|Artist / Origin||
Wassily Kandinsky (French, born Russia, 1866–1944)
Period: 1900 CE - 2010 CE
Oil on canvas
|Dimensions||H: 47 3/8 in. (120.3 cm.), W: 55 1/4 in. (140.3 cm.)|
|Location||The Metropolitan Museum of Art, New York, NY|
|Credit||Courtesy of the Metropolitan Museum of Art, Alfred Stieglitz Collection © 2009 Artists Rights Society (ARS), New York/ADAGP, Paris|
Gamwell, Lynn. Exploring the Invisible: Art, Science, and the Spiritual. Foreword by Neil deGrasse Tyson. Princeton: Princeton University Press, 2005.
Harrison, Charles, et al. Primitivism, Cubism, Abstraction: The Early Twentieth Century. New Haven and London: Yale University Press and the Open University, 1993.
Friedel, Helmut, and Annegret Hoberg. Kandinsky. New York: Prestel, 2008.
Lindsay, Kenneth C., and Peter Vergo, eds. Kandinsky: Complete Writings On Art. Cambridge, MA: Da Capo Press, 1994.
“Wassily Kandinsky: The Garden of Love (Improvisation Number 27) (49.70.1).” In Heilbrunn Timeline of Art History. The Metropolitan Museum of Art Web site. http://www.metmuseum.org/toah/ho/11/eue/ho_49.70.1.htm (October 2006).
The Garden of Love (Improvisation Number 27)
Believing that an engagement with the spiritual could ennoble his artwork, in the early twentieth century Wassily Kandinsky began turning away from the idea that art should convey a faithful likeness of things in nature.
Instead, he sought to reveal the “soul” of his subjects, which did not rely on outward appearance. With his established goal being the communication of inner essences, Kandinsky created works that were increasingly abstract. He explained his perspective clearly in a 1911 treatise that he titled Concerning the Spiritual in Art. The Garden of Love was painted the following year.
By calling this painting The Garden of Love, Kandinsky makes a clear reference to the Garden of Eden. However, his interest in the spiritual was too broad for a strictly literal interpretation of a bible story. While a shining sun is identifiable at the center of the canvas, very little else in the scene is recognizable. Rather than depicting human figures and animals, Kandinsky merely suggests them. Rough sketches of couples, for instance, meld into single shapes, attesting to Kandinsky’s belief that the idea of the Garden of Love could be expressed without explicit representation of the physical world.
Ultimately, Kandinsky wanted his art to be able to communicate on its own terms, independent of naturalistic signs. He looked to lines and color as the foundations of this visual “language” that he likened to that of music, which expressed pure emotion free of representation. Kandinsky’s interest in the connection between art and music is revealed in the titles of his paintings, which often describe the works as musical forms. The Garden of Love, for instance, was alternately called Improvisation 27.