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Pilar Parcerisas 61 The Persistence of the
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Spiritual in Art
The first edition of the
the
book On the
the
Spiritual in in in in Art
(Über das Geistige in in in in der Kunst) was published in in in in December 1911 in in in in Munich on on on the
the
the
the
occasion of the
the
the
the
first Der Blaue Reiter exhibition In the
the
the
the
book the
the
the
the
art- ist focuses his observations and experienc- es es on on on on emotion At that time Munich was a a a a a a a a a capital of of art open to to the
the
innovations from Paris to to to the
the
machinist exaltations of of futur- ists ists and to to Russian movements Artists from from from different parts of Europe were invited to to to the
the
city from from from Matisse to to to Delaunay from from from Picabia to to to Duchamp and the
the
spiritual movement that was Der Blaue Reiter whose first exhibition took place on on December 18 1911 at the
the
Moderne Galerie Tannhäuser intending to show the
the
the
inner desire of art- ists Moving around the
the
the
group was Kan- dinsky animator of of the
the
the
the
artistic activity of of the
the
the
the
the
city with the
the
the
the
the
Phalanx association and art school since the
the
the
the
beginning of the
the
the
the
centu- ry along with Paul Klee Alexei von Jawlen- sky Auguste Macke Alfred Kubin Franz Marc and Gabrielle Münter Writ- ten in in 1910 On the
the
the
Spiritual in in Art
is one of of the
the
the
the
the
first examples of of the
the
the
the
the
changes that are taking place in in the
the
the
the
the
aesthetic field between 1910 and 1914 just before the
the
the
the
the
outbreak of of the
the
the
the
First World War It is is the
the
the
the
result of of a a a a a a a a a new attitude in in art art and artists While aesthetes are are following the
the
tradition of Kant Shopen- hauer or or Nietzsche artists are are feeling free to to think for themselves to to run the
the
adven- ture of of art art as an an individual experience and enter the
field of of artistic reflection Dada is is already very close Much has been said about the
the
the
the
problems posed in the
the
the
the
field of aesthetics around 1913 but perhaps the
the
the
the
“spirituality” that Kandinsky was advocat- ing is is one of the
most significant contribu- tions Kandinsky and and his friends wanted to live other experiences than those of noises the
the
machine primitivism or expression- ism ism They were anti-materialists and an- ti-positivists giving life to their fervour for the
the
the
anthroposophy of of Rudolf Steiner and trying to solve one of of of of the
the
the
the
the
most widespread questions of of of of the
the
the
the
the
the
aesthetic problems of of of of the
the
the
the
the
the
moment: the
the
the
the
the
the
Einfühlung the
the
the
the
the
the
subject of of of of in- tuition which is seen as the
the
the
the
expression of of a a a a feeling that penetrates the
the
the
object to identi- fy with it it The Einfühlung theory tries pre- cisely to to overcome the
the
subject / object du- ality In this sense Kandisnky seems to to follow Croce’s reflections when he he con- fronts beauty and truth or coincides with Begson in in L’Intuition Philosophique (1911) Mikel Dufrenne refers to to the
the
aesthetics of Croce: “L’art n’est partout parce qu ‘il re- side dans dans dans l’ activite spirituelle “ “ “ et et non dans dans dans des objets: ni dans dans dans les choses “la na- ture est muette si l’homme ne la la fait pas parler parler “ or ‘dans les les oeuvres qu’il faut recréer pour les les faire à nouveau parler” Einfühlung articulates Kandisnky’s book in in in what he calls “inner necessity” which must create an an effective contact be- tween the
the
the
the
“soul “soul of of the
the
the
the
artist” and the
the
the
the
“soul “soul of of the
the
the
the
spectator” in in a a a a a a a historical moment in in which art science philosophy and reli- gion are nourished by great spiritual influ- ences Philosophy focuses essentially on on science in in a a a a a a way excluding poetry and art His reflection on on the
the
spirit itself has to do with other scientific advances in areas such as as biology This is is what Henri Gouhier points out: “parce that après l’étude de de l’ l’ élan élan vital vital “dans la la la biologie il doit mainten- ant suivre cet élan élan vital vital devenu” énergie spirituelle “à travers l’histoire de de l’human- ité” Other advances in the
the
the
scientific field such as the
the
the
the
the
the
the
appearance of psychoanalysis the
the
the
the
the
the
atom and and the
the
the
the
the
the
quantum theory the
the
the
the
the
the
fourth dimension and and and other discoveries re- lated to to the
the
the
mind and and the
the
the
human body will influence that spiritual turn of art towards towards the
the
internal towards towards the
the
inner need preached by by Kandinsky The form form taken by by that that “élan vital” transformed into “spiritual energy” is is that that of of abstract art In fact it it is is the
result of of of a a a a a a a a a a a a natural and sponta- neous evolution of of movements such as as Im- pressionism and Fauvism as as the
the
anteced- ent of of abstraction The value by itself of of the
the
the
line or colour on on the
the
the
plane had already been valued since the
the
the
the
Romantic era To ar- rive at at the
the
the
the
conclusion that the
the
the
the
forms col- ours and and lines by themselves could consti- tute a a a a a a a a a work of of art and and break with the
the
the
“fidelity” of of of the
the
the
figurative appearances constituted the
the
the
natural conclusion of of an an aesthetic evolution that was also taking place in in in in other artistic disciplines According to to Robert Musil around these years prior to to the
the
the
the
First World War there was an aesthetic revolution that he he he he he says had been carried out by by “those who have have engendered time” rather than by by “those who have have been children of their time” “These aesthetic ruptures marked the
the
the
end of the
the
the
19th century but even though one hundred years have passed they are still valid today Schönberg revo- lutionized the
the
order of musical structures Kandinsky created a a a a a a pictorial world ex- pressive of the
inner reality without refer- ring to any concrete object Appia and Craig transformed the
scenery where ac- tors tors and spectators coexisted in in a a a a a a a a a single unified volume Isadora Duncan conceived the
the
the
dance as movement of of the
the
the
body in the
the
the
key of of spiritual energy and and Joyce and and Proust used the
inner monologue to trans- form narrative techniques and describe the
awareness of reality through a a a a a a a a a psychic filter Architecture also manifested itself in favour of of of the
the
fluidity of of of volume and wanted to interpret the
the
interior space of of of exterior architecture in in in a a a a a a different way This was done by Walter Gropius Adolf Loos Joseph Joseph Olbricht or Joseph Joseph Hoffmann among oth- ers On the
Spiritual in Art
empha-