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Book Categories |
Introduction | 7 | |
Acknowledgments | 9 | |
I | Russia | |
1 | Russian art toward the end of the nineteenth century | 13 |
2 | A cultivated family: Kandinsky's childhood | 20 |
3 | Student days | 27 |
4 | The first oil painting | 39 |
II | Munich | |
1 | "Now or never" | 51 |
2 | Brief studies with Azbe and Stuck | 59 |
3 | Lessons from nature: the early landscapes | 64 |
4 | The Phalanx | 79 |
5 | The past as artistic inspiration | 84 |
6 | Graphic work | 96 |
7 | Gabriele Munter and other women | 104 |
8 | Murnau | 110 |
9 | The New Artists' Association | 130 |
III | Change of Instruments | |
1 | The poems | 139 |
2 | Kandinsky and the theater | 143 |
3 | The synthesis of the arts | 152 |
IV | Period of Creative Genius | |
1 | Nature and art are two discrete realms | 159 |
2 | On the "spiritual" | 172 |
3 | The first abstract oil painting | 181 |
4 | Influences, stimuli, mood of the times | 190 |
5 | The "Blaue Reiter" | 197 |
6 | Self-images | 202 |
7 | Kandinsky and politics | 220 |
V | Moscow 1915-1921 | |
1 | A difficult fresh start | 229 |
2 | Change of style | 240 |
3 | Action | 256 |
VI | The Bauhaus Years | |
1 | Third fresh start | 265 |
2 | The geometry of forms | 277 |
3 | The debate on abstraction | 294 |
4 | A theater project | 303 |
5 | "Degenerate" art | 308 |
VII | Paris | |
1 | The last move | 321 |
2 | Biomorphous style | 332 |
3 | Theory and practice | 348 |
4 | Nature and art are not two discrete realms | 355 |
The mystery of the last works | 375 | |
Developments in research | 385 | |
Biographical Summary | 391 | |
What Kandinsky's Contemporaries Have to Say | 397 | |
Notes | 401 | |
Bibliography | 413 | |
Index of Names | 426 | |
Index of Kandinsky's Works | 429 | |
Photo Credits | 431 |
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