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Wassily Kandinsky and Gabiele Munter: Letters and Reminiscences 1902-1914
One of the art world’s most poignant love stories comes to life in this fascinating book. The tumultuous love affair between Wassily Kandinsky and Gabriele Münter is a story of happiness and pain, trust and betrayal, harmony and conflict, set against the backdrop of the revolutionary upheavals that attended the birth of Modernism. The fascinating story of their life in the Bavarian countryside, where they were a part of the Blue Rider group, and the underlying tensions that eventually drove them apart, is told in letters, diary entries and memoirs, and in superb reproductions of the artists’ finest paintings and sketches. This book traces the development of the couple's personal and artistic relationship from 1902 through 1914 when Kandinsky fled Germany and returned to his native Russia, before finally abandoning Münter in 1917. It shows how their relationship, though ill-fated, marked a hugely prolific period in the careers of both painters and the development of the German Expressionist movement.
159 pages, Paperback
First published January 1, 1994
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Displaying 1 - 4 of 4 reviews
July 5, 2019
In this book Annegret Hoberg has collected many of the letters sent between Wassily Kandinsky and Gabriele Mϋnter over the course of their relationship, which lasted from 1902 to 1916. The pair met when Mϋnter enrolled in an art class taught by Kandinsky; he was 36 and married, and she was 25. Kandinsky would eventually divorce his wife, but years before he did, he and Mϋnter were travelling all over Europe and living together, each encouraging the other’s art. The relationship gradually frayed, and then as Mϋnter was pressing him to marry her, Kandinsky left her in an ambiguous state, found someone much younger to marry in Russia, and “ghosted” her, not returning her letters and only informing her he had married again through a lawyer years later, as they tussled over the paintings he had left behind in her possession. Mϋnter was devastated for 7-8 years and lived a very secluded life before involving herself in the art world once again and meeting someone new. It’s a story I’ve always found compelling and sad, so I liked finally tracking down this book and getting a chance to read it.
The reader has to interpolate between the points in the letters when there is either no correspondence because the couple was together, or because the letters are no exist, but like the pair’s paintings, the feelings and impression of their lives come through. I have to say, I found myself more sympathetic to Kandinsky than I previously had been, as Mϋnter comes across as gloomy, dour, and often irritable towards him when she has no cause to be.
Editorially, I thought that Hoberg could have done a little better job at trimming content and filling in more of the story. At times the letters dip into mundane detail, which reminds us that even great people are simple humans, but which becomes a little tedious at times. Meanwhile there are larger things that aren’t expanded on about their lives or the world. One example is her alluding to Kandinsky’s writing about the direction the Russo-Turkish War was taking but then not including any of it, something I think would have been interesting. Another is in not mentioning that their friend Franz Marc, who we see referred to and in pictures, would die at the battle of Verdun in WWI.
On the other hand, what she pulled together here give us rare insight, and the paintings and photos she includes are not only fantastic but well placed in the text. It’s a handsome book, and for fans of either artist, well worth seeking out.
Quotes:
On art, from Mϋnter in 1911, writing of her breakthrough a few years before:
“After a short period of agony I took a great leap forward – from copying nature – in more or less Impressionist style – to feeling the content of things – abstracting – conveying an extract.”
And this one, which she wrote in 1957 at the age of 80; I love the analogy:
“Then I saw the Berggeist inn down below & the way the road climbed up & the blue mountain behind & little red clouds in the evening sky. I quickly sketched the picture that presented itself to me. Then it was like I woke up & had the sensation as if I were a bird that had sung his song.”
On causing pain, from Kandinsky in 1911:
“With all my heart (words are always so stupid and feeble) I hope that you feel well in every sense, that you are recovering from me, and are in good, cheerful spirits. It grieves my heart (even though I am sometimes able to suppress it) that I make life so unpleasant for you. What’s the use of telling you and myself that I cannot help it? Years ago I seriously thought of going to Siberia & freeing the people I love from me. It would be better if these people were to abandon me and I were alone and could do no damage…”
On improving and continuing to evolve, from Kandinsky in 1912:
“…I hope we will not remain like bottled preserves, but continue to evolve until our dying day.”
On Russia, from Kandinsky in 1910:
“But how Russian and yet also un-Russian I feel! How some things almost move me to tears and some things make my heart beat louder. How different the people are. Why is life here…more intense and gripping?”
And this from later in the same year:
“I wonder when the Russ. Impressions will begin to wear off & whether they will be well reflected in my art. In point of fact Moscow has always been the cornerstone, the leitmotiv, of my art: the conflict & the contrasts, the displacement, the mishmash, have their real origin here.”
The reader has to interpolate between the points in the letters when there is either no correspondence because the couple was together, or because the letters are no exist, but like the pair’s paintings, the feelings and impression of their lives come through. I have to say, I found myself more sympathetic to Kandinsky than I previously had been, as Mϋnter comes across as gloomy, dour, and often irritable towards him when she has no cause to be.
Editorially, I thought that Hoberg could have done a little better job at trimming content and filling in more of the story. At times the letters dip into mundane detail, which reminds us that even great people are simple humans, but which becomes a little tedious at times. Meanwhile there are larger things that aren’t expanded on about their lives or the world. One example is her alluding to Kandinsky’s writing about the direction the Russo-Turkish War was taking but then not including any of it, something I think would have been interesting. Another is in not mentioning that their friend Franz Marc, who we see referred to and in pictures, would die at the battle of Verdun in WWI.
On the other hand, what she pulled together here give us rare insight, and the paintings and photos she includes are not only fantastic but well placed in the text. It’s a handsome book, and for fans of either artist, well worth seeking out.
Quotes:
On art, from Mϋnter in 1911, writing of her breakthrough a few years before:
“After a short period of agony I took a great leap forward – from copying nature – in more or less Impressionist style – to feeling the content of things – abstracting – conveying an extract.”
And this one, which she wrote in 1957 at the age of 80; I love the analogy:
“Then I saw the Berggeist inn down below & the way the road climbed up & the blue mountain behind & little red clouds in the evening sky. I quickly sketched the picture that presented itself to me. Then it was like I woke up & had the sensation as if I were a bird that had sung his song.”
On causing pain, from Kandinsky in 1911:
“With all my heart (words are always so stupid and feeble) I hope that you feel well in every sense, that you are recovering from me, and are in good, cheerful spirits. It grieves my heart (even though I am sometimes able to suppress it) that I make life so unpleasant for you. What’s the use of telling you and myself that I cannot help it? Years ago I seriously thought of going to Siberia & freeing the people I love from me. It would be better if these people were to abandon me and I were alone and could do no damage…”
On improving and continuing to evolve, from Kandinsky in 1912:
“…I hope we will not remain like bottled preserves, but continue to evolve until our dying day.”
On Russia, from Kandinsky in 1910:
“But how Russian and yet also un-Russian I feel! How some things almost move me to tears and some things make my heart beat louder. How different the people are. Why is life here…more intense and gripping?”
And this from later in the same year:
“I wonder when the Russ. Impressions will begin to wear off & whether they will be well reflected in my art. In point of fact Moscow has always been the cornerstone, the leitmotiv, of my art: the conflict & the contrasts, the displacement, the mishmash, have their real origin here.”
May 23, 2014
An excellent nonfiction companion to Saving Kandinsky, an historical novel.
Kandinsky: A Retrospective debuts in June at the Milwaukee Art Museum, http://mam.org/kandinsky/ , then travels in September to Nashville Center of the Visual Arts http://fristcenter.org/calendar-exhib....
Kandinsky: A Retrospective debuts in June at the Milwaukee Art Museum, http://mam.org/kandinsky/ , then travels in September to Nashville Center of the Visual Arts http://fristcenter.org/calendar-exhib....
March 23, 2009
I had only known of Kandinsky by the works I've seen. I always find it interesting to see how other artists work, and this was the case here. But the relationship told in letters through this book was no great love affair.
However, I'm totally taken by Munter's color palette and style of painting.
However, I'm totally taken by Munter's color palette and style of painting.
Did Not Finish
July 27, 2013i wanted to read this, but the story just didn't interest me. A book for a different reader than i.
Displaying 1 - 4 of 4 reviews