66-763: New Gallery may refer to: Neue Galerie New York , a museum of German art in New York New Gallery (London) , a 19th-century gallery in London New Gallery (Kassel) , an art museum in Kassel, Germany New Gallery of Fine Art , a short-lived art gallery in Adelaide, South Australia, set up by Voitre Marek in 1953 The New Gallery , an art centre in Calgara, Alberta, Canada Topics referred to by
132-501: A 1912 Otto Wagner fabric. A Bösendorfer grand piano graces one corner of the Café, and is used for all cabaret, chamber, and classical music performances at the museum. Café Sabarsky was operated by restaurateur Kurt Gutenbrunner until 2020. As of April 2020, the museum is headed by President and founder Ronald S. Lauder as well as an advisory Board of Trustees. Since the museum's opening it has been led by Renée Price, Director, who
198-476: A Nazi raid on the Bauhaus in the 1930s resulted in the confiscation of Kandinsky's first three Compositions . They were displayed in the state-sponsored Degenerate Art exhibition and were then destroyed (along with works by Paul Klee , Franz Marc and other modern artists). Fascinated by Christian eschatology and the perception of a coming New Age, a common theme among Kandinsky's first seven Compositions
264-486: A Pipe . The press reported the price for the Klimt at US$ 135 million, which would make it at that time the most expensive painting ever sold. It has been on display at the museum since July 2006. The museum is housed in the former William Starr Miller House , a Louis XIII / Beaux-Arts structure located on the corner of Fifth Avenue and 86th Street. The Neue Galerie opened there on November 16, 2001. Selldorf Architects
330-503: A new group, The Blue Rider ( Der Blaue Reiter ) with like-minded artists such as August Macke , Franz Marc , Albert Bloch , and Gabriele Münter . The group released an almanac ( The Blue Rider Almanac ) and held two exhibits. More of each were planned, but the outbreak of World War I in 1914 ended these plans and sent Kandinsky back to Russia via Switzerland and Sweden. His writing in The Blue Rider Almanac and
396-615: A program based on form and colour analysis; he also helped organize the Institute of Artistic Culture in Moscow (of which he was its first director). His spiritual, expressionistic view of art was ultimately rejected by the radical members of the institute as too individualistic and bourgeois. In 1921, Kandinsky was invited to go to Germany to attend the Bauhaus of Weimar by its founder, architect Walter Gropius . In May 1922, he attended
462-460: A reputation as New York’s leading gallery for Austrian and German Expressionist art, and Lauder was a frequent visitor and client. Over the years, the two men discussed opening a museum to showcase the very best work from the period. When Sabarsky died in 1996, Lauder chose to carry on the task of creating Neue Galerie New York, as a tribute to his friend. The collection of the Neue Galerie
528-559: A starting point, improvisations and compositions depict images emergent from the unconscious, though composition is developed from a more formal point of view. After graduating in 1892, Kandinsky married his cousin, Anja Chimiakina, and became a lecturer in Jurisprudence at the University of Moscow . In the summer of 1902, Kandinsky invited Gabriele Münter to join him at his summer painting classes just south of Munich in
594-914: A summerhouse in the small Bavarian town of Murnau and the couple happily entertained colleagues there. The property is still known as Russenhaus and she would later use the basement to hide many works (by Kandinsky and others) from the Nazis . Upon returning to Munich, Kandinsky founded the Neue Kunstler Vereinigung (New Artists' Association) in 1909. He returned to Moscow in 1914 when the first World War broke out. The relationship between Kandinsky and Münter worsened due to mutual tensions and disappointments over his lack of commitment to marriage. Their relationship formally ended in 1916 in Stockholm. In 1916, he met Nina Nikolaevna Andreevskaya (1899–1980), whom he married on 11 February 1917 when she
660-1024: A unity of sensation. Driven by the Christian faith and the inner necessity of an artist, his paintings have the ambiguity of the form rendered in a variety of colours as well as resistance against conventional aesthetic values of the art world. His signature or individual style can be further defined and divided into three categories over the course of his art career: Impressions (representational element), Improvisations (spontaneous emotional reaction) and Compositions (ultimate works of art). As Kandinsky started moving away from his early inspiration from Impressionism, his paintings became more vibrant, pictographic and expressive with more sharp shapes and clear linear qualities. But eventually, Kandinsky went further, rejecting pictorial representation with more synesthetic swirling hurricanes of colours and shapes, eliminating traditional references to depth and laying out bare and abstracted glyphs; however, what remained consistent
726-548: A universal correspondence of forms, colors and musical sounds. In 1928, the stage production premiered at a theater in Dessau. In 2015, the original designs of the stage elements were animated with modern video technology and synchronized with the music according to the preparatory notes of Kandinsky and the director's script of Felix Klee. In another episode with Münter during the Bavarian abstract expressionist years, Kandinsky
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#1732771745274792-491: A vertical yellow rectangle, an inclined red cross and a large dark blue circle; a multitude of straight (or sinuous) black lines, circular arcs, monochromatic circles and scattered, coloured checker-boards contribute to its delicate complexity. This simple visual identification of forms and the main coloured masses present on the canvas is only a first approach to the inner reality of the work, whose appreciation necessitates deeper observation—not only of forms and colours involved in
858-663: Is different from Wikidata All article disambiguation pages All disambiguation pages Neue Galerie New York The Neue Galerie New York ( German for "New Gallery") is a museum of early twentieth-century German and Austrian art and design located in the William Starr Miller House at 86th Street and Fifth Avenue in New York City . Established in 2001, it is one of the most recent additions to New York City's famed Museum Mile , which runs from 83rd to 105th streets on Fifth Avenue in
924-549: Is divided into two sections. The second floor of the museum houses works of fine art and decorative art from early twentieth-century Austria, including paintings by Gustav Klimt , Oskar Kokoschka , and Egon Schiele and decorative objects by the artisans of the Wiener Werkstaette and their contemporaries. The third floor exhibits various German works from the same era, including art movements such as Der Blaue Reiter (The Blue Rider), Die Brücke (The Bridge), and
990-421: Is muted while the leaves in the trees, the town, and the reflections in the river glisten with spots of colour and brightness. This work demonstrates the influence of pointillism in the way the depth of field is collapsed into a flat, luminescent surface. Fauvism is also apparent in these early works. Colours are used to express Kandinsky's experience of subject matter, not to describe objective nature. Perhaps
1056-530: Is not exceptional in that regard when compared with contemporary painters, but it shows the direction Kandinsky would take only a few years later. From 1906 to 1908, Kandinsky spent a great deal of time travelling across Europe (he was an associate of the Blue Rose symbolist group of Moscow) until he settled in the small Bavarian town of Murnau . In 1908, he bought a copy of Thought-Forms by Annie Besant and Charles Webster Leadbeater . In 1909, he joined
1122-435: Is not the most beautiful hour. It is only the final chord of a symphony that takes every colour to the zenith of life that, like the fortissimo of a great orchestra, is both compelled and allowed by Moscow to ring out. From 1918 to 1921, Kandinsky was involved in the cultural politics of Russia and collaborated in art education and museum reform. He painted little during this period, but devoted his time to artistic teaching with
1188-538: Is something that anyone can do—not scientific/objective observations, but inner/subjective ones, referred to by French philosopher Michel Henry as "absolute subjectivity" or the "absolute phenomenological life ". Published in Munich in 1911, Kandinsky's text Über das Geistige in der Kunst ( Concerning the spiritual in art ) defines three types of painting: impressions , improvisations and compositions . While impressions are based on an external reality that serves as
1254-591: Is the apocalypse (the end of the world as we know it). Writing of the "artist as prophet" in his book, Concerning the Spiritual in Art , Kandinsky created paintings in the years immediately preceding World War I showing a coming cataclysm which would alter individual and social reality. Having a devout belief in Orthodox Christianity , Kandinsky drew upon the biblical stories of Noah's Ark , Jonah and
1320-486: The Bauhaus school of art and architecture from 1922 until the Nazis closed it in 1933. He then moved to France, where he lived for the rest of his life, becoming a French citizen in 1939 and producing some of his most prominent art. He died in Neuilly-sur-Seine in 1944. Kandinsky was born in Moscow, the son of Lidia Ticheeva and Vasily Silvestrovich Kandinsky, a tea merchant. One of his great-grandmothers
1386-477: The Bauhaus . Featured artists on this floor include Wassily Kandinsky , Paul Klee , Ernst Ludwig Kirchner , Lyonel Feininger , Otto Dix , and George Grosz . In 2006, Lauder purchased Klimt's painting Portrait of Adele Bloch-Bauer I from Maria Altmann on behalf of the Neue Galerie. Citing a confidentiality agreement, Lauder would only confirm that the purchase price was more than the last record price of US$ 104.2 million US for Picasso 's 1905 Boy With
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#17327717452741452-595: The International Congress of Progressive Artists and signed the "Founding Proclamation of the Union of Progressive International Artists". Kandinsky taught the basic design class for beginners and the course on advanced theory at the Bauhaus ; he also conducted painting classes and a workshop in which he augmented his colour theory with new elements of form psychology. The development of his works on forms study, particularly on points and line forms, led to
1518-526: The Munich Academy where his teachers would eventually include Franz von Stuck . He was not immediately granted admission and began learning art on his own. That same year, before leaving Moscow, he saw an exhibit of paintings by Monet . He was particularly taken with the impressionistic style of Haystacks ; this, to him, had a powerful sense of colour almost independent of the objects themselves. Later, he would write about this experience: That it
1584-507: The Theosophical Society . The Blue Mountain (1908–1909) was painted at this time, demonstrating his trend toward abstraction. A mountain of blue is flanked by two broad trees, one yellow and one red. A procession, with three riders and several others, crosses at the bottom. The faces, clothing, and saddles of the riders are each a single color, and neither they nor the walking figures display any real detail. The flat planes and
1650-505: The University of Moscow , studying law and economics. Successful in his profession, he was offered a professorship (chair of Roman Law ) at the University of Dorpat (today Tartu, Estonia). Kandinsky began painting studies (life-drawing, sketching and anatomy) at the age of 30. In 1896, Kandinsky settled in Munich, studying first at Anton Ažbe 's private school and then at the Academy of Fine Arts . He returned to Moscow in 1914 after
1716-524: The Upper East Side of Manhattan . The museum was first conceived by two close friends: art dealer and museum exhibition organizer Serge Sabarsky , and entrepreneur, philanthropist, and art collector Ronald S. Lauder . The two men shared a passionate commitment to early twentieth-century German and Austrian art and design. They met in 1967, just before Sabarsky opened his Serge Sabarsky Gallery at 987 Madison Avenue . The gallery quickly earned
1782-556: The Vologda region north of Moscow. In Looks on the Past , he relates that the houses and churches were decorated with such shimmering colours that upon entering them, he felt that he was moving into a painting. This experience, as well as his study of the region's folk art (particularly the use of bright colours on a dark background), were reflected in much of his early work. A few years later, he first likened painting to composing music in
1848-587: The Allied Artists' Exhibition (organised by Frank Rutter ) at London's Royal Albert Hall . This resulted in his work being singled out for praise in a review of that show by the artist Spencer Frederick Gore in The Art News . Sadleir's interest in Kandinsky also led to Kandinsky's first works entering a British art collection; Sadleir's father, Michael Sadler , acquired several wood-prints and
1914-496: The Alps. She accepted the offer and their relationship became more personal than professional. Art school, usually considered difficult, was easy for Kandinsky. It was during this time that he began to emerge as an art theorist as well as a painter. The number of his existing paintings increased at the beginning of the 20th century; much remains of the landscapes and towns he painted, using broad swaths of colour and recognisable forms. For
1980-613: The Alps. She accepted the offer and their relationship became more personal than professional. In 1911, the German expressionist painter was one of several artists joining Kandinsky in his Blue Rider ( Der Blaue Reiter ) group, which ended with the onset of World War I. Kandinsky and Münter became engaged in the summer of 1903 while he was still married to Anja and travelled extensively through Europe, Russia and North Africa until 1908. He separated from Anja in 1911. From 1906 to 1908, Kandinsky travelled across Europe. In 1909, Münter bought
2046-549: The Bauhaus left Weimar for Dessau in 1925. Following a Nazi smear campaign, the Bauhaus left Dessau in 1932 for Berlin , where it remained until its dissolution in July 1933. Kandinsky then left Germany, settling in Paris. Living in an apartment in Paris, Kandinsky created his work in a living-room studio. Biomorphic forms with supple, non-geometric outlines appear in his paintings—forms which suggest microscopic organisms but express
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2112-776: The English-speaking world. As early as 1912, On the Spiritual in Art was reviewed by Michael Sadleir in the London-based Art News. Interest in Kandinsky grew quickly when Sadleir published an English translation of On the Spiritual in Art in 1914. Extracts from the book were published that year in Percy Wyndham Lewis 's periodical Blast , and Alfred Orage 's weekly cultural newspaper The New Age . Kandinsky had received some notice earlier in Britain, however; in 1910, he participated in
2178-429: The Spiritual in Art (see below), Kandinsky felt that an authentic artist creating art from "an internal necessity" inhabits the tip of an upward-moving pyramid. This progressing pyramid is penetrating and proceeding into the future. What was odd or inconceivable yesterday is commonplace today; what is avant garde today (and understood only by the few) is common knowledge tomorrow. The modern artist–prophet stands alone at
2244-541: The abstract painting Fragment for Composition VII in 1913 following a visit by father and son to meet Kandinsky in Munich that year. These works were displayed in Leeds , either in the university or the premises of the Leeds Arts Club , between 1913 and 1923. The sun melts all of Moscow down to a single spot that, like a mad tuba, starts all of the heart and all of the soul vibrating. But no, this uniformity of red
2310-453: The apex of the pyramid, making new discoveries and ushering in tomorrow's reality. Kandinsky was aware of recent scientific developments and the advances of modern artists who had contributed to radically new ways of seeing and experiencing the world. Composition IV and later paintings are primarily concerned with evoking a spiritual resonance in viewer and artist. As in his painting of the apocalypse by water ( Composition VI ), Kandinsky puts
2376-524: The artist's inner life. Kandinsky used original colour compositions, evoking Slavic popular art. He also occasionally mixed sand with paint to give a granular, rustic texture to his paintings. This period corresponds to a synthesis of Kandinsky's previous work in which he used all elements, enriching them. In 1936 and 1939, he painted his final two major compositions, the type of elaborate canvases he had not produced for many years. Composition IX has highly contrasted, powerful diagonals whose central form gives
2442-504: The circle, half-circle, the angle, straight lines and curves. This period was intensely productive. This freedom is characterised in his works by the treatment of planes rich in colours and gradations—as in Yellow – red – blue (1925), where Kandinsky illustrates his distance from the constructivism and suprematism movements influential at the time. The two-metre-wide (6 ft 7 in) Yellow – red – blue (1925) of several main forms:
2508-406: The communion between artist and viewer as being available to both the senses and the mind ( synesthesia ). Hearing tones and chords as he painted, Kandinsky theorised that (for example), yellow is the colour of middle C on a brassy trumpet; black is the colour of closure, and the end of things; and that combinations of colours produce vibrational frequencies, akin to chords played on a piano. In 1871
2574-711: The contours also are indicative of Fauvist influence. The broad use of color in The Blue Mountain illustrates Kandinsky's inclination toward an art in which colour is presented independently of form, and in which each color is given equal attention. The composition is more planar; the painting is divided into four sections: the sky, the red tree, the yellow tree, and the blue mountain with the three riders. Kandinsky's paintings from this period are large, expressive coloured masses evaluated independently from forms and lines; these serve no longer to delimit them, but overlap freely to form paintings of extraordinary force. Music
2640-479: The form is expressed by a descending series of circles, triangles, and squares. Kandinsky's book Concerning the Spiritual in Art (1910) and Point and Line to Plane (1926) echoed this theosophical tenet. Illustrations by John Varley in Thought-Forms (1901) influenced him visually. In the summer of 1902, Kandinsky invited Gabriele Münter to join him at his summer painting classes just south of Munich in
2706-419: The horse has an unnatural gait (which Kandinsky must have known) . This intentional disjunction, allowing viewers to participate in the creation of the artwork, became an increasingly conscious technique used by Kandinsky in subsequent years; it culminated in the abstract works of the 1911–1914 period. In The Blue Rider , Kandinsky shows the rider more as a series of colours than in specific detail. This painting
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2772-501: The impact of brightly coloured forms while his forms were often biomorphic approaches to bring surrealism in his art. Kandinsky's analyses on forms and colours result not from simple, arbitrary idea-associations but from the painter's inner experience. He spent years creating abstract/sensorially rich paintings, working with form and colour, tirelessly observing his own paintings (along with those of other artists) and noting their effects on his sense of colour. This subjective experience
2838-594: The impression of an embryo in the womb. Small squares of colours and coloured bands stand out against the black background of Composition X as star fragments (or filaments ), while enigmatic hieroglyphs with pastel tones cover a large maroon mass which seems to float in the upper-left corner of the canvas. In Kandinsky's work, some characteristics are obvious, while certain touches are more discreet and veiled; they reveal themselves only progressively to those who deepen their connection with his work. He intended his forms (which he subtly harmonised and placed) to resonate with
2904-587: The manner for which he would become noted, writing "Colour is the keyboard, the eyes are the harmony, the soul is the piano with many strings. The artist is the hand which plays, touching one key or another, to cause vibrations in the soul". Kandinsky was also the uncle of Russian-French philosopher Alexandre Kojève (1902–1968). Kandinsky's creation of abstract work followed a long period of development and maturation of intense thought based on his artistic experiences. He called this devotion to inner beauty , fervor of spirit and spiritual desire "inner necessity"; it
2970-436: The most important of his paintings from the first decade of the 1900s was The Blue Rider (1903), which shows a small cloaked figure on a speeding horse rushing through a rocky meadow. The rider's cloak is medium blue, which casts a darker-blue shadow. In the foreground are more amorphous blue shadows, the counterparts of the fall trees in the background. The blue rider in the painting is prominent (but not clearly defined), and
3036-406: The most part, however, Kandinsky's paintings did not feature any human figures; an exception is Sunday, Old Russia (1904), in which Kandinsky recreates a highly colourful (and fanciful) view of peasants and nobles in front of the walls of a town. Couple on Horseback (1907) depicts a man on horseback, holding a woman as they ride past a Russian town with luminous walls across a blue river. The horse
3102-535: The observer's soul. Writing that "music is the ultimate teacher", Kandinsky embarked upon the first seven of his ten Compositions . The first three survive only in black-and-white photographs taken by fellow artist and friend Gabriele Münter . Composition I (1910) was destroyed by a British air raid on the city of Braunschweig in Lower Saxony on the night of 14 October 1944. While studies, sketches, and improvisations exist (particularly of Composition II ),
3168-641: The outbreak of World War I. Following the Russian Revolution , Kandinsky "became an insider in the cultural administration of Anatoly Lunacharsky " and helped establish the Museum of the Culture of Painting. However, by then, "his spiritual outlook... was foreign to the argumentative materialism of Soviet society" and opportunities beckoned in Germany, to which he returned in 1920. There, he taught at
3234-466: The painting but their relationship, their absolute and relative positions on the canvas and their harmony. Kandinsky was one of Die Blaue Vier ( The Blue Four ), which was a group that was formed in 1923 with Paul Klee , Lyonel Feininger and Alexej von Jawlensky at the instigation of Galka Scheyer , who promoted their work in the United States from 1924 onward. Due to right-wing hostility,
3300-404: The publication of his second theoretical book ( Point and Line to Plane ) in 1926. His examinations of the effects of forces on straight lines, leading to the contrasting tones of curved and angled lines, coincided with the research of Gestalt psychologists, whose work was also discussed at the Bauhaus. Geometrical elements took on increasing importance in both his teaching and painting—particularly
3366-419: The same term [REDACTED] This disambiguation page lists articles associated with the title New Gallery . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=New_Gallery&oldid=1042275320 " Category : Disambiguation pages Hidden categories: Short description
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#17327717452743432-431: The treatise "On the Spiritual in Art" (which was released in 1910) were both a defence and promotion of abstract art and an affirmation that all forms of art were equally capable of reaching a level of spirituality. He believed that colour could be used in a painting as something autonomous, apart from the visual description of an object or other form. These ideas had an almost-immediate international impact, particularly in
3498-486: The viewer in the situation of experiencing these epic myths by translating them into contemporary terms (with a sense of desperation, flurry, urgency, and confusion). This spiritual communion of viewer-painting-artist/prophet may be described within the limits of words and images. As the Der Blaue Reiter Almanac essays and theorising with composer Arnold Schoenberg indicate, Kandinsky also expressed
3564-552: The whale, Christ's resurrection , the four horsemen of the Apocalypse in the book of Revelation , Russian folktales and the common mythological experiences of death and rebirth. Never attempting to picture any one of these stories as a narrative, he used their veiled imagery as symbols of the archetypes of death–rebirth and destruction–creation he felt were imminent in the pre- World War I world. As he stated in Concerning
3630-817: The word uberflut ("deluge" or "flood") and focus on its sound rather than its meaning. Repeating this word like a mantra, Kandinsky painted and completed the monumental work in a three-day span. Wassily Kandinsky's art has a confluence of music and spirituality. With his appreciation for music of his times and kinesthetic disposition, Kandinsky's artworks have a marked style of expressionism in his early years. But he embraced all types of artistic styles of his times and his predecessors i.e. Art Nouveau (sinuous organic forms), Fauvism and Blaue Reiter (shocking colours), Surrealism (mystery) and Bauhaus ( constructivism ) only to move towards abstractionism as he explored spirituality in art. His object-free paintings display spiritual abstraction suggested by sounds and emotions through
3696-490: The young Kandinsky learned to play the piano and cello. Kandinsky also developed a theory of geometric figures and their relationships, claiming (for example) that the circle is the most peaceful shape and represents the human soul. These theories are explained in Point and Line to Plane . Kandinsky's legendary stage design for a performance of Mussorgsky 's Pictures at an Exhibition illustrates his synesthetic concept of
3762-408: Was Princess Gantimurova . Kandinsky learned from a variety of sources while in Moscow. He studied many fields while in school, including law and economics. Later in life, he would recall being fascinated and stimulated by colour as a child. His fascination with colour symbolism and psychology continued as he grew. In 1889, at age 23, he was part of an ethnographic research group that travelled to
3828-441: Was a central aspect of his art. Some art historians suggest that Kandinsky's passion for abstract art began when one day, coming back home, he found one of his own paintings hanging upside down in his studio and he stared at it for a while before realizing it was his own work, suggesting to him the potential power of abstraction. In 1896, at the age of 30, Kandinsky gave up a promising career teaching law and economics to enroll in
3894-423: Was a haystack the catalogue informed me. I could not recognise it. This non-recognition was painful to me. I considered that the painter had no right to paint indistinctly. I dully felt that the object of the painting was missing. And I noticed with surprise and confusion that the picture not only gripped me, but impressed itself ineradicably on my memory. Painting took on a fairy-tale power and splendour. Kandinsky
3960-528: Was an art theorist; his influence on the history of Western art stems perhaps more from his theoretical works than from his paintings. He helped found the Neue Künstlervereinigung München (Munich New Artists' Association), becoming its president in 1909. However, the group could not integrate the radical approach of Kandinsky (and others) with conventional artistic concepts and the group dissolved in late 1911. Kandinsky then formed
4026-717: Was born in Vienna, Austria, and was formerly the Director of the Serge Sabarsky Gallery. Wassily Kandinsky Wassily Wassilyevich Kandinsky (16 December [ O.S. 4 December] 1866 – 13 December 1944) was a Russian painter and art theorist. Kandinsky is generally credited as one of the pioneers of abstraction in western art . Born in Moscow, he spent his childhood in Odessa , where he graduated from Odessa Art School . He enrolled at
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#17327717452744092-399: Was his spiritual pursuit of expressive forms. Emotional harmony is another salient feature in the later works of Kandinsky. With diverse dimensions and bright hues balanced through a careful juxtaposition of proportion and colours, he substantiated the universality of shapes in his artworks thus paving the way for further abstraction. Kandinsky often used black in his paintings to heighten
4158-400: Was important to the birth of abstract art since it is abstract by nature; it does not try to represent the exterior world, but expresses the inner feelings of the soul in an immediate way. Kandinsky sometimes used musical terms to identify his works; he called his most spontaneous paintings "improvisations" and described more elaborate works as "compositions." In addition to painting, Kandinsky
4224-496: Was responsible for the complete renovation and conversion into a museum. In addition to its gallery spaces, the museum also contains a bookstore, design shop, and two Viennese cafés , Café Sabarsky and Café Fledermaus. Café Sabarsky, which bears the name of Neue Galerie co-founder Serge Sabarsky, draws inspiration from Viennese cafés. It is outfitted with period objects, including lighting fixtures by Josef Hoffmann , furniture by Adolf Loos , and banquettes that are upholstered with
4290-399: Was similarly influenced during this period by Richard Wagner 's Lohengrin which, he felt, pushed the limits of music and melody beyond standard lyricism. He was also spiritually influenced by Madame Blavatsky (1831–1891), the best-known exponent of theosophy . Theosophical theory postulates that creation is a geometrical progression, beginning with a single point. The creative aspect of
4356-401: Was working on Composition VI . From nearly six months of study and preparation, he had intended the work to evoke a flood, baptism, destruction, and rebirth simultaneously. After outlining the work on a mural-sized wood panel, he became blocked and could not go on. Münter told him that he was trapped in his intellect and not reaching the true subject of the picture. She suggested he simply repeat
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