Kandinsky's Concerning the spiritual in art

But when red is presented in a material form (as in painting) it must possess (1) some definite shade of the many shades of red that exist and (2) a limited surface, divided off from the other colours, which are undoubtedly there. The first of these conditions (the subjective) is affected by the second (the objective), for the neighbouring colours... See more

The observer of today, however, is seldom capable of feeling such emotions. He seeks in a work of art a mere imitation of nature which can serve some definite purpose (for example a portrait in the ordinary sense) or a presentment of nature according to a certain convention ("impressionist" painting)

For since the artist in such times has no need to say much, but only to be notorious for some small originality and consequently lauded by a small group of patrons and connoisseurs (which incidentally is also a very profitable business for him)

The more abstract is form, the more clear and direct is its appeal. In any composition the material side may be more or less omitted in proportion as the forms used are more or less material, and for them substituted pure abstractions, or largely dematerialized objects. The more an artist uses these abstracted forms, the deeper and more confidently... See more

The soul being one with the body, the former may well experience a psychic shock, caused by association acting on the latter . For example, red may cause a sensation analogous to that caused by flame, because red is the colour of flame

To let the eye stray over a palette, splashed with many colours, produces a dual result. In the first place one receives a PURELY PHYSICAL IMPRESSION, one of pleasure and contentment at the varied and beautiful colours. The eye is either warmed or else soothed and cooled. But these physical sensations can only be of short duration. They are merely... See more

1) Either form aims at so limiting surfaces as to fashion of them some material object; (2) Or form remains abstract, describing only a non-material, spiritual entity

Such an art can only create an artistic feeling which is already clearly felt. This art, which has no power for the future, which is only a child of the age and cannot become a mother of the future, is a barren art

The spiritual life, to which art belongs and of which she is one of the mightiest elements, is a complicated but definite and easily definable movement forwards and upwards