New PDF release: In Praise of Shadows

By Junichiro Tanizaki

An essay on aesthetics by way of the japanese novelist, this e-book explores structure, jade, foodstuff, or even bogs, combining an acute experience of using area in structures. The ebook additionally contains descriptions of laquerware less than candlelight and girls within the darkness of the home of delight.

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Kandinsky’s abstraction came from a sudden failure of the object, its inability to define the content of the work any longer. This abstraction, this content—the ‘abstract content’—is invisible life in its ceaseless arrival into itself. This continual emergence of life, its eternally living essence, provides the content of painting and at the same time imposes a project on the artist, namely, that of expressing this content and this pathetic profusion of Being. ‘Abstract’ no longer refers to what is derived from the world at the end of a process of simplification or complication or at the end of the history of modern painting; instead, it refers to what was prior to the world and does not need the world in order to exist.

21 Form The means of painting are what Kandinsky calls ‘form’. The concept of form must therefore be understood in a broader sense. It includes not just forms in the strict sense of linear forms but also colours, or to recall the terminology of the 1913 article ‘Painting as a Pure Art’ which appeared in the magazine Der Sturm, the ‘painterly form’ and the ‘pictorial form’. With respect to the form understood in the broad sense as the means of all painting and with respect to painting as a mode of expression and as a way of showing, this same text unequivocally states: ‘Form is the material expression of abstract content’ (350).

How can they be subordinated to a foreign world and continue to depict the banal world of practical perception, when they are resplendent in their incandescent flesh and filled with infinite virtualities? The non-figurative use of colour, in turn, translates into one of Kandinsky’s great discoveries: the dissociation of colour and form. This opens the possibility for colour to break free from the limits in which form seeks to contain it. Knowing no barriers, overflowing the drawing, and exploding outside of the predefined space it was assigned until then, colour spreads out wherever it wants to, submitting only to its own force and its own volition.

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