Blue Rider Art

German Impressionist Painting of Rio de Janeiro's Guanabara Bay and Sugarloaf Mountain in style of Max Slevogt This vivid landscape painting offers a panoramic view of Rio de Janeir...

Color Photograph of Abandoned Gas Station Architecture Lake Havasu is a large reservoir formed by Parker Dam on the Colorado River, on the border between San Bernardino County, Cali...

Heinrich Campendonk Krefeld 1889 - 1957 Amsterdam Reclining female nude with cow and goat, 1918 Woodcut on Japanese paper Signed and dedicated in pencil lower left "for Lasar Segall ...

'Improvisation 7' second ed. woodcut from 'Klänge' is a woodcut print created by Wassily Kandinsky. The present woodcut print comes from the second edition of 'Klänge (Sounds),' a book of original graphics and poetry by Wassily Kandinsky. The title of the album and of this print, 'Improvisation,' demonstrated Kandinsky's interest in music and how abstract musical forms could be translated into images on a two-dimensional surface. This particular composition is difficult to read, but through the abstraction, one can make out various figures and a landscape beyond. Originally carved and printed in 1911, this second edition print was done ca. 1938. It is a woodcut in black ink on woven paper. Signed with encircled 'K' in the block, lower right (from the book, signed in ink, ed. 117/300) Image Size: 7 1/2" x 5 inches Frame Size: 22 1/4" x 18 3/4" Ref. Roethel 124 Artist Bio: The Museum of Modern Art described 'Klänge (Sounds)' as follows: Vasily Kandinsky's self-described "musical album," Klänge (Sounds), consists of thirty-eight prose-poems he wrote between 1909 and 1911 and fifty-six woodcuts he began in 1907. In the woodcuts Kandinsky veiled his subject matter, creating increasingly indecipherable images (though the horse and rider, his symbol for overcoming objective representation, runs through as a leitmotif). This process proved crucial for the development of abstraction in his art. Kandinsky said his choice of media sprang from an "inner necessity" for expression: the woodcuts were not merely illustrative, nor were the poems purely verbal descriptions. Kandinsky sought a synthesis of the arts, in which meaning was created through the interaction of, and space between, text and image, sound and meaning, mark and blank space. The experimental typography shows his interest in the physical aspects of the book. Klänge is one of three major publications by Kandinsky that appeared shortly before World War I, alongside Über die Geistige in der Kunst (Concerning the Spiritual in Art) and the Blaue Reiter almanac...

Alexej von Jawlensky Torschok 1864 - 1941 Wiesbaden Head (pondering), circa 1923. Etching in umber, hand-printed. Catalogue raisonné Rosenbach 40. Monogrammed in the plate. With th...

This poster, published in 1971 for the Fondation Maeght, proudly boasts a lithographic rendering of Wassily Kandinsky's 1922 mural plans for the Juryfreie exhibition in Germany. It w...

The present woodcut print comes from 'Klänge (Sounds),' a book of original graphics and poetry by Wassily Kandinsky. This first edition was released in an edition of 300, each book signed and numbered by the artist. The title of the album and this particular print, 'Improvisation,' demonstrated Kandinsky's interest in music and how abstract musical forms could be translated into images on a two-dimensional surface. This particular composition is difficult to read, but through the abstraction, one can make out various figures and a landscape beyond. 7.5 x 5 inches, image 22 x 19.5 inches, frame Woodcut in black ink on laid paper (watermark Van Gelder Zonen) Signed with encircled 'K' in the block, lower right Framed to conservation standards using 100 percent acid free archival materials including silk-lined matting with 1/4 inch bevel, museum glass, and a gold-gilded moulding Ref. Roethel 124 The Museum of Modern Art described 'Klänge (Sounds)' as follows: Vasily Kandinsky's self-described "musical album," Klänge (Sounds), consists of thirty-eight prose-poems he wrote between 1909 and 1911 and fifty-six woodcuts he began in 1907. In the woodcuts Kandinsky veiled his subject matter, creating increasingly indecipherable images (though the horse and rider, his symbol for overcoming objective representation, runs through as a leitmotif). This process proved crucial for the development of abstraction in his art. Kandinsky said his choice of media sprang from an "inner necessity" for expression: the woodcuts were not merely illustrative, nor were the poems purely verbal descriptions. Kandinsky sought a synthesis of the arts, in which meaning was created through the interaction of, and space between, text and image, sound and meaning, mark and blank space. The experimental typography shows his interest in the physical aspects of the book. Klänge is one of three major publications by Kandinsky that appeared shortly before World War I, alongside Über die Geistige in der Kunst (Concerning the Spiritual in Art) and the Blaue Reiter almanac...

Alexej von Jawlensky Torschok 1864 - 1941 Wiesbaden Head (astonishment), circa 1923. Etching in umber, hand-printed. Catalogue raisonné Rosenbach 41. Monogrammed in the plate. With t...

Alexej von Jawlensky Torschok 1864 - 1941 Wiesbaden Inclined Head, after 1923. Etching in umber, hand-printed. Catalogue raisonné Rosenbach 35. Monogrammed in the plate. With the e...

Alexej von Jawlensky Torschok 1864 - 1941 Wiesbaden Head (zurückweichend), circa 1923. Etching in umber, hand-printed. Catalogue raisonné Rosenbach 38 With the embossed artist's mo...

Alexej von Jawlensky Torschok 1864 - 1941 Wiesbaden Head (devoted), circa 1923. Etching in umber, hand-printed. Catalogue raisonné Rosenbach 39. Monogrammed in the plate. With the ...

A portrait of two cats is deftly assembled by trailblazing modernist Hilla Rebay. The work is signed and titled lower left. 'Muschi et Antonio v. Rebay - Rome'. Titled to verso ‘Musc...