This text claims that "the circle is the synthesis of the greatest oppositions," since "it combines the concentric and the eccentric in a single form and in equilibrium." This text argues that a key concept derives from three principles: the elements of personality and style, which are subjective and temporal, and the universal element of the "pure and eternally artistic." Since form is the "outward expression of inner meaning," this text presents the choice of the object to represent as one element of artistic "inner necessity." This text uses Beethoven as an example of someone sitting atop a metaphorical upward-and-
This text claims that "the circle is the synthesis of the greatest oppositions," since "it combines the concentric and the eccentric in a single form and in equilibrium." This text argues that a key concept derives from three principles: the elements of personality and style, which are subjective and temporal, and the universal element of the "pure and eternally artistic." Since form is the "outward expression of inner meaning," this text presents the choice of the object to represent as one element of artistic "inner necessity." This text uses Beethoven as an example of someone sitting atop a metaphorical upward-and-forward-moving (*) isosceles triangle. This text imagines eyes as hammers and color as a keyboard on the piano of the soul, and suggests impressions, improvisations and compositions as three types of painting. For 10 points, name this treatise followed by Point and Line to Plane, a work by Wassily Kandinsky.
This text claims that "the circle is the synthesis of the greatest oppositions," since "it combines the concentric and the eccentric in a single form and in equilibrium.
Concerning the Spiritual in Art [or On the Spiritual in Art; or Ãœber das Geistige in der Kunst]