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Kochel - Cascade I
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Kochel - Cascade I
Vassily Kandinsky - Peinture à l'huile sur carton - 32,5 cm x 23,5 cm, 1900 - Galerie municipale de la Lenbachhaus
Pionnier de l'art abstrait et éminent théoricien de l'esthétique, Wassily Kandinsky (né en 1866, Moscou ; décédé en 1944, Neuilly-sur-Seine, France) a innové en peinture dans les premières décennies du XXe siècle. Son traité fondateur Sur le spirituel dans l'art, publié à Munich en 1911, expose son programme pour développer un art indépendant de ses observations du monde extérieur. Kandinsky s'est efforcé d'utiliser l'abstraction pour donner à la peinture la liberté de la nature qu'il admirait en musique. Sa découverte d'un nouveau sujet non objectif l'a occupé toute sa vie. Néanmoins, la carrière artistique de Kandinsky avait été lancée trois décennies avant de développer cette théorie révolutionnaire. Ses premières œuvres correspondent au mouvement de l'expressionnisme et ont été principalement produites à Munich après avoir formé des associations avec les principaux groupes d'avant-garde de la ville, tels que Der Blaue Reiter, en 1896.
Composé de couches épaisses de pigments verts, blancs et terreux, et de touches de bleu, « Kochel – Waterfall I » est un exemple important des premiers paysages de Wassily Kandinsky. Kandinsky a été grandement inspiré par le terrain dramatique entourant Kochel, une ville bavaroise au sud de Munich située près d'un grand lac au pied des Alpes, et a souvent peint la nature de la région. Dans ce tableau, la cascade de Lainbach est représentée, et il la répétera à l'été 1902 lorsqu'il emmena sa classe d'élèves à Kochel en sa qualité de professeur à l'école Phalanx. Dans cette deuxième version, son utilisation de couleurs fortes fonctionnerait pour suggérer une forme et une forme pures, planant près de la frontière de l'abstraction.
Alors que le présent tableau peut sembler très éloigné des œuvres abstraites ultérieures de l'artiste, Kandinsky considérait sa progression comme plutôt logique. Il n'a pas voulu donner l'impression que son art constitue une rupture radicale avec la tradition, il a plutôt défendu l'idée que tout ce qui est nouveau dans l'art doit naître de ce qui l'a précédé. Kandinsky a rappelé plus tard l'importance de ces premières études de paysage dans le développement de ses principes créatifs, notant que cette première phase de sa carrière était dominée par deux thèmes dominants : « 1. Amour de la nature. 2. Émotions indéfinies de l'envie de créer. Cet amour de la nature consistait principalement en une pure joie dans l'enthousiasme pour l'élément de couleur. J'étais souvent si fortement possédé par une tache de bleu fortement parfumée à l'ombre d'un buisson que je peignais tout un paysage simplement pour fixer cette tache… C'est à partir de ces exercices que ma capacité ultérieure s'est développée, ainsi que mon façon de peindre des paysages sonores ».
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