no name. The artist has a complex, subtle life whose work will provoke in the viewer the capacity for feeling, more nuanced emotions than our words can express.

The destruction of inner sounds, which are the life of the colours, the dispersion of the forces of the artist into space, is "art for art".
THE LANGUAGE OF SHAPES AND COLOURS
Gradually the abstract element, which even yesterday was hiding shyly, and was barely visible behind purely materialistic desires, appears in art in the foreground. The development, and finally the dominance of the abstract element, is natural. As the more the organic form is in the background, the more the abstract form comes to the fore, and gains resonance.
The permanent organic element has its own internal sound that can be identical to the internal sound of the second element (abstract) within the same form (a simple combination of the two elements),, or may have a different nature (a complex combination and perhaps necessarily disharmonic). In any case, the organic element is heard within the chosen form, although it has been completely relegated to the background. Therefore, the choice of the real object is important. In the double sound (spiritual chord) of the constituent elements of form, the organic can support the abstract (for con-or-dis-resonance), or, conversely, can be hinder it.

An object can form a merely casual sound, when replaced by another it does not produce an essential change to the basic sound ... .In place of terms "colour" and "shape" the term "object" can be used. Every object without distinction, whether created by "nature" or at the hand of man, is an entity with its own life, from which inevitably spring effects. Humans are constantly exposed to "psychological radiation" whose effects remain
In the "subconscious" or go to the conscience. Man can be free of them by closing his soul. "Nature", that is, the exterior circumstance always changing
man, is constantly vibrating piano strings (soul) through keys (objects). These effects, which we sometimes see as chaotic, consist of three elements: the colour effect of the object, the effect of its shape and the effect of the object itself, regardless of the shape and colour.
Let us now put ourselves in the place of the nature of the artist, who rules over these three elements, and come to the conclusion that in this case he is the the determining factor of adequacy. The choice of subject (= element-con-sonante in harmony of forms), therefore, should be based solely on the principle of adequate contact with the human soul. Then the choice of the object is also born of "the principle of inner necessity".
The more exposed is the abstract element of the shape, the more primitive and pure it sounds. Thus in a composition wherein the physical element is more or less dispensable, it can be omitted more or less, and replaced with purely abstract forms or physical forms fully translated into the abstract. Intuition should be the only judge, guide and harmonizer of any translation or integration of the purely abstract form ....
It appears that the overall affinity of the works, which are not lessened through the centuries, but gain more and more power, lies not in the exterior, externally, but at the base of the roots in the mystical content of art. Submission to the "school", the search for the general line ", demands for a work of" principles "and its own means of expression of the time, leading to false paths and, therefore, confusion, darkness and hardening. The artist must be blind to the "recognized" or "unrecognized" deaf to the teachings of the ways and desires of his time.
Open eyes should look towards the inner life and the ear always pay attention to the inner need. Then we know how to use with the same ease the means permitted and prohibited. This is the only way to express mystical necessity. All means are sacred if they are required internally.
All means are sacrilegious if they do not spring from the source of inner necessity.
On the other hand, although this subject is theorized to infinity, the theory is premature in its detail. In art theory never runs ahead dragging behind it praxis, but rather the opposite is true. Art is all about intuition, especially in the beginning. Artistic truth is only achieved by intuition, especially at the beginning of road. While overall construction can be achieved by pure theory, the element that constitutes the very essence of creation is never created nor through the theory; It is intuition that gives life to creation. Art acts on sensitivity and, therefore, can only act through sensitivity.
The measures and scales are not outside but inside the artist and constitute what might be called his sense of limit, the artistic touch ... In this sense we must also understand the possibility of "basso continuo" in painting, as predicted by Goethe ....
THEORY
Our painting is now in a different state: the emancipation of nature is at the beginning ...If today we destroy the ties that bind us to nature and head by force to freedom, exclusively answering with the combination of pure colour and independent form we would create works of geometric ornament ... The beauty of colour and form is not a sufficient goal for art ...
If we consider that the new spiritual movement has acquired an utterly dizzying pace and that even the strongest of human spiritual life, positive science foundation, has been dragged to the gates of the dissolution of matter, we can say that all that divides us is a few "hours" of pure composition ... Freedom can go as far as the artist's intuition.
... The spirit of the time can also be seen in the field of building: not a clear construction ("geometric"), which is obvious and is rich in possibilities, that is, more expressive, but a latent construction sprouting imperceptibly out of the picture aimed more at the soul than the eye.
This latent construction can consist in forms created randomly on the canvas, without apparent coherence: the absence of external consistency is, and this case, its inside presence. The external impression here is internal cohesion. And this refers to the graphic form as much the pictorial. The future of pictorial harmony is precisely here. The shapes organised "arbitrarily" have at heart a deep relationship and precision between
whether it can be expressed mathematically, although in this case it may operate more with uneven numbers than with even numbers.
In all art, the last abstract expression is a number.

Translation of Marianne Duncombe. Vasili Kandinsky. De lo espiritual en el arte. Ed. Paidós Ibérica, S.A. Barcelona. 1996
 
 
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