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Bashkangjitje: sonidoapacible.jpg
Ky file është shkarkuar 82 herë.

La musica ebbe una profonda influenza sul percorso artistico di Kandinsky.
Al rinnovamento delle forme musicali vissuto in quel periodo va aggiunta la sensibilit�_ personale del pittore nei confronti di questa espressione artistica e l'intensa collaborazione col musicista Arnold Schömberg.

Nei saggi di Kandinsky si trova una precisa teorizzazione del rapporto tra pittura e musica.
Secondo il pittore, la musica è una delle arti più perfette perchè possiede le qualit�_ di libert�_ ed astrattezza. Egli ipotizza che anche la pittura possa avere queste caratteristiche e che dunque ci sia una analogia tra le due espressioni artistiche.
Il colore e la forma, infatti, colpiscono l'anima senza la necessit�_ di figurazione, così come la musica tocca l'anima nel profodo pur essendo immateriale.
Questo rapporto si esprime innanzitutto in una corrispondenza tra certi colori e alcuni tipi di suoni, nel fatto che un colore può acquistare le caratteristiche proprie di un suono, così come una nota può suscitare la stessa sensazione della visione di un certo colore.
Ecco alcune di queste corrispondenze ipotizzate nel saggio "Lo spirituale nell'arte":



GIALLO: squilli acuti di tromba

AZZURRO CHIARO: flauto

AZZURRO SCURO: violoncello, contrabbasso, organo

VERDE: note lunghe, calde, semibasse del violino

ROSSO CHIARO: suono ostinato, quasi fastidioso di fanfara

ROSSO SCURO: tuba e rullo di tamburi

ARANCIONE: campana mediana, robusto contralto, viola

VIOLA: note profonde degli strumenti di legno, corno inglese, zampogna

BIANCO: silenzio che precede la nascita, è pieno di possibilit�_

NERO: pausa da un suono dopo il quale non c'è più nulla, solo un silenzio eterno senza possiblit�_ e speranza

GRIGIO: non ha alcuna sonorit�_ ed è immobile

Secondo Kandinsky, anche le forme veicolano la loro musicalit�_; così, ad esempio, un punto è un "suono" silenzioso che acquista sonorit�_ nel momento in cui si fa dinamico diventando linea e poi superficie.

A partire dal 1911 e per più di due decenni, Kandinsky stabilì un'intensa collaborazione culturale con il musicista Arnold Schömberg, al quale era legato anche da stima e amicizia. Schömberg era l'inventore della dodecafonia, ossia della frammentazione della scala tonale in dodoci parti uguali e benchè la sua attivit�_ principale fosse appunto quella di compositore, si cimentò spesso nel'arte della pittura con risultati notevoli.
I due provavano un interesse ed un apprezzamento reciproco per il lavoro dell'altro, trovandovi delle analogie teoriche e pratiche. Erano inoltre accomunati dal gusto per la sperimentazione e la dissonanza.
Schömberg collaborò alla realizzazione dell'Almanacco del Blauer Reiter con uno scritto teorico ed alcune partiture musicali, ed espose spesso i suoi quadri nelle mostre organizzate da Kandinsky.

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Bashkangjitje: kandinsky-composition-iv-1911.jpg
Ky file është shkarkuar 78 herë.

Anterior foto: "Calm sound", 1923 (water colour, gouache, tint)

Next foto: "Composition IV", 1911 (oil colour on canvas)

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Bashkangjitje: kandinsky-composition-viii-1923.jpg
Ky file është shkarkuar 75 herë.

Painting is like a thundering collision of different worlds that are destined in and through conflict to create that new world called the work. Technically, every work of art comes into being in the same way as the cosmos –by means of catastrophes, which ultimately create out of the cacophony of the various instruments that symphony we call the music of the spheres. The creation of the work of art is the creation of the world.

Wassily Kandinsky (1923)



Foto: "Composition VIII", 1923 (oil over canvas)

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Bashkangjitje: kandinsky-composition-ix-1936.jpg
Ky file është shkarkuar 71 herë.

Therefore, colour is a means of exerting a direct influence upon the soul. Colour is the keyboard. The eye is the hammer. The soul is the piano, with its many strings.
The artist is the hand that purposefully sets the soul vibrating by means of this or that key.
Thus it is clear that the harmony of colours can only be based upon the principle of purposefully touching the human soul.
This basic tenet we shall call the principle of internal necessity.


Wassily Kandinsky (1911)



Foto: "Composition IX", 1936 (oil over canvas)

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In order to “understand” this kind of picture, the same emancipation is necessary as in the case of realism, i.e., it must here too become possible to hear the whole world just as it is without objective interpretation. Here, those abstracted or abstract forms (lines, planes, patches, etc.) are not important in themselves, but rather for their inner sound, their life.



Wassily Kandinsky (1912)

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Darke!

S'te kuptoj ty o njeri?!

Edhe pse je Shqiptare(kete e di shume mire), vetem SHQIP s'flet... por cdo gjuhe tjeter.

S'te vjen cik keq?

Megjithate, urime per temen!

__________________
s...._d._m... says: for nothing that happened this time...!!

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The dreamer, then, says that, in that solitary room, the silence would be very dense... like snow on the cloister of a monastery abandoned in the desert of another planet...
Then, the dreamer says that the atmosphere of that room could be disturbing and ghostfully, but even though, all possible sensation of disquiet would be eclipsed by the peaceful spirituality of the air. And when the dreamer is saying this, he makes a brief pause to sigh.
Subsequently, he says that beyond the window it would be the night, that beyond the night the presence of the sea should be guessed.
The dreamer remains silent during some time, but later, looking at me fixedly to my eyes, he tells me that it is very difficult to express the nature of that silence that floods his dream. The dreamer says that art is to understand what you cannot express, but that he is not an artist, but only a dreamer. I tell him that if he has been able to dream that silence, he will also be able to dream that he is an artist. The dreamer smiles.
He says that, since in the beginning it was the verb, it would be necessary to appeal to the art of the literature firstly to express that silence… the one that firstly it would be necessary to appeal to express that silence... although to express the silence with a word is a contradiction. The dreamer supposes that literature could only narrate that oniric silence with a symbol of a visual metaphor.
The dreamer says that that experiment of avant-garde court would be also literature, but that this, or at least what is expected from her, is not silence, but a scream, and that therefore, the metaphor dreamt to express the silence would be, only, a reef of the thought, an infinite ejaculation of Byzantine syllogisms...
No, the dreamer says, the art of the literature will never be able to express the silence. I tell him that what literature cannot express, the art of the music yes can do it. But the dreamer says that a music able to express the silence would be simply a madness.
The dreamer, when saying this, he keeps quiet again, but my eyes want that the dream continues. Then the dreamer says that he has just dreamt that the room had two youths. He says that he has not seen them, and much less to hear them, that he has only felt a intuition of being with two presences...
After sighing again, the dreamer says that the art of the painting could maybe to express the silence that plays his dream. He says that painting, contrary to literature, is not direct communication, but suggestion, elegance of the eloquence... That a painter could depict the silence...
The dreamer says that for that portrait the painter should leave from the technique of the watercolorists, soaking everything of water, and that later he should go covering the whole surface with successive color layers, so many layers like colors there was in his palette, until of the sum of all the colors he got the most perfect in the black ones.
The dreamer says that this portrait should be made as the love: a dark rite that culminates between two in the bigger possible communications between two beings.
These words have left in the face of the dreamer a rake of nostalgia. And suddenly he asks me that if I have seen Goya's black paintings that if I usually listen Beethoven. I answer that I have seen more Van Gogh or Bach. When these names are pronounced, the onomatopoeia of the silence has resonated in the transparency of the air and we look at ourselves, astonished.
The dreamer says again that it would be the art of the painting the one that made understand the deafening silence of his dream. He explains that each color has a sound that each sound possesses a silence that each silence takes implicit a truth...
The dreamer says that only with the sum of many silences we will obtain the knowledge of ourselves. He says that that intimacy between color and sound, between darkness and silence, among physics and metaphysical, optics and mystic, it is such a narrow intimacy that one can say that each chromatic intensity is a tonality, so much of pigment as of volume... that it is the reason, the dreamer says, for which the blind man and the deaf one are connected with a superior sensibility: both are forced to that tonality, to that volume... For them it is easy to fall in the chain of color like sound, darkness like silence, optics like mystic. That maybe they see the truth, such and like it sounds, he says.
The words of the dreamer take me toward an dreamer abstraction. And to return to that reality, the reality of the dream, I ask what color would the walls of that dreamt room be. He answers me: color gloom, because the room could only be illuminated by the dying flame of a candle. That light would be the mother of that silence that that night would have arisen of the center of that room to silence the eternal lament of the sea. And the youths, naked like the walls of the room, don't look at themselves, they don't speak to each other, they remain silent... it would be enough that each one screamed and the walls will fall down, and they could enjoy their freedom, to go out to the night and to cross the sea.
Me, with an indomitable curiosity, I ask who are those youths. He answers me the following thing.

Us. You and me, and if you still didn’t see it, we are the same being, because everybody has in theirselves two natures, the dreamer one and the realist one, the logic one and the irrational one, and only when one converses with the other one, although it is in whispers, silence breaks to rebuild ourselves.

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This time poetry and music get together...

A poem written by the Argentine Roberto JUARROZ for the musical play Notas Fugaces -Fleeting Notes- by François BOHY.

Descorrer las figuras que illustran la mirada,
ajustar la tensión del pensamiento
y bajar la voz hasta el eclipse del fondo,
hasta encontrar las fibras que entretejen
el cuerpo del vac�_o.

Déplacer les figures qui illustrent le regard,
ajuster la tension de la pensée,
et baisser la voix jusqu'�_ l'éclipse du fond,
jusqu'�_ trouver les fibres qui entretissent
le corps du vide.

Pasar del tronco a la rama,
pasar de la rama al aire,
pasar del aire a la transparencia del tiempo,
pasar del tiempo a la nada.

Passer du tronc �_ la ramure,
de la ramure �_ l'air,
de l'air �_ la transparence du temps,
passer du temps au rien.

Y recoger en cada movimiento
el polvo más liviano,
la espuma de la fugacidad,
la siega de los mares,
el neutro agobio de los cielos.

Et recueillir en chaque mouvement
la poussière la plus légère,
l'écume de la fugacité,
la fenaison des mers,
le neutre accablement des cieux.

Y con manos de adelgazado alfarero
concentrar aún más lo que no existe,
lo que apenas existe
y los puntos suspensivos
de lo poco que existe,
para injertar la sombra de una forma
en la sed impensable de lo informe.

Et avec les mains d'un fin potier
concentrer plus encore ce qui n'existe pas,
ce qui existe �_ peine
et les points de suspension
du peu qui existe,
pour enter l'ombre d'une forme
sur l'impensable soif de l'informe.

Roberto Juarroz. Onzième Poésie Verticale Lettres Vives. Paris 1990.

__________________
No, no dejéis cerradas las puertas de la noche, del viento, del relámpago, la de lo nunca visto.

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