Art History 3101 Project

Primitivism and early Avant-Garde

University of KwaZulu-Natal May, 30, 200 !tu"ent# Ale$an"er %jor"jevic 20 213&

'ecturer# %r( )uliette 'ee*-"u +oit

,ro- t.e -i""le of 1/t. century 0ro1ressive artists were interestin1 to fin" resources for t.eir art outsi"e aca"e-ic .erita1e of 2enaissance( +.ese ten"encies were continuities at t.e *e1innin1 of 20t. century, w.en artists were very -uc. -otivate" to fin" new for-s for t.eir aest.etics e$0ression( +.ey "iscovere" creative 0ower an" foun" artistic su0re-acy in art fro- non-3estern cultures, calle" Pri-itive art or Pri-itivis-( Also t.ey reco1ni4e" aest.etic values in so-e 50ri-itive6 se1-ents in 3estern culture, li7e 8.il"ren art, 0easant art an" na9ve art of !un"ay 0ainters( 3e can say t.at Pri-itivis- is asse-*la1e of "ifferent aest.etic ele-ents fro- western an" non-western or 0ri-itive culture( Many of t.ese artists were not satisfy wit. c.aotic way of livin1 w.ic. was offere" *y -o"ern in"ustrial worl", t.ey wante" to *e in close" contact to nature, an" t.ey *elieve" t.at art of 0ri-itive or tri*al, African art can 1ive t.e- t.at si-0licity an" return to 0lain life in .ar-ony wit. nature( ,or t.e- 7ey c.aracteristics of 50ri-itive art6 were# 5si-0licity, aut.enticity, a "irectness of e$0ression, an" -ore usin1 of instinctive nature in co-0arison to western art6 :;"war"s !( an" 3oo" P( 200<# 2 /=( ;uro0ean -o"ernists trie" to e-0loy in t.eir art so-e of t.ese c.aracteristics( +.at was 0rocess of stylistic *orrowin1( !tylistic *orrowin1 or 5stylistic 0ri-itivis-6 :;"war"s !( an" 3oo" P( 200<# 1 >= is 0art of wi"er 0rocess of artistic 0ri-itivis-, w.en artist usin1 so-e artistic attri*utes for .is aest.etics e$0ression, wit. *elievin1 t.at 0ri-itive art 0oses it( ?t is i-0ortant to *e note" t.at t.ese are not necessary attri*utes t.at woul" *e reco1ni4e" *y 0ri-itive artist( ?nstea" t.ey are c.aracteristics t.at western artists rea" into 50ri-itive6 o*jects( @e1innin1 of 20 century was reac. wit. new art -ove-ents, an" t.ose artists saw t.e-selves as Avant-Aar"e( Pri-ary, t.ey .ave not *een interestin1 to "escri*e e$ternal reality, *ut rat.er to e$0lore t.eir inner selves, fillin1s, "rea-s an" fantasies( ?nterest of Avant-Aar"e artists for 0ri-itive o*jects le" its reclassification to o*ject of 50ri-itive art6(

@ellow ? will 0resent 1eneral situation in ;uro0e at t.e en" 1/t. century an" at *e1innin1 of 20t. century, an" enu-erate so-e of t.e factors, w.ic. 1overn increasin1 of interest for art an" cultures of 5ot.ers6( Museums +ill -i""le of 1/ centuries 0ri-itive art was very rare an" relatively un7nown in ;uro0e( Bne of t.e reasons for t.at was t.at ;uro0ean -useu-s .a" in t.eir collections very li-ite" nu-*er of suc. artifacts( @ut in secon" 0art of 1/t. century w.en ;uro0ean increase" t.eir 0olitical an" econo-ical 0resence in Africa, t.at -eant also "ra-atically enlar1e-ent of -useu-s collections wit. 0ri-itive art o*jects( ,irst -useu-s wit. t.is 7in" of art were ;t.no1ra0.ical -useu- in Paris :o0ene" 1>C>= an" -useu- of African an" art fro- Bceania :o0ene" in 1>>2=, also in Paris( @lac7 African art o*jects entere" @ritis. Museu- t.rou1. ;n1lis. e$0e"itions to African continent( ?n Aer-any, Koni1lis.e Museu- in @erlin was a-on1 first -useu-, w.ic. .a" on "is0lay o*ject fro- Africa( Political/economical situation ;$0ansion of colonial 0ower, followe" wit. tra"e very -uc. "evelo0e" 0resence of *lac7 art o*ject in ;uro0e an" A-erica( %urin1 1/ century t.ese o*jects were not treate" as art *ut were consi"ere" *y et.no1ra0.ical -useu-s as e$a-0les of "ifferent, e$otic culture( Philosophy ?n t.e late 1/ century in 1>/0s cult of t.e Niet4sc.e 0.iloso0.y a*out ni.ilis-, s0ontaneous an" in"ivi"ualis- were very -uc. s0rea" a-on1 intellectuals( ?n .is writin1 Niet4sc.e attac7e" *our1eoisies i"eolo1y an" culture( He was for free 0.iloso0.y, art an" society( +.at tren" su00orte" in"ivi"ualis- an" anarc.is- or anti esta*lis.-ents ten"encies an" free artistic e$0ression( ,or e$a-0le artists fro- t.e -ove-ent ,auves were very -uc. intereste" in Niet4sc.e 0.iloso0.y( The Darwinian evolution theory 0ro"uces 1reat interest for stu"y 0ri-itive cultures, as a 0art of .u-an evolution(

!tylistically, as 0er 2( Aol"water, followin1 Mo"ernis-s -ove-ents were influence" *y Pri-itivis-# ,auvis-, Aer-an ;$0ressionis-, 8u*is-, %a"a an" !urrealis-( Romantic Primitivism ?n t.is 1rou0 *elon1 Aau1uin an" t.e sc.ool of Pont DAven :Maurice %enis an" ;-il @ernar"= an" artists calle" ,auves or 5wil" *easts6( Aau1uin was wit. .is travelin1 to !out.ern !eas, first w.o left aest.etical an" social nor-s of t.e 3est an" a"o0te" 50ri-itive6, si-0le life close to nature( Fauves :Henri Matisse, An"re %erain, Maurice Ela-inc7= 8.aracteristics of ,auves art# +.ey use" 0ure color, *rea" linesF t.eir 0icture .a" lac7 of 0ers0ective( +.ey stu"ie" an" use" -uc. of 0ainterGs -et.o" of Ean Ao1., Aau1uin an" 0ointillists( @ut ,auves also went furt.er in si-0lification of t.e 0aintin1s( %erain an" Ela-inc7 intereste" very -uc. in Niet4sc.e 0.iloso0.ical wor7s :%erain was intellectual anarc.ist an" Ela-inc7 was 0ure anarc.ist=( ,or Matisse, African art :an" Brientalis- as its 0art= was very -uc. i-0ortant an" t.ere .e fin"s .is ins0irations for .is e$0eri-entin1 in .is efforts to 0ro"uce ori1inal art, si-0le an" flat, wit. "ecorative ele-ents( ;$a-0le# Henri Matisse The Dance 1/0C, oil on canvas, 2&0$3/1, Her-ita1e Museu-, !t Peters*ur1( Matisse 0ro"uce" -any 0ictures wit. sa-e title 5%ance6 an" t.ey sli1.tly "iffer to eac. ot.ers :Museu- of Mo"ern Art - !toc7.ol-, Her-ita1e - !t( Peters*ur1, MoMA DNHI=( Mainly five fi1ures of t.e "ancers are in si-ilar 0ositions to eac. ot.er *ut in sli1.tly "ifferent 0ostures( 8olors of t.e fi1ures an" color of t.e *ac71roun" -uc. -ore "iffer fro- 0icture to 0icture(

<

5%ance6 is 1reat e$a-0le of Matisse oriental, "ecorative style, w.ic. .e a"o0te" after .is travelin1 to Nort. Africa( His 0alette is re"uce" only on t.ree colors# *lue, 1reen an" oran1e( Picture is "ivi"e" in two 0arts# *y war- oran1e for fi1ures in fore1roun" an" col" *lue an" 1reen for *ac71roun"( Pattern of t.e *o"yGs s.a0es is very -uc. si-0lifie", as well as *ac71roun" of t.e 0icture( Matisse "i" not use" s.a"in1 in t.is 0icture( ?nstea" .e si-0le use" lines to outlines *o"ies an" to e$0ress volu-e an" -ove-ent( All 0ictorial ele-ents are -uc. re"uce" an" t.at 1ives to t.e 0icture very "ecorative c.aracter( !motional Primitivism " Germans !#pressionism ;$0ressionis- is arts for-, in w.ic. t.e artist 0rioritises own internal an" su*jective feelin1s in res0onse to e$ternal worl"( :;"war"s !( an" 3oo" P( 200<#1<=( The Brucke ?n sa-e ti-e w.en ,renc. ,auves "iscovere" African tri*al art, %res"enGs 1rou0 :foun"e" in 1/0 = of artists, arc.itecture stu"ents :;rnst 'u"wi1 Kirc.ner an" ;-il No"le wit. frien"s= were fascinate" wit. African art o*jects, w.ic. t.ey fin" in %res"en ;t.no1ra0.ical Museu-( @ut t.ey "i" not t.in7 a*out t.e- fro- *e1innin1 :as ,auves=, only as *i4arre an" curious o*jects( +.ey as 0er 2( Aol"water, raise" t.e- i--e"iately to t.e level of art( +.e @ruc7e .a" *een influence" *y 0ri-itivis- of t.e African art an" art fro- Bceania, *ut also *y ol" Aer-an woo"cuts an" c.il"renGs art( +.e c.aracteristic for t.e @ruc7e was cult of nature, as t.ey *elieve t.at 50ri-itive6 is also innocence of t.e *o"y in it 5natural6- nu"e state :2.o"es, 8olin, 1//<# 3>=( Anre Ai"e an" .is cult of Naturis- an" free a00roac. to life an" se$uality were also 0o0ular a-on1 t.e-( +.ey were nu"ists :t.ey often 1o in 1rou0s on t.eir *at.in1 tri0s=, an" conseJuently t.ey use" nu"es in lan"sca0e for su*jects at t.eir 0ictures( +.eir nu"ity also sy-*oli4e" t.eir refusal of social nor-s i-0ose" *y ur*an culture( ;$a-0le# $irchner# 5@at.ers at Mori4*ur16 1/0/, 5@at.ers t.rowin1 ree"s6 1/0/, 5Airl un"er a )a0anese u-*rella6 1/0/, 5Nu"es 0layin1 un"er t.ree6 1/10(

The Blue Reiter +.is is 1rou0 for-e" 1/0/ of artists fro- Munic.# 3assily Kan"ins7i, ,ran4 Marc, Aa*riele Munter, Paul Klee( +.ey fin" interest an" ins0iration for t.eir art in aest.etic Jualities of @avarian an" 2ussian fol7 art, @ra4ilian -as7s, Me$ican scul0tures, African art o*jects or in c.il"ren art( Na9ve or tri*al art 7ee0 s0ontaneous, e$0ressive 0erce0tion an" lyricis-, an" t.ese Jualities were .i1.ly res0ecte" *y @lue ri"ers artists, an" t.ey trie" to incor0orate so-e of t.ese Jualities in t.eir wor7s( Kan"ins7y an" Marc in t.eir 5@lue ri"er al-anac6 levelin1 eJually "rawin1 of Picasso an" c.il"renGs "rawin1s, or 0aintin1 of na9ve 0ainter Henri 2oussean an" ;l Areco :2.o"es, 8olin, 1//< 3>=( As Kan"ins7y .a" "ee0 interest in 0ri-itivis-s Jualities of fol7 art an" 2ussian icons, or in 0easantGs way of livin1 in @avaria, .e use" -uc. of t.ese -otifs in .is a*stracts wor7s( ;$a-0le# $andins%y, oil on canvases# 58ossac7s6 1/11, 58o-0osition ?E6 1/11 or 58o-0osition E??6 1/13( &ntellectual Primitivism ?n t.is 1rou0 *elon1s Picasso an" ot.er artists :@raJue, Aris= w.o 0ainte" a*straction( 8u*is-, one of t.e -ost revolutionary -ove-ents in entire art .istory of art, is co-*ination of a*stract an" realistic ele-ents, w.ic. 0ainter usin1 to 0resent visual reality( Picasso "evelo0e" 8u*istic a00roac. to t.e o*ject *y i-a1inative wal7in1 aroun" it in ti-e, instea" to view at t.e o*ject fro- sin1le view 0oint, as was "ictate" *y rules of linear 0ers0ective fro- 2enaissance( Analytic 8u*is- is fra1-entin1 of t.e o*ject an" itGs 0resentin1 fro- "ifferent view0oints( !ynt.etic cu*is- is ne$t art a00roac., w.ere fra1-ente" o*ject 1ettin1 inte1rate" a1ain( Here ? will analy4e two PicassoGs 0icture an" trace ele-ents of Pri-itivis- in t.e-#

&

Portrait of Gertrude Stein, 1/0&, oil on canvas, 100$>1c-(Metro0olitan Museu- of Art, NH8 ?n t.e 1/0&-0C Picasso .a" *een wor7in1 in 5?*erian -anner6, as .e was un"er i-0ression of arc.aic ?*erian scul0tures, w.ic. .e saw in 1/0& at *i1 e$.i*ition at 'ouvre in Paris( 3e can reco1ni4e t.is influences in s.a0e of Aertru"e !tainGs eye :lo4en1e s.a0e= an" in .er lon1 nose( Also .er fi1ure is stron1 an" ro*ust, an" t.at is c.aracteristic of t.e ?*erian scul0tures( Les Demoiselles d vi!non, 1/0C, oil on canvas, 2<<$23>c-( MoMA, NH8 :+ill 1/1&( t.is 0icture was 7nown as 5'e *or"el 0.iloso0.y6= +.is 0icture is one of 1reatest aest.etics ac.ieve-ent of -an, an" as one of -ost i-0ortant 0ictures in Art History, is 0lace" in sa-e 1rou0 wit. ot.ers -ost 0ro-inent, art -aster0ieces fro- all ti-es( +.is is -ost i-0ortant 0aintin1 in 20 century, an" -ay*e first artwor7 fro- -o"ern ti-e to *e ran7e" eJual wit. 1reat, canonical art wor7s of t.e 0ast( 2eason for so .i1. status is uniJue aest.etic Jualities t.at t.is PicassoGs wor7 0oses( +.is 0icture 0resents *rea7in1 0oint wit. all aest.etic rules, w.ic. were in force froAntic Areece, t.ou1.t 2enaissance, till very *e1innin1 of 20t. century( ?n .is e$0eri-entation Picasso on t.is 0ictures use" "ifferent toils, ot.ers t.an t.ese esta*lis.e" wit. 2enaissance, to e$0ress 0ictorial illusion of "e0t., linear 0ers0ective an" volu-e( +.is 0icture also 0resentin1 PicassoGs new i"eas, w.ic. *rea7in1 0revious convention of 0aintin1 an" will soon lea" to D 8u*is-, 1reat innovatin1 -ove-ent in art( +.is 0aintin1 itself is not in 8u*ists style *ut ena*le 8u*is- 5t.ou1.t t.e -ani0ulation of s0ace an" its -ulti0le view 0oints6 :;"war"s !( an" 3oo" P( 200<#1 C=( After -ovin1 to Paris fro- @arcelona in 1/00 Picasso was e$0eri-entin1 wit. .is 0aintin1s an" .is art e$0ression .a" *een s.iftin1 fro- @lue 0erio" :1/00-0 =, to 2ose 0erio" :1/0 -0&=( ?n t.e 1/0&-0C .e was wor7in1 in 5?*erian -anner6, as .e was un"er i-0ression of arc.aic ?*erian scul0tures( Also t.at was 0erio", w.en Picasso saw first African scul0ture an" -as7s, w.ic. i-0resse" .i- -uc.( He sai" t.at .e 1ot first i"ea for t.is 0aintin1 w.en visitin1 +roca"ero et.nolo1ical -useu- in Paris( C

Bn t.e 0icture is 0resente"

na7e" wo-en :ori1inally t.e 0icture was to .ave inclu"e"

also two clot.e" -an=, t.ree on left si"e an" two on ri1.t si"e( +.ree fi1ures on t.e left si"e Picasso 0ainte" un"er i-0ression of ?*erian scul0tures, w.ic. we can easily reco1ni4e trou1. lo4en1e s.a0e of t.e eyes wit. c.aracteristic lar1e "ar7 0u0il( +wo wo-en on ri1.t si"e .ave -as7-li7e faces an" t.at s.owin1 0ainterGs interest for 0ri-itive African art( His interest for African art was -ore on intellectual-conce0tual *ase, an" was not connecte" to any concrete ty0e of -as7( He .a" .is own i"ea a*out 0ri-itive art, w.ic. .e use" "urin1 creation of t.is 0icture( Bn t.e *otto- of t.e 0icture is still life "etail D *unc. of t.e fruits( @ac71roun" of t.e 0icture is si-0le "ra0ery an" w.ole 0icture was "one in one s0ecific -anner, w.ic. will *e later calle" - A*straction( Primitivism o' the su(conscious Mo"ern 0ri-itives :Henri 2ousseau= ?n t.is 1rou0 *elon1in1 a-ateur or 5na9ve6 0ainters, :!un"ay 0ainters=( +.e c.il" cult Art of -entally ill %a"a an" !urrealis?n ne$t 0art of -y essay ? will closer analy4e 8.il"ren art, an" fin" reasons w.y t.eir art attracte" so -uc. attention of Mo"ernists artists( )hildren art ?-0ortant "ifference *etween c.il"ren art an" art fro- 0ri-itive a"ults is t.at first one is transitory 0.eno-en in life of one 0erson, in .is "evelo0-ent, an" it is in co-0letely contrast *y culture of w.ic. is 0art( Bn t.e ot.er si"e, art of 0ri-itive a"ults is aest.etic e$0ression of t.eir culture( +o"ay very often 0eo0le co-0are -o"ern art wit. c.il"ren art( Mostly t.is co-0arin1 .as ne1ative connotation, to e$0ress t.at -o"ern artwor7 is not of si1nificant Juality( !uc. cases we .a"e alrea"y in 1/ century w.en for e$a-0le MonetGs 5?-0ression D >

sunrise6 was "escri*e" *y critic as wor7 e$ecute" 5wit. c.il" .an" of sc.ool *oy w.o was 0aintin1 for first ti-e :,ine*er1, )onat.an 1//C#2=( @ut also very early, in 1>t. an" 1/t. centuries t.ere were so-e to w.o- t.is association *etween -o"ern arts aest.etical e$0ression wit. c.il"ren art was 0ositive( ;$a-0le# Aer-an 0ainter 8as0ar %avi" ,rie"ric. w.o fin" t.at c.il"ren art s.oul" *e -o"el for t.e 0ainters( Eery early, in t.e 1>>0s an" 1>/0s art .istorian fin" connection *etween c.il"ren an" tri*al art( +.ey fin" t.at c.il"ren are less 5civili4e"6 an" -ore 50ri-itive6, an" t.ey, as 0ri-itive 0eo0le are closer to nature an" closer to t.eir instincts an" "rea-s( 8.il"ren "rawin1 is conce0tual, t.ey "raw fro- t.eir -ental i-a1e or i"ea, an" not tryin1 to "o, for e$a-0le 0ortrait of t.e 0erson, *y o*servation of t.e 0.ysical real-( 2o1er ,ry in 1/10 fin" si-ilar attitu"e at "rawin1s of *us.-an in !out. Africa( ,ry fin" t.at art of 0ri-itives 5.as 0ower to transcri*e 0ure visual i-a1e wit. conce0tual view of nature fro- w.ic. western artist can learn6 :;"war"s !( an" 3oo" P( 200<#1C0-1C1=( !0ontaneous c.il"ren 0aintin1 are often value" for t.eir a*stract Jualities( @ut t.at a*stract -o-ent a00ealin1 only for a"ult viewer, as for c.il" 0ro"ucer of t.e wor7 - it is a*solutely correct an" realistic re0resentation of t.e su*ject( 8.il"ren e$0lore t.e worl" aroun" t.e- t.rou1. intellectual, 0.ysical an" e-otional -et.o"s( All t.ese factors 0lay a 0art in t.eir art( At t.e *e1innin1 of 20t. century -any 0ro-inent -o"ernis-s artists stu"ie" c.il"ren art an" try to learn fro- it( Eery often t.ey e$.i*ite" c.il"ren art alon1 si"e t.eir own wor7s( Ko7os7a, Matisse Picasso( %a"aists e$.i*ite" in 1/1/ t.eir wor7s, to1et.er wit. c.il"ren art an" art fro- African tri*al( 2o1er ,ry in 1/1C an" 1/1/ e$.i*ite" c.il"ren wor7s in B-e1a wor7s.o0 in 'on"on( Many fa-ous 0ainters as Munter, Kan"ins7y, Klee, Kirc.ner, Picasso, Miro, %u*uffet an" ot.ers very influence" *y c.il"ren art an" -any of t.e- collecte" c.il"ren art( Kirc.ner -a"e "urin1 t.e -i"( 1/20s a series of woo"cuts after "rawin1 .e .a" "one aroun" 1>>< w.en .e was 3 years of a1e :,ine*er1, )onat.an 1//C#1/=( He often 0ointe" out i-0ortant relation for .is later artistic "evelo0-ent wit. .is c.il".oo" "rawin1s( A-on1 t.e !urrealists, )oan Miro was artist w.o was -ost seriously involve" wit. c.il"ren art( ?n 1/&0 .e sai"# 5+.e ol"er ? 1et an" -ore ? -aster -e"iu-, t.e -ore ?

return to -y earlier e$0erience( ? t.in7 t.at at t.e en" of -y life ? will recover all t.e forces of -y c.il".oo"6( 3.en Picasso an" Matisse "eci"e" to e$c.an1e t.eir wor7s in 1/0C, Picasso c.ose s-all oil 5Mar1uerite6 w.ic. Matisse 0ainte" in t.e -anner of .is "au1.ter Mar1uerite :t.an 12 years ol"= 0aintin1s# si-0le, flat 0atterns an" re"uce" "escri0tion of for-s( Picasso was very curious to "iscover .ow Matisse .a" e$0loite" .is c.il"li7e instinctive vision :,ine*er1, )onat.an 1//C#122=( Now ? will "escri*e on w.ic. way 8.il"ren art influence" artists fro- ,auves an" Aer-an ;$0ressionis-( "atisse ?n 1/1& .e 0ainte" .is 5Pin7 anions6 an" firstly .e sai" to frien"s t.at local 0ost-an 0ainte" t.at c.il"li7e 0aintin1( 'ater .e confor-e" t.at actually .e 0ainte" it( Matisse was very -uc. interestin1 in "rawin1 of .is 13 years ol" son an" trie" to 0aint as .i-( !o-e critic t.ou1.t t.at t.an7s to t.ese e$ercises an" .is stu"ies of c.il"ren art, .e fin"s a way to essence of si-0lification of for- an" 0urity of .is colors( ?n 1/1< critic wrote t.at Matisse use" t.e -et.o" of a c.il"--an "rawin1, facin1 nature wit. untutore" eyes an" tryin1 to 1ive e$0ression to w.at instinct tol" .i- a*out life :,ine*er1, )onat.an 1//C# 1<=( @efore ,auves 0erio", Matisse use" in .is wor7s icono1ra0.y fro- c.il".oo" re0ertoire, an" wit. ,auves .e 0ainte" wit. te-0era-ent of a c.il" :,ine*er1, )onat.an 1//C#1>0= #assil$ %andinski, Ga&riele "unter Kan"ins7y tau1.t t.at c.il" is in"ifferent to 0ractical -eanin1 an" loo7s everyt.in1 wit. fres. eyes, an" .as natural a*ility to a*sor* t.e t.in7 as suc.( ,or .i- -ost i-0ortant as0ect of c.il" art is s0iritual -eanin1 of t.in7s( 8.il"ren "rawin1 auto-atically an" e$0ressin1 inner soun" of t.e t.in7s :,ine*er1, )onat.an 1//C# <&=( Kan"ins7y wrote t.at .is analy4in1 of c.il"ren stylisticall an" aest.etic -o"els of 0erce0tion .el0e" .i- to

10

avoi" 0rinci0le of 5concrete6 an" to enter .i1.er level of universal visual lan1ua1e, w.ic. lea" .i- to non-o*jective or a*stract 0aintin1( Kan"ins7y an" Aa*rile Munter collecte" c.il"ren art wor7s fro- 1/02 till 1/1&, w.en .e left for 2ussia( +.ey .a"e ca 2 0 wor7s on 0a0er :"rawin1 an" aJuarelles=( 'ater w.en Kan"ins7y returns to 3est .e continue collectin1 c.il"ren art, to1et.er wit. .is frien" Paul Klee( @efore 331 Kan"ins7y often e$.i*ite" own art to1et.er wit. c.il"renGs( @ot. Kan"ins7y an" Munter foun" in c.il"ren art ins0iration for na9ve an" si-0lifie" e$0ression( Munter "ifferent to Kan"ins7y, a00roac.e" to c.il"ren art not in s0iritual or -eta0.ysical way, *ut s.e use" c.il"ren tec.niJue as *ol" colors, si-0lifie" color an" "ar7 outlines( Bt.er -e-*ers of @lue 2i"er also collecte" t.eir c.il"renGs "rawin1 or use" Kan"ins7yMunter collection as ins0iration( All of t.e- a"-ire" i-a1inary 0ower an" e$0ressive ori1inality of c.il"Gs wor7s( Paul $lee Klee starte" to stu"y c.il"ren art *y e$a-inin1 own c.il".oo" "rawin1s( He wrote in 1/02 t.at .is c.il".oo" "rawin1 was -ost si1nificant .e ever -a"e( He was i-0resse" wit. naivety of o*servation an" es0ecially wit. aest.etics in"e0en"ence to ?talian an" Hollan"Gs art tra"itions, w.ic. was *ase of .is later artistic trainin1( He tau1.t a*out .is aest.etic fro- c.il" a1e, as truly aut.entic an" real ori1ins of .is creativity( ;$a-0les# P*$lee :a1e <-&= 53o-en wit. 0arasol6 1>>3-> an" P* $lee 5Airl wit. %oll6 1/0 %rawin1s are very si-ilar, an" *ot. wo-en an" 1irl .as si-ilar, c.aracteristic 0ose( Klee syste-atically e$0lores .is early "rawin1 o0us fro- 1/0& until .e "ie" in 1/<0( ?n first 10 years .e focuse" on t.e synta$ of .is c.il".oo" "rawin1s( ,ro- a*out 1/1> .e was cent rate" on icono1ra0.y of c.il"ren wor7s :inclu"in1 .is own early wor7s=, an" finally in 1/30s .is style weave" to c.il"ren style(

11

Aroun" 1/11 w.en .is son ,eli$ was <, .e continuously stu"ie" .is "rawin1 an" way of .is e$0ression an" .is icono1ra0.y, so we can say t.at .e learne" -uc. a*out art fro.is s-all son( Hear 1/11 was turnin1 0oint for Klee w.en .e -eets Kan"ins7y an" @lue 2i"er( !o-e of KleeGs i-0ortant "rawin1 fro- 1/11-13 .a" "irect correlation to certain wor7s fro- .is c.il".oo"( ;$a-0le# Klee too7 ins0iration fro- .is own "rawin1 5Horse "rowns 8arria1e6 fro- 1>>3 :w.en .e was <= for .is "rawin1 52i"er an" Butri"er6 fro- 1/11( :!.a0es of t.e .orses are very si-ilar=( %urin1 t.e years Klee continue" testin1 wit. "ifferent c.il"ren "rawin1s tec.niJue( ;$a-0le# 1( His oil 5Aate in t.e Aar"en6 fro- 1/2& is re-in"er on c.il"ren 0aintin1 *y fin1ers :Alt.ou1. it is clear t.at .e "one it wit. t.e *rus.=( 2( Bil 58os-ic co-0osition6 1/1/ is ins0ire" wit. c.il"ren tec.niJue of scratc.in1 trou1. a "ar7 surface to reveal a -ulticolore" li1.t 1roun"( +.is tec.niJue of scratc.in1 in art is calle" 51ratta1e6 an" ru**in1 tec.niJue is calle" 5frotta1e6 :2.o"es, 8olin, 1//<# 1&2=( ,ro- aroun" 1/1C Klee *e1an s.iftin1 .is attention -ore closely on investi1ation of .is own c.il".oo"Gs "rawin1( +.at was ti-e w.en .e stu"ie" icono1ra0.y of .is earliest "rawin1( He trie" to reca0ture .is own ori1inal i-0ulses fro- t.at ti-e *y selectin1 sa-e su*jects .e .a" selecte" as a c.il"( 3e can reco1ni4e on .is 0aintin1 fro- 1/22-2< si-ilar -otifs an" sa-e ty0e of co-0osition, w.ic. .e "rawn in 1>>3->< :.e was <=( After t.is .e *e1an loo7in1 at so-e -ore a"vance" sta1e of .is "rawin1 in early 0erio"( He concentrate" .is attention on 0erio" w.en .e was 10 an" 12 years ol"( 3e can reco1ni4e t.at .is "rawin1 of fis. fro- 1>>/ sti-ulate" .is fa-ous fis. 0aintin1s fro1/2&-2C( ?t is visi*le on .is wor7s fro- t.at 0erio" t.at Klee is -ore an" -ore successful in .is co--it-ent to re-create for .i-self own wor7s of .is c.il".oo" -in"( After 1/1C .is 5c.il"li7e6 0aintin1 attracte" -ore an" -ore attention( 8ritic starin1 to write a*out .is style as one of .is 1reat stren1t.s :,une*er1 1//C, 100=( Klee was -ost

12

satisfie" if critic co-0are .is 0aintin1s wit. c.il"ren wor7s, or if t.ey reco1ni4e .i- as 5-an w.o sees li7e a c.il"6( Bf course .e "i" not 5see as a c.il"6, alt.ou1. .e use" to 0aint on t.e way t.at loo7e" as .e "i"( He use" to say t.at .is s-all son ,eli$ 0aint *etter t.an .i-( ?n 1/21 .e use" to 1ive lectures on 0aintin1 an" "rawin1( He use" 'eonar"o "a Einci teac.in1s of t.e co-0osition for 0aintin1s, w.ere .e e$ecute" c.il"ren icono1ra0.y an" -otifs( ;$a-0les# Bil on canvas 5 Hellow .ar*or6 1/21( Eery often Klee treate" 0ers0ective as c.il" "oes, *ut at a sa-e ti-e .e use" a su*tle -eta0.ysic, w.ic. is not at all c.il"is.( %urin1 1/30s .e -ore an" -ore often e$.i*itin1 wit. wor7s of c.il"ren an" in sa-e ti-e .is style *eca-e -ore an" -ore c.il"li7e( KleeGs "rawin1 fro- 1/3> an" 1/3/ suc. as 5 3.en ? was still youn16, 58.il".oo"6, 5Hun1ry Airl6, 5@urit Mus76, 58.il"li7e6 an" ot.er were "e-onstrate" .is final sta1e of .is 0aintin1 style( +.at was co-0letely c.il"li7e style c.aracteri4e" wit. si-0le co-0osition an" vi*rant colors( +.is style was .is artistic an" intellectual return to .is c.il".oo" an" wit. it .e, confrontin1 .is "ea", sy-*olically -a"e .is circle of life(

S'iritualit$ in rt ( #asill$ %andinsk$ 3.en Kan"ins7y 0u*lis.e", to1et.er wit. .is fellow artist ,ran4 Marc .is 5+.e @lue 2i"er al-anac6, t.ere t.ey "is0laye" own i"eas a*out new art( +.ese inclu"e i-0ortance of 50ri-itive6 -o-ent for aut.enticity of feelin1, an" artist intention to orientate t.eir art on ti-eless .u-an s0irit, rat.er t.an to 5-aterialist6 si"e of -o"ern life :;"war"K3oo" 200<# 23/=( Horse an" ri"er, fro- .is al-anac front cover, .a" 1reat sy-*olic i-0ortance for Kan"ins7y, w.o was at *e1innin1 of 1/00 close relate" to !y-*olist -ove-ent( ?t contents i"ea of -essen1er -ovin1 *etween t.e -aterial an" s0iritual worl"( ?t can also -ean t.at artist-ri"er steerin1 *y .is artistic talent -aterial force of real-( Kan"ins7y as 2ussian was aware of stron1 synt.esis of s0irituality an" aest.etics in Brt.o"o$ icons( @esi"e .e was attracte" *y +.eoso0.y, -ystical reli1ious cult, w.ic. 13

0reac.e" a*out su0re-acy of t.e !0irit *y a -eltin1 ;astern an" 3estern *elieves( ,un"a-ental i"eas of +.eoso0.y were t.at t.is -aterialistic worl" will en", an" t.an will starts e0oc. "o-inate" wit. !0irit( 2esult of Kan"ins7yGs researc. a*out color, for- an" s0irituality is .is -ost i-0ortant t.eoretical *oo7 5 8oncernin1 s0iritual in Art6 ?n it Kan"ins7y wrote# 8olor is -eans of e$ertin1 a "irect influence u0on t.e soul( 8olor is t.e 7ey*or", t.e eye is t.e .a--er( +.e soul is 0iano, wit. its -any strin1s6( He sai" t.at 5vi*rant of color "irectly cause corres0on"in1 vi*ration in t.e soul of t.e viewer6 :;"war"K3oo" 200<# 23/=( Kan"ins7y was first a*stract artist wit. .is watercolor in 1/10( +.e art .istorian 2ose 3as.ton 'on1 .as 0ointe" out t.at fro- t.en onwar" for Kan"ins7y Juestion of contents was irrelevant to .is wor7( He was interestin1 only in 0lay of color an" for- on .is canvases( ?n 1/13 Kan"ins7y wrote in .is auto*io1ra0.ical essay 5 2e-iniscences6 t.at "urin1 0erio" *efore .e starte" 0aintin1 a*stractions -ost i-0ortant Juestion was# 3.at is to re0lace t.e -issin1 o*ject( +.at was ti-e w.en Kan"ins7y was worryin1 t.at wit. e$clu"in1 su*ject fro- .is 0ictorial re0resentation of 0ure color an" for-, .is wor7 will not ac.ieve .i1.er s0iritual content, *ut *e si-0le "ecorative 0attern(

+i(lio,raphy ;"war"s !( an" 3oo" P( 200<( Art of t.e Avant-Aar"es, Hale University 0ress, @ocola, !an"ro, 1///( The art of Modernism, Munic.-Prestel @ronner(!(;, 1/>3, Passion and Rebelion, 8roo-- He-- lt" Aol"water, 2( )( 1/&&( 5Primitivism in Modern Art, ;nlar1e" e"( 8a-*ri"1e, Mass( Harvar" University Press, ;n1lan" ;"ite" *y Areen, 8.risto0.er1/// Art made Modern !o-erset House, 'on"on ,ine*er1, )onat.an 1//C, The innocent eye, Prinston university Press 2.o"es, 8olin, 1//<, Primitivism and modern art +.a-es an" Hu"son 't"( 'on"on

1<