From 1922-1933, with which School of Art was Wassily Kandinsky particularly associated?
"the Bauhaus of Weimar by its founder, architect Walter Gropius. In May 1922 he attended the International Congress of Progressive Artists and signed the ""Founding Proclamation of the Union of Progressive International Artists"". Kandinsky taught the basic design class for beginners and the course on advanced theory at the Bauhaus; he also conducted painting classes and a workshop in which he augmented his colour theory with new elements of form psychology. The development of his works on forms study, particularly on points and line forms, led to the publication of his second theoretical book (""Point and Line to Plane"") in"
"Wassily Kandinsky Wassily Wassilyevich Kandinsky () ( – 13 December 1944) was a Russian painter and art theorist. He is credited with painting one of the first recognized purely abstract works. Born in Moscow, Kandinsky spent his childhood in Odessa, where he graduated at Grekov Odessa Art school. He enrolled at the University of Moscow, studying law and economics. Successful in his profession—he was offered a professorship (chair of Roman Law) at the University of Dorpat—Kandinsky began painting studies (life-drawing, sketching and anatomy) at the age of 30. In 1896, Kandinsky settled in Munich, studying first at Anton Ažbe's private"
"Klee and Wassily Kandinsky during his studies. Due to the turbulent political situation in the border area of Poland and German Silesia, he left Weimar, and in 1921 went to study at the National Academy of Fine and Applied Arts in Breslau (today: Wroclaw). He was a master student of Otto Mueller and Oskar Moll. He was a member of the artist group Die Brücke (The Bridge). From 1925 Bartoschek worked as an artist in Breslau and had solo exhibitions and participated also in collective exhibitions. He shared a studio with Alexander Camaro. In 1930 he married Elsa Bartoschek and"
"at the age of 30, Kandinsky gave up a promising career teaching law and economics to enroll in the Munich Academy where his teachers would eventually include Franz von Stuck. He was not immediately granted admission, and began learning art on his own. That same year, before leaving Moscow, he saw an exhibit of paintings by Monet. He was particularly taken with the impressionistic style of ""Haystacks""; this, to him, had a powerful sense of colour almost independent of the objects themselves. Later, he would write about this experience: Kandinsky was similarly influenced during this period by Richard Wagner's ""Lohengrin"""
"an important source of information about Russian Constructivism and other avant garde developments abroad. Mandelman met graphic designer and illustrator Robert Jonas, who introduced her to Willem de Kooning, Arshile Gorky, and other New York vanguard artists. From 1930-32, Mandelman attended New Jersey College for Women in New Brunswick, part of Rutgers University, and then the Newark School for Fine and Industrial Art, where she studied with Social Realist painter Bernar Gussow. Gussow had studied in Paris at the Ecole des Beaux Arts and introduced Mandelman to Cubism and the School of Paris. Her plans to study in Paris, however,"
"whom he married on February 11, 1917. From 1918 to 1921, Kandinsky was involved in the cultural politics of Russia and collaborated in art education and museum reform. He painted little during this period, but devoted his time to artistic teaching, with a program based on form and colour analysis; he also helped organize the Institute of Artistic Culture in Moscow of which he was the first director. His spiritual, expressionistic view of art was ultimately rejected by the radical members of the Institute as too individualistic and bourgeois. In 1921, Kandinsky was invited to go to Germany to attend"
"Art School in the years 1930-1950 is owned by its young director Jan Konstantinovich Shablovsky. During these years, college graduates in the future known artists Alexander Semionov, Lev Russov, Valery Vatenin, Nina Veselova, Piotr Litvinsky, Maria Rudnitskaya, Galina Rumiantseva, Ivan Varichev, Vladimir Galba, Orest Vereysky, Vasily Golubev, Victor Sveshnikov, Evgeny Charushin, Vasily Zvontsov, Lubov Kholina, Kapitolina Rumiantseva, Yuri Tulin, and others. In 1943, after breaking through the enemy blockade Tavricheskaya Art School became the first art schools of Leningrad resumed its work. In 1943-1944, there were engaged in and students of the Leningrad Institute of Painting, Sculpture and Architecture, remained"
"feeling, a vague communication is no communication at all,"" Gabo once remarked. After school in Kursk, Gabo entered Munich University in 1910, first studying medicine, then the natural sciences, and attended art history lectures by Heinrich Wölfflin. In 1912 Gabo transferred to an engineering school in Munich where he discovered abstract art and met Wassily Kandinsky and in 1913-14 joined his brother Antoine (who by then was an established painter) in Paris. Gabo's engineering training was key to the development of his sculptural work that often used machined elements. During this time he won acclamations by many critics and awards"
"a study of the history of art. The system of individual creative studios in which students continued their education after the second year was reinstated. In the painting faculty the studios were headed by Isaak Brodsky, Boris Ioganson, Vasily Yakovlev, Dmitry Kardovsky, Alexander Osmerkin, Alexander Savinov, Rudolf Frentz, Pavel Shillingovsky and Mikhail Bobyshov. In the late 1930s the first graduates of the revitalized Academy were the artists Yuri Neprintsev, Piotr Belousov, Nikolai Timkov, Aleksei Gritsai, Мikhail Zheleznov, Aleksandr Laktionov, Piotr Vasiliev, Аnatoli Yar-Kravchenko, Mikhail Kozell (studio of Isaak Brodsky), Dmitry Mochalsky, Alexander Debler, Ludmila Ronchevskaya, Mariam Aslamazian, Ivan Kalashnikov, Nikolai"
"enough money to enroll at the Accademia di Belle Arti di Firenze where he studied under the direction of Giuseppe Ciaranfi. Upon his return home, he worked as a journalist and a teacher in Stara Zagoda, Plovdiv, Varna and Sofia. In 1896, he was one of the co-founders of the National Academy of Arts in Sofia, where he taught art history, drawing and perspective. He served two terms as its Director, from 1912 to 1918, and from 1924 to 1927. In 1898, he was part of a team of artists that decorated the Alexander Nevsky Cathedral. One of the first"
"Sculpture and Architecture. Particularly notable among the solo exhibitions were retrospectives of Isaak Brodsky (1934, Moscow, Leningrad), Arkady Rylov (1934, Academy of Arts), Kuzma Petrov-Vodkin (1936, Moscow, Leningrad), Anna Ostroumova-Lebedeva (1940, Russian Museum) and personal exhibitions in the LSSKh of Vladimir Konashevich, Dmitry Mitrohin, Mikhail Avilov, Alexander Vedernikov, Nathan Altman, Pavel Basmanov, Aleksander Golovin, Elizaveta Kruglikova, Victor Zamiraylo, Ivan Drozdov, Leonid Ovsannikov and others. In October 1932 the All-Union Central Executive Committee and the Council of People's Commissars adopted a resolution ""On the creation of the Academy of Arts"" The Leningrad Institute of Proletarian Fine Art was transformed into the"
"education. In 1932, the period ended, notorious in the history of the institute as ""maslovschina"". October 11, 1932 the Central Executive Committee and the Council of People's Commissars accept the decree ""On creation of the Academy of Arts."" Institute of Proletarian Art was transformed into the Institute of Painting, Sculpture and Architecture. Thus was the line be drawn under 15-year period of continuous transformations of the largest art institutions in the Soviet Union. However, it took several years to ensure that assemble disparate teaching force and a new way to build an art education. A new director of the Academy"
"was renamed ""Hörmannstraße"" after the Hohenzollern nobility. In 1901, Wassily Kandinsky founded his art school ""Phalanx"" on Hohenzollernstraße 6a, where Gabriele Münter became a pupil. In the house number 104, Willibald Besta had his studio there until 1929. Hohenzollernstraße 21 was the location of the 1902 founded ""Lehr- und Versuchsatelier für angewandte und freikunst"", of Wilhelm von Debschitz and Hermann Obrist, which developed into Germany's largest private educational institution. Paul Klee taught there in 1908. In 1910 Emil Preetorius was the director of the school. In house number 1 lived the writer and painter Fanny zu Reventlow, who was known"
"of Fine Arts sculptor T. A. Matveev and his Deputy for Academic Affairs Professor of Painting Akexander Savinovhis started this process. They invited for the teaching job at the institute professors Dmitry Kardovsky, Alexander Osmerkin, Semion Abugov, Yevgeny Lansere, Nikolai Radlov, Pavel Shillingovsky, Isaak Brodsky and others, many have made subsequently to the formation of the Leningrad school of painting. In 1934 the director of the All-Russian Academy of Arts and the Leningrad Institute of Painting, Sculpture and Architecture was appointed Isaak Brodsky, a student of Ilya Repin. To work at the Institute he attracts major artists and educators Konstantin"
"he studied in the private school of Anton Ažbe. In 1905 Jawlensky visited Ferdinand Hodler, and two years later he began his long friendship with Jan Verkade and met Paul Sérusier. Together, Verkade and Sérusier transmitted to Jawlensky both practical and theoretical elements of the work of the Nabis, and Synthetist principles of art. In Munich he met Wassily Kandinsky and various other Russian artists, and he contributed to the formation of the Neue Künstlervereinigung München. His work in this period was lush and richly coloured, but later moved towards abstraction and a simplified, formulaic style. Between 1908 and 1910"
"Paul Signac, Félix Vallotton and Henri de Toulouse-Lautrec. Phalanx was where Kandinsky met Gabriele Münter, an art student at the school. She was to become his pupil, intimate companion, and critic until they separated in 1914. Phalanx (art group) Phalanx was an association of artists formed in Munich in 1901. The Phalanx group were opposed to old fashioned and conservative viewpoints in art. Founding members were Wassily Kandinsky, Rolf Niczky, Waldemar Hecker, and Wilhelm Hüsgen. Kandinsky was elected president of the association and also became the director of the Phalanx School of Painting. The group lasted two years closing in"
"art schools as the Ilyich (Lenin) Palace of Culture, the First Five-Year Palace of Culture, and also at the Kapranov Palace of Culture till his sudden death of heart attack in 1972. Among his students were the following artists: Anatoly Basin () (b. 1936), Galina Basina (b. 1939), Vladimir Egorov (1918-?), Nina Fedotova (1925-?), Anatoly Golovastov (1930-2007), Evgeny Goryunov (1944-1994), Igor V. Ivanov (1934-2017), Galina (Sizova) Ivanova (b. 1937), Boris Kupin (b. 1939), Alexander Mikhailovsky (1923-2005?), Yury Nashivochnikov (b. 1922), Sergey Sivertsev (b. 1934), Natalia Toreeva (b. 1941), Margarita Trushina (b. 1941), Vasily Zhavoronkov (1918-2000), Vasily Yuzko (b. 1938), and"
"Painting, Sculpture, and Architecture (since 1944 named Ilya Repin). The fifteen-year period of constant reformation of the country's largest art institute came to an end. Thus, basic elements of the Leningrad school – namely, a higher art education establishment of a new type and a unified professional union of Leningrad artists, were created by the end of 1932. In 1934 Isaak Brodsky, a disciple of Ilya Repin, was appointed director of the National Academy of Arts and the Leningrad Institute of Painting, Sculpture, and Architecture. Brodsky invited distinguished painters and pedagogues to teach at the Academy, namely Semion Abugov, Mikhail"
"his gymnasium years Konchalovsky attended classes of Moscow School of Painting, Sculpture and Architecture. In 1896-1898 he traveled to Paris and studied at the Académie Julian. In 1899, he returned to Russia and entered the Imperial Academy of Arts in Saint Petersburg, graduating in 1907. At the Academy, he studied under Savinsky, Zaleman and Kovalevsky. Since 1909, he exhibited frequently, participating in the Golden Fleece, Fraternity, Mir Iskusstva, and New Society of Artists. He was a founding member of the society Jack of Diamonds in 1909. Beginning in 1918 he taught art. In 1922, he had his first solo exhibition"
"explored various styles, including Impressionism and Jugendstil, but was more concerned with faithful representation than formal experiment. From 1902, he was prolific as a book illustrator, and worked mainly on the Russian literary classics by Chekhov, Gogol, Lermontov and Tolstoy. He also dabbled with political caricature, providing illustrations for the radical journals ""Zhupel (Bugbear)"" and ""Adskaya Pochta"" from 1905 to 1906. In 1934 Isaak Brodsky, a disciple of Ilya Repin was appointed director of the National Academy of Arts and the Leningrad Institute of Painting, Sculpture and Architecture. Brodsky invited D. Kardovsky among the most distinguished painters and pedagogues to"
"Art School. Having graduated, he entered the Graphic department of the Kiev Art Institute (1952–1958). He was fortunate to have V. Kasiyan and I. Pleschinsky as his tutors, and A. Paschenko, a famous Ukrainian graphic artist and a talented teacher, as his thesis supervisor. He graduated from the Art Institute with the honours degree and in the same year the twenty-five-year-old became the member of the Union of Artists of Ukraine. While still a student, his works were exhibited at Ukraine and USSR wide exhibitions. They attracted the attention of laymen and specialists alike with their perfection of form, profound"
"College of Art in London and the Académie Julian in Paris. After being awarded a scholarship Meninsky was able to study at the Slade School of Fine Art in 1912–13. In 1913 he worked for Edward Gordon Craig at his theatre school in Florence, later returning to teach at the Central School of Arts and Crafts, where he taught painting and drawing from 1913 until 1940. During World War I, Meninsky served in the Royal Fusiliers, fighting with General Edmund Allenby in Palestine. The Ministry of Information commissioned Meninsky in May 1918 to produce a series of paintings based around"
"(1918), and participated in exhibitions of Odessa artists. After the Russian Revolution (1917) he was appointed to the People's Commissar of Arts of Odessa and to the head of the Committee for Protecting the Artistic and Historic Heritage. Since 1920 he lived in Moscow, where was the first art columnist of the newspaper Pravda, worked in the ROSTA Windows together with Vladimir Mayakovsky, and was professor of history of the Western art at the VKhUTEMAS. In 1927–29 he was missioned to Paris by the People's Commissar for Education A. Lunacharsky to read lectures on new Soviet arts. In 1932 he"
"Bibliothèque Kandinsky The Kandinsky Library (or Bibliothèque Kandinsky in French) is a library of 20th and 21st century visual arts located at the Pompidou Centre in Paris, France. It also serves as the Documentation and Research Centre of the French National Museum of Modern Art (""Musée national d'art moderne / Centre de création industrielle,"" or MNAM / CCI). It is named after the Russian painter and art theorist Wassily Kandinsky, a pioneer in abstract art and a leading figure in early 20th century visual arts. Created in 2002, the Kandinsky Library includes over 200,000 works (art books, art journals, photographs,"
"and also made numerous landscapes in his own manner blending classical St. Petersburg cityscapes with his Fauvist touch. Eventually he settled in Moscow and joined Ilya Mashkov artistic studio. He followed his teacher and became the youngest artist in ""The Jack of Diamond"" group. Since 1918 Osmerkin worked as a Professor of Art, first in VKhUTEMAS in Moscow. At first he taught alongside Wassily Kandinsky, until the latter emigrated. Then Osmerkin opened his own workshop and also taught at the Surikov Institute of Fine Arts in Moscow. There his circle included such names as poet Osip Mandelstam, writers Osip Brik"
"conducted by Kamocki in Dobczyce, Ciężkowice, Wola Radziszowska, Krościenko and Zakopane. He completed his studies with a very good result in 1921. He participated in the exhibition of the Association of Polish Artists and Designers in Kraków in 1923, and in 1926 he took part in an exhibition at the Palace of Art in Kraków. He was a teacher of drawing and manual works in high schools. In 1932 he exhibited his works in Zakopane. In 1933, he started studying at the Paris branch of the Kraków Academy of Fine Arts. He exhibited twice in Paris in 1934. In 1938"
"for Vitebsk. This resulted in his founding the Vitebsk Arts College which, adds Lewis, became the ""most distinguished school of art in the Soviet Union"". It obtained for its faculty some of the most important artists in the country, such as El Lissitzky and Kazimir Malevich. He also added his first teacher, Yehuda Pen. Chagall tried to create an atmosphere of a collective of independently minded artists, each with their own unique style. However, this would soon prove to be difficult as a few of the key faculty members preferred a Suprematist art of squares and circles, and disapproved of"
"his fellow citizens and the places where he lived and visited. LEMBERSKY's art is rooted in the early Soviet Avant-Garde, with which he became acquainted at Kultur-Lige and while working as a theater sets designer in Kiev in the 1920s and early 1930s. He was further exposed to Avant-Garde at the Kiev Art Institute, where Kazimir Malevich and Vladimir Tatlin taught in the years prior to the ban of Avant-Garde in 1932; and their influence continued at the Institute into the 1930s, when LEMBERSKY studied there. In Leningrad LEMBERSKY visited the studios of the great Avant-Garde painter and theorist Pavel"
"was responsible for the formation of the city museum's gallery and library from the collection of Princess Branitskaya's mansion in Nemyriv. In 1922 he was admitted to the Institute of National Economy at the Faculty of Law. A year later he got admitted to Kiev Art Institute in the Faculty of Painting. During his studies he works as a theatre artist (during the years of 1925-1926 under the leadership of Nicholas Burachek). At the same time, in 1925, as a result of an influence by James Steinberg he transitions from a third year of having art major to a first"
"particularly Constructivism through the works and teachings of Wassily Kandinsky, who brought it from Russia. He returned to Yugoslavia, where he became friends with the avant-garde poet Srečko Kosovel. In 1924, he helped with the mounting of the first Constructivist exhibition in Yugoslavia, held in the premises of the Secondary Technical School in Ljubljana. The exhibits included architectural models, reliefs and sculptures, as well as parts of machines, overalls and politically artistic slogans. This exhibition has now been partially re-constructed as part of the new displays at the re-built Museum of Modern Art in Ljubljana. In 1925, he became a"
"Art Institute of Surikov, from which he graduated in 1957 (Soviet Art). He became the head of state cultural institutions “Creative academic studios of painting, drawing and sculpture” USSR’s People’s Deputy from 1989 to 1991 (Soviet Art). This happened all in Minsk where he resided in both work and life (Soviet Art). He became a member of the international Slavic Academy and received the Order of Francis Skaryna in 1997 (Soviet Art). Many of the themes in his works are focused around war, for it constantly plagued his mind (Soviet Art). The painting that led to his fame was “Partisan"
"money, allowing them to live freely and independently. Her childhood and early adulthood greatly impacted her future artistic career. She had a free and unrestricted life that was unconstrained by convention. Living in America and Europe gave Münter social exposure that many women did not have at the time. Münter studied woodcut techniques, sculpture, painting, and printmaking. In 1901, she attended the beginners' classes of Maximilian Dasio at the Damenakademie (Women's Academy) of the Münchener Künstlerinnenverein (Munich Women Artists's Association). Münter then studied at the Phalanx School in Munich, an avant-garde institution founded by Russian artist, Wassily Kandinsky. At the"
"first formal studies in art, under Dimitri Ismailovitch, a specialist in Byzantine mosaics and frescoes. From 1932 to 1935 he worked and exhibited in the West Indies, South America, England, Spain and Portugal. While living in England, his ideas of using traditional Russian decorative art in a modernist context began to form. This was helped by his friendship with Vladimir Polunin, at that time a teacher at the Slade School of Fine Art but previously a scene painter for Sergei Diaghilev's Ballets Russes. Vassilieff wanted to return to Russia, but Stalin's repressive regime made that impossible. In 1935, when he"