Show simple item record

dc.contributor.authorShort, Christopher
dc.date.accessioned2013-10-17T15:58:10Z
dc.date.available2013-10-17T15:58:10Z
dc.date.issued2013-10
dc.identifier.citationShort.C, 'Kandinsky’s Animated Page: The Almanac The Blue Rider as a Work of Art' in The Art Book Tradition in Twentieth-Century Europe, ed. K.Brown, Ashgate, 2013, pp 103-115en_US
dc.identifier.isbn978-1-4094-2065-1
dc.identifier.urihttp://hdl.handle.net/10369/4794
dc.description.abstractThis chapter will argue that the almanac 'De Blaue Reiter (The Blue Rider)' edited by Wassily Kandinsky and Franz Marc and published in Munich in 1912 by R. Piper & Co, can be interpreted on terms established in Kandinsky’s art theory as not merely a book, but as a work of art. The terms for this claim are found in his theory of synthesis of the arts, in which diverse mediums are unified into an artistic whole. In particular, I shall locate the almanac in the context of Kandinsky’s essays that examine ways in which apparently prosaic text can move beyond its conventional meaning and begin to function on such terms by exploring the relationship between text and image in the volume. Finally, I shall argue that other aspects of 'Der Blaue Reiter' influence this relationship in order to form what Kandinsky called a 'synthetic' work of art, in which diverse media are brought together to work as a whole. In this process, forms of signification become 'animated' as they exceed their purely conventional roles.en_US
dc.publisherAshgateen_US
dc.subjectFine Art Researchen_US
dc.subjectWassily Kandinskyen_US
dc.subjectSynthesisen_US
dc.subjectArt Theoryen_US
dc.titleKandinsky’s Animated Page: The Almanac The Blue Rider as a Work of Art'en_US
dc.typeBook chapteren_US


Files in this item

FilesSizeFormatView

There are no files associated with this item.

This item appears in the following collection(s)

Show simple item record