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Gesammelte Schriften 1889-1916: Farbensprache, Kompositionslehre und andere unverröeffentlichte Texte, ed. Helmut Friedel et al. (Munich: Prestel, 2007).
ARCHIVAL RESEARCH / PROSPECTUS / BIBLIOGRAPHY KNOWLEDGE, SPIRIT, LAW: A PHENOMENOLOGY OF SCHOLARSHIP PART TWO: THE ANTI-CAPITALIST SUBLIME INTRODUCTION This portion of the overall study, “Knowledge, Spirit, Law,” focuses on practices in the visual arts and the humanities that are representative of intellectual and cultural production (praxis) through publication and/or dissemination of works in orthodox and unorthodox formats that are not explicitly commercial and/or mass-market (popular) editions – inclusive of alternative platforms in the case of parallel new or old media. Therefore, the main quest is the rare early works of Marcoussis, Marker, Nolde, and Kandinsky as exemplary forms of scholarly artistic production in association with, or as supplement to, works or editions more prominently assimilated to the commercium of the art world (systems of patronage, publication, and collection). Part Two of the study, therefore, focuses on acknowledged masters before prominence and requires research in archives and libraries in Munich, Neukirchen, Basel, and Paris. Additionally, visits to antiquarian booksellers, passim, will supplement archival research on these rare editions, prints, and ephemera. The goal is to find primitive or less-prominent works and extract the material and existential formal principles from the archived works (folios, limited editions, and stand-alone prints and – in the case of Marker – various types of visual media included in his bequest to the Cinémathèque Française in 2012). In terms of the secondary market (antiquarian booksellers and auction houses) the presence of these works connotes a belated, albeit slightly predatory respect for the “off-print,” the outtake, miscellaneous ephemera, and the artist’s proof. Such works include preliminary works that were later embedded in recognized editions, collections, or subsequent works (for example, Kandinsky’s woodblock prints, which were – often – studies for subsequent paintings, or Marker’s still photography as utilized in multimedia exhibitions). The premise is that such works are either partly suppressed later and/or primarily experimental at the time of their initial production. These oftenorphaned works, in turn, illustrate means to temporary ends and serve as touchstones for the life-long project – the life-work of the artist-scholar. The life-work of the artist-scholar, in turn, effectively constitutes a form-of-life or Rule (consistent with more archaic practices associated with, for example, monastic systems in Medieval and Early Christian times). It is this latter aspect that suggests that such artworks as forms of scholarship exhibit qualities (such as the troubled nature of aura) only in terms of their disconnection from the commercium of the art world – standing, then, as testaments for and toward non-instrumental and non-commercial forms of speculative intellectual capital. PRÉCIS Méfiez-vous du poète; car il peut, même au delà des mers, se venger de ses ennemis sans quitter sa maison. (Beware the poet: for, even beyond the sea, he can take revenge on his enemies without leaving his house.) –Jedaiah ben Abraham Bedersi

The province of the print or photograph contains a history of representational values and may be read in reverse to determine what was posited and what was discarded. It is, in fact, too easy to read art-historical processes in a linear or chronological manner, as it generally occludes what was actually going on. From Wassily Kandinsky and Emil Nolde to Louis Marcoussis and Chris Marker, then, describes a passage that might be examined retrospectively (in reverse) for signs that certain givens were, in fact, given up. Studied, however, through the artifacts left behind. Foremost in this art-historical regard (teleology) is the shift from Expressionist tendencies toward, at first, Suprematist and Constructivist biases, and, then, from the avant-garde insurrections derived from Russian Formalism to Dada and Surrealism. Marcoussis seems a special case in this sense because he arrived in Paris from Poland just as Cubism was taking off and, friend of both Braque and Picasso, he nonetheless fell in with the Surrealists, ending his days in the first dark days of WWII – in hiding. He had fought in WWI, but being of Jewish extraction he had no choice but to “vanish” with the onslaught of fascism and

Germany’s subjugation of France. It was during this final period of his life that he crossed paths with Chris Marker, producing the drypoint etching “Le médium.” Image – Louis Marcoussis, “Le médium” [Chris Marker], in Les devins: 16 pointes sèches de Marcoussis (Paris: La Hune, 1946).

In 1913 it is said that the provinces of Art and Nature split becoming “completely independent realms.”1 This is the time of the Blue Rider (Blaue Reiter) initiative, which was effectively comprised of two souls, Kandinsky and Franz Marc. The Blue Rider moment was over almost as soon as it started, lasting roughly from 1911 to 1914. It sponsored two exhibitions in 1911-1912 plus an almanac, Der Blaue Reiter (1912).2 Astonishingly, in 1911 alone Kandinsky produced 59 prints (whereas up until 1908 he had created 76 woodcuts).3 Most brilliantly, from 1910 to 1911 he produced a series of austere black-and-white woodcuts. The polychromatic touches of the famous print Archer (1908-1909) have vanished.4 There are 200 prints listed in the Kandinsky catalogue raisonné edited by Hans K. Roethel. The first prints date to 1902-1904, and yet the series from 1910-1911 remain “out of this world.”5 These experiments (studies, if you wish, for more saleable paintings) in reduction, austerity, and precision are signature moments en route to what Kandinsky would call “inner soundings” of the world – the term he used to describe what would later take form in his “Small World” series (c. 1922).6 This ongoing presentiment crossed his writings from beginning to end, in one form or another, and, of course, comes to its most elegant expression in Über das Geistige in der Kunst: Insbesondere in der Malerie (19111912).7

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Helmut Friedel, Annegret Hoberg, eds., Kandinsky: Das druckgrafische Werk (Munich: Städtische Galerie im Lenbachhaus und Kunstbau; Cologne: Wienand Verlag, 2008), p. 208; with reference to Wassily Kandinsky, Rückblicke (Berlin: Verlag Der Sturm, c.1913). Exhibition catalogue, Lenbachhaus, Munich, October 25, 2008-February 22, 2009; Kunstmuseum, Bonn, April 2-July 12, 2009. 2 See Volker Adolphs, “Wassily Kandinsky and the Prints of the Blaue Reiter,” pp. 33-51, in Friedel, Hoberg, eds., Kandinsky: Das druckgrafische Werk. 3 Ibid., p. 37. 4 This polychromatic print was, nonetheless, included in the 1912 almanac, Der Blaue Reiter, a deluxe or luxury edition issued primarily for collectors. See “List of Works,” in ibid., p. 272.The woodcut Archer was dated by Kandinsky 1908, “meaning it was created prior to the painting Picture with Archer,” dated 1909 and now at the Museum of Modern Art, New York, New York. Other Kandinsky scholars disagree (for example, Hans Konrad Roethel and Vivian Endicott Barnett), with the woodcut coming after the painting. Ibid., p. 50 n 26. See: Hans Konrad Roethel, ed., Kandinsky: Das graphische Werk (Cologne: M. DuMont Schaubert, 1970), p. 158; and Vivian Endicott Barnett, Das bunte Leben: Wassily Kandinsky im Lenbachhaus, ed. Helmut Friedel, No. 301 (Cologne: DuMont, 1995), p. 616. The latter text is an “inventory catalogue of the works of Kandinsky” with “information about studies [...] made for woodcuts.” Adolphs, “Wassily Kandinsky and the Prints of the Blaue Reiter,” p. 50 n 23. Barnett’s catalogue entry dates the Archer print 1910. While all of this seems slightly ridiculous, it also underscores the nature of the “studies” undertaken in advance of, or co-terminous with, other works. It is the relationship that counts, or the dynamic tension between rudimentary study and finished or “authorized” work. Yet often the studies tell more than the renowned, acknowledged finished product. 5 These include: “Woodcut for the Salon Isdebsky” (1910); “Vignette Next to Introduction” (1911); “Rider Motif in Oval Form” (1911); “Reclining Couple” (1911); “Vignette Next to the Pyramid” (1911); “Vignette Next to Art and Artist” (1911). See Figs. 71.1, 72.1, 73.1, 74.1, 75.1, 76.1 (pp. 164-68), in Friedel, Hoberg, eds., Kandinsky: Das druckgrafische Werk. 6 See Christoph Schreier, “The Creation of a Work is the Creation of a World: Wassily Kandinsky and his Small Worlds Portfolio,” pp. 53-65, in ibid. 7 Über das Geistige in der Kunst: Insbesondere in der Malerie (Munich: R. Piper & Co., 1912). First published in English, in 1914, as The Art of Spiritual Harmony, by Constable and Company Limited, London, and re-published as Concerning the Spiritual in Art, by Dover, in 1977, translated and with an introduction by M.T.H. Sadler. See also Wassily Kandinsky, Gesammelte Schriften 1889-1916: Farbensprache, Kompositionslehre und andere unverröeffentlichte Texte, ed. Helmut Friedel et al. (Munich: Prestel, 2007). Schreier cites Kandinsky’s statement: “Form is [...] the necessary means, the means by which the revelation of today sounds forth, manifests itself.” Schreier, “The Creation of a Work is the Creation of a World,” p. 54; from Kandinsky, Gesammelte, p. 454. Thus, by 1916, and well before the “Small World” series (but shadowing publication of The Art of Spiritual Harmony, 1912-1914), the experiments in ultra-graphic reduction have produced an edifying set of principles that will play out in the rest of Kandinsky’s work, the earlier lyricism mostly vanishing for a somewhat eerie and preternatural geometricism, all denoting the split between Art and Nature. Kandinsky’s writings may also be found, in English, in Wassily Kandinsky, Complete Writings on Art, ed. Kenneth C. Lindsay, Peter Vergo (New York: Da Capo, 1994). First published in two volumes (924 pages) by Faber, London, and G.K. Hall, Boston, MA, 1982. Volume 1 covers the years 1901 to 1921; Volume 2 covers the years 1922 to 1943. 2

ANNOTATED BIBLIOGRAPHY: PRIMARY, SECONDARY, AND ARCHIVAL RESOURCES MARCOUSSIS/ MARKER/NOLDE/KANDINSKY 1. LOUIS MARCOUSSIS Archives/Libraries: Kunstmuseum Basel, Basel, Switzerland; Bibliothèque Kandinsky/Centre Pompidou, Paris, France; Bibliothèque Nationale de France, Paris, France; Bibliothèque d’Art et d’Archéologie, Paris, France Huré, Antoinette, ed. Louis Marcoussis [exposition] Musée national d’art moderne, Paris, 3 juillet-4 octobre 1964. Paris: Ministère d’État, Affaires Culturelles, 1964. “Catalogue ... réalisé par Antoinette Huré.” 44 pages illustrations, portraits 21 cm. Access: Bibliothèque Kandinsky/Centre Pompidou, Paris, France. Lafranchis, Jean, ed. Marcoussis: Sa vie, son oeuvre, catalogue complet des peintures, fixés sur verre, aquarelles, dessins et gravures. Paris: Éditions du Temps, 1961. Catalogue raisonné. With texts by Tristan Tzara, Jean Lurcat, Max Jacob, Paul Éluard, and Marcel Jouhandeau. Access: Kunstmuseum Basel, Basel, Switzerland; Bibliothèque Nationale de France, Paris, France; Bibliothèque Kandinsky/Centre Pompidou, Paris, France. Marcoussis, Louis. Les devins: 16 pointes sèches de Marcoussis. Paris: La Hune, 1946. Text section and plates issued loose in a printed paper cover. Access: Bibliothèque Nationale de France, Paris, France. Marcoussis, Louis. Marcoussis ... Masters of Modern Art. New York, Columbia University, 1929. “Publications of the Institute of French Studies, Inc.” Access: Harvard University, Fine Arts Library, Cambridge, MA, USA Marcoussis, Louis. Marcoussis ... Sélection, chronique de la vie artistique, 7. Anvers: Sélection, 1929. Access: Museum of Modern Art, New York, NY, USA; Bibliothèque d’Art et d’Archéologie, Paris, France. Marcoussis, Louis. Louis Marcoussis, 1883-1941, Œuvres choisies: Galerie d’art du Faubourg, ...Paris, du 15 octobre au 10 novembre 1948. Paris: Galerie d’art du Faubourg, 1948. Access: Museum of Modern Art, New York, NY, USA; Kunstmuseum Basel, Basel, Switzerland. 16 pages: illustrated; 21 cm. Image – Cover for Louis Marcoussis, Marcoussis ... Sélection, chronique de la vie artistique, 7 (Anvers: Sélection, 1929).

Marcoussis, Louis. Louis Marcoussis, 1883-1941: Gemälde, Aquarelle, Zeichnungen, Gravuren 19101940: Köln 1960, Kölnischer Kunstverein, Hahnentorburg. Cologne: [Kölnischer Kunstverein], 1960. Access: Kunstmuseum Basel, Basel, Switzerland. Milet, Solange, ed. Louis Marcoussis: Catalogue raisonné de l’œuvre gravé. Copenhagen: Forlaget Cordelia, 1991. Preface by Dora Vallier. Access: Bibliothèque Kandinsky/Centre Pompidou, Paris, France; Bibliothèque Nationale de France, Paris, France; Bern UB Kunstgeschichte/Museum, Bern, Switzerland. 2. CHRIS MARKER Archives/Libraries: Centre Pompidou, Paris, France; Cinémathèque Française, Paris, France. Keeney, Gavin. “Markeriana.” Unpublished 65,000-word annotated Bibliography/Filmography. Supporting research for Gavin Keeney, Dossier Chris Marker: The Suffering Image (Newcastle upon Tyne: Cambridge 3

Scholars Publishing, 2012). One-year research, including archival studies at: Australian Film Institute/RMIT, Melbourne, Australia; British Film Institute, London, England; and New Media Archives, Centre Pompidou, Paris, France. 3. EMIL NOLDE Archives/Libraries: Nolde Stiftung, Neukirchen, Germany; Kunstmuseum Basel, Basel, Switzerland; Bibliothèque Kandinsky/Centre Pompidou, Paris, France; Bibliothèque Nationale de France, Paris, France; American University of Paris, Paris, France Emil Nolde: The Painter’s Prints. Edited by Clifford S. Ackley, Timothy O. Benson, Victor Carlson. Boston: Museum of Fine Arts, Boston, with the Los Angeles County Museum of Art, 1995. Catalog of an exhibition held at Museum of Fine Arts, Boston, February 8-May 7, 1995, and Los Angeles County Museum of Art, June 8-September 10, 1995. Access: Kunstmuseum Basel, Basel, Switzerland; Bibliothèque Kandinsky/Centre Pompidou, Paris, France; Bibliothèque Nationale de France, Paris, France. Heise, Carl Georg, and Hans Mardersteig, Kurt Pinthus. Genius: Zeitschrift für werdende und alte Kunst. Leipzig: Kurt Wolff Verlag, 1919-1921. Access: Metropolitan Museum of Art, New York, NY, USA; Museum of Modern Art, New York, NY, USA; Kunstmuseum Basel, Basel, Switzerland; Bibliothèque Nationale de France, Paris, France. German Expressionism: The Graphic Impulse. Edited by Starr Figura. New York: Museum of Modern Art, 2011. Exhibition catalogue. Access: Metropolitan Museum of Art, New York, NY, USA; Museum of Modern Art, New York, NY, USA; Bibliothèque Nationale de France, Paris, France; American University of Paris, Paris, France. Nolde, Emil. Kollektiv-Ausstellung von Emil Nolde: München, Der Neue Kunstsalon Dr. Paul F. Schmidt und Max Dietzel, 4. bis 30 November 1912. Munich, 1912. Access: Kunstmuseum Basel, Basel, Switzerland. Reuther, Manfred, and Christian Ring, eds. Emil Nolde: The Painter’s Prints. Cologne: DuMont/Nolde Stiftung Seebüll, 2012. “Drawing on the massive collection of the Nolde Stiftung, The Painter’s Prints surveys his etchings, woodcuts and lithographs, and his various suites in each medium.” Access: Metropolitan Museum of Art, New York, NY, USA; Kunstmuseum Basel, Basel, Switzerland; Bibliothèque Nationale de France, Paris, France. Schiefler, Gustav. Das graphische Werk von Emil Nolde, 1910-1925. Berlin: Im Euphorien Verl., 19261927. Access: Kunstmuseum Basel, Basel, Switzerland. 4. WASSILY KANDINSKY Archives/Libraries: Lenbachhaus, Munich, Germany; Kunstmuseum Basel, Basel, Switzerland; Bibliothèque Kandinsky/Centre Pompidou, Paris, France; Bibliothèque Nationale de France, Paris, France; American University of Paris, Paris, France; Bibliothèque d’Art et d’Archéologie, Paris, France Aronov, Igor. Kandinsky’s Quest: A Study in the Artist’s Personal Symbolism, 1866-1907. New York: Peter Lang, 2006. Access: Metropolitan Museum of Art, New York, NY, USA; Bibliothèque d’Art et d’Archéologie, Geneva, Switzerland; Kunstmuseum Basel, Basel, Switzerland. Barnett, Vivian Endicott, ed. Kandinsky, Drawings, Catalogue Raisonné, Volume One, Individual Drawings. London: Philip Wilson Publishers, 2006. “Städtische Galerie im Lenbachhaus, Munich with the support of the Société Kandinsky Paris.” Access: Metropolitan Museum of Art, New York, NY, USA; Kunstmuseum Basel, Basel, Switzerland.

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Barnett, Vivian Endicott, ed. Kandinsky, Drawings, Catalogue Raisonné, Volume Two, Sketchbooks. London: Philip Wilson Publishers, 2007. Access: Metropolitan Museum of Art, New York, NY, USA; Kunstmuseum Basel, Basel, Switzerland. Barnett, Vivian Endicott, et al. Das bunte Leben: Wassily Kandinsky im Lenbachhaus. Edited by Helmut Friedel, No. 301. Cologne: DuMont, 1995. “Dieser Katalog erscheint anlässlich der Ausstellung ‘Das bunte Leben, Wassily Kandinsky im Lenbachhaus’, Städtische Galerie im Lenbachhaus, München 29. November 1995 bis 10. März 1996.” Access: Kunstmuseum Basel, Basel, Switzerland; Bibliothèque d’Art et d’Archéologie, Paris, France; Museum of Modern Art, New York, NY, USA. Barnett, Vivian Endicott, and Helmut Friedel, eds. Vasily Kandinsky: A Colourful Life. New York: Harry Abrams, 1995. Access: Bibliothèque Nationale de France, Paris, France; Metropolitan Museum of Art, New York, NY, USA; Museum of Modern Art, New York, NY, USA. “The Blue Rider”: Watercolours, Drawings and Prints from the Lenbachhaus Munich: A Dance in Colour. Edited by Helmut Friedel and Annegret Hoberg. Munich: Städtische Galerie im Lenbachhaus und Kunstbau/Hirmer, 2010. Catalog of an exhibition of works from the collection of the Städtische Galerie im Lenbachhaus und Kunstbau, Munich, Germany, June 19-September 26, 2010, and at the Albertina, Vienna, Austria, February 4-May 15, 2011. Access: Metropolitan Museum of Art, New York, NY, USA. Derouet, Christian, and Jessica Boissel. Kandinsky: Oeuvres de Wassily Kandinsky (1866-1944). Paris: Collections du Musée National d’Art Moderne, Centre Georges Pompidou, 1984. Access: Bibliothèque Kandinsky/Centre Pompidou, Paris, France; Bibliothèque Nationale de France, Paris, France; Metropolitan Museum of Art, New York, NY, USA; Museum of Modern Art, New York, NY, USA. Grohmann, Will. Wassily Kandinsky: Life and Work. Translated by Norbert Guterman. London: Thames & Hudson, 1958. Access: American University of Paris, Paris, France; Bibliothèque Nationale de France, Paris, France; Metropolitan Museum of Art, New York, NY, USA; Museum of Modern Art, New York, NY, USA. Hahl-Koch, Jelena. Arnold Schoenberg, Wassily Kandinsky. Letters, Pictures, Documents. London: Faber and Faber, 1984. Access: American University of Paris, Paris, France; Metropolitan Museum of Art, New York, NY, USA; Museum of Modern Art, New York, NY, USA. Hahl-Koch, Jelena, Kandinsky. Translated by Karin Brown, Ralph Harratz, Katharine Harrison. London: Thames & Hudson, 1993. See Bibliography, pp. 413-425. Access: Bibliothèque d’Art et d’Archéologie, Paris, France; Metropolitan Museum of Art, New York, NY, USA; Museum of Modern Art, New York, NY, USA. Heller, Reinhold, “Kandinsky and Traditions Apocalyptic.” Art Journal 43, No. 1 (1983): pp. 19-26. Abstract: “In 1913, Franz Marc outlined a project involving several of the Der Sturm artists, who would create a series of new images for an edition of the Bible. It is generally believed that Marc conceived of the project in conjunction with Wassily Kandinsky, his co-editor that year for the Blaue Reiter almanac. As the book he would illustrate, Kandinsky selected the Revelation of Saint John. Outside of his art, that choice is the most direct demonstration and documentation of Kandinsky’s interest in the Apocalypse at the time. In his paintings, motifs are identified by titles such as Last Judgment, Riders of the Apocalypse, Deluge, or All Saints’ Day, which may refer either directly to Revelation or to the more general apocalyptic visionary tradition. In addition, several of the paintings of 1910-14 that he identified as his most significant, although given the non-referential title Composition, have their sources in apocalyptic motifs, as do some of the preliminary sketches for the cover of the almanac.” Access: American University of Paris, Paris, France; Bibliothèque Kandinsky/Centre Pompidou, Paris, France; Bibliothèque Nationale de France, Paris, France; Metropolitan Museum of Art, New York, NY, USA; Museum of Modern Art, New York, NY, USA. Henry, Michel. Voir l’invisible: Sur Kandinsky. Paris: Éditions Bourin, 1988. Access: Bibliothèque Kandinsky/Centre Pompidou, Paris, France; Bibliothèque Nationale de France, Paris, France.

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Hoberg, Annegret. Wassily Kandinsky and Gabriele Münter: Letters and Reminiscences, 1902-1914. Munich: Prestel, 1994. Access: Bibliothèque Nationale de France, Paris, France; Metropolitan Museum of Art, New York, NY, USA; Museum of Modern Art, New York, NY, USA. Kandinsky: Das druckgrafische Werk. Edited by Helmut Friedel, Annegret Hoberg. Munich: Städtische Galerie im Lenbachhaus und Kunstbau; Cologne: Wienand Verlag, 2008. Catalog of an exhibition held October 25, 2008-February 22, 2009 at the Lenbachhaus München and April 2, 2009-July 12, 2009 at the Kunstmuseum Bonn. Access: Kunstmuseum Basel, Basel, Switzerland; Bibliothèque Kandinsky/Centre Pompidou, Paris, France; Bibliothèque Nationale de France, Paris, France. Kandinsky in Munich: 1896-1914. Edited by Peter Jelavich, Peg Weiss. New York: Solomon R. Guggenheim Museum, 1982. Catalogue of an exhibition held at the Solomon R. Guggenheim Museum, New York, January 22-March 21, 1982, the San Francisco Museum of Modern Art, April 22-June 20, 1982, and the Städtische Galerie im Lenbachhaus, Munich, August 17-October 17, 1982. Access: American University of Paris, Paris, France; Bibliothèque Kandinsky/Centre Pompidou, Paris, France; Metropolitan Museum of Art, New York, NY, USA; Museum of Modern Art, New York, NY, USA. Kandinsky in Paris: 1934-1944. New York: Solomon R. Guggenheim Museum, 1985. Access: Kunstmuseum Basel, Basel, Switzerland; American University of Paris, Paris, France; Bibliothèque Kandinsky/Centre Pompidou, Paris, France; Metropolitan Museum of Art, New York, NY, USA; Museum of Modern Art, New York, NY, USA. Kandinsky: Russian and Bauhaus Years 1915-1933. Edited by Thomas M. Messer, Clark V. Poling. New York: Solomon R. Guggenheim Museum, 1983. In association with the exhibition, “Kandinsky: Russian and Bauhaus Years, 1915-1933”. Access: Kunstmuseum Basel, Basel, Switzerland; American University of Paris, Paris, France. Kandinsky, Wassily, et al. Der Blaue Reiter. Edited by Wassily Kandinsky, Franz Marc. Munich: R. Piper, 1912. Includes Herzgewächse (M. Maeterlinck) für Sopran, Celesta, Harmonium und Harfe, by A. Schönberg (facsim: score ([4] p.) holograph); Aus dem Glühenden von Alfred Mombert, by A. Berg, op. 2, no. 4; and Ihr tratet zu dem Herde von Stefan George, by A. von Webern. 140 pages: illustrations, plates (some color) music ; 30 cm. Access: Bibliothèque d’Art et d’Archéologie, Paris, France; Bibliothèque Nationale de France, Paris, France; Bibliothèque Kandinsky/Centre Pompidou, Paris, France; Metropolitan Museum of Art, New York, NY, USA; Museum of Modern Art, New York, NY, USA.. Image – Title Page for Der Blaue Reiter Almanach (Munich, R. Piper, 1912).

Kandinsky, Wassily. Gesammelte Schriften 1889-1916: Farbensprache, Kompositionslehre und andere unverröeffentlichte Texte. Edited by Helmut Friedel et al. Munich: Prestel, 2007. Access: Kunstmuseum Basel, Basel, Switzerland; Bibliothèque d’Art et d’Archéologie, Geneva, Switzerland; Metropolitan Museum of Art, New York, NY, USA. Kandinsky, Wassily. Kandinsky: 1901-1913. Berlin: Verlag Der Sturm, [1913]. “Rückblicke”; “Komposition 4”; “Komposition 6”; “Bild mit weissem Rand”. Autobiographical. 41 pages, 67 leaves of plates: illustrations; 24 x 27 cm. [75 illustrations on 63 plates. Half-vellum and brown patterned boards, with a leather label on the backstrip and with the original blue front wrapper printed in gold bound in.] Access: Bibliothèque d’Art et d’Archéologie, Paris, France; Metropolitan Museum of Art, New York, NY, USA; Museum of Modern Art, New York, NY, USA. Verlag Der Sturm: “Publishing imprint founded in 1910 by musician, composer, writer, and editor Herwarth Walden (pseudonym for Georg Levin) to publish the periodical Der Sturm, an inexpensive, mass-produced newspaper promoting avant-garde art, literature, music, and cultural critique. Originally issued weekly, later less frequently. Last issue (vol. 21) published 6

1932. First issues included reproductions of drawings by Oskar Kokoschka and Brücke artists Erich Heckel, Ernst Ludwig Kirchner, Emil Nolde, and Max Pechstein, among others; from July 1911 on featured original prints (woodcuts mostly) in some numbers, first by Brücke artists, later by other individuals and Blaue Reiter artists. In 1912 Walden opened a gallery of the same name to exhibit artists associated with the periodical; began to issue prints published in the periodical in separate hand-printed and signed editions, though more affordable reproductions were also often for sale. Gallery hosted more than 170 exhibitions over its 17-year existence, including the Erster deutscher Herbstsalon (First German autumn salon), a huge international survey of contemporary art emphasizing Futurists, Cubists, and artists of the Blaue Reiter in 1913. Fostered cosmopolitan, international network of artists, writers, and intellectuals, simultaneously introducing the major European avant-garde trends to Berlin and serving as a central force in defining and disseminating German Expressionist art and literature. Embracing Communism in the postwar period, Walden moved to the Soviet Union in 1932, where he died in 1941, a victim of Stalinism.”8 Kandinsky, Wassily. Kandinsky: Oeuvre gravé. Collection Berggruen, 10. Paris: Berggruen, 1954. 1500 copies. Lithographic cover by Mourlot and 21 plates (nine color pochoirs by Jacomet). [28] pp. Decorated paper covers. 22 x 11.5 cm. Preface by Will Grohmann. Access: Kunstmuseum Basel, Basel, Switzerland; Bibliothèque Nationale de France, Paris, France. Kandinsky, Wassily. Klänge. Munich: R. Piper & Co., 1912. Poems and woodcuts. Access: Metropolitan Museum of Art, New York, NY, USA; Museum of Modern Art, New York, NY, USA; Bibliothèque d’Art et d’Archéologie, Paris, France; Bibliothèque d’Art et d’Archéologie, Geneva, Switzerland. Kandinsky, Wassily. Wassily Kandinsky: Kollektiv-Ausstellung 1902-1912: Berlin, [Verlag “Der Sturm”], 1913. Berlin: Verlag Der Sturm, 1913. Access: Kunstmuseum Basel, Basel, Switzerland. Kandinsky, Wassily. Über das Geistige in der Kunst: Insbesondere in der Malerei. Munich: R. Piper & Co., 1912. Ten original woodcuts by Kandinsky. Access: Kunstmuseum Basel, Basel, Switzerland. McKay, Carol. “Kandinsky’s Ethnography: Scientific Field Work and Aesthetic Reflection.” Art History 17, No. 2 (June 1994): pp. 182-208. Access: Kunstmuseum Basel, Basel, Switzerland; Bibliothèque Nationale de France, Paris, France; Bibliothèque Kandinsky/Centre Pompidou, Paris, France. Pirsich, Volker. Der Sturm: Eine Monographie. Herzberg: T. Bautz, 1985. Access: Bibliothèque Nationale de France, Paris, France; Columbia University, New York, NY, USA. Ratcliff, Carter. “Kandinsky’s Book of Revelation,” Art in America 70 (December 1982): pp. 105-109. Access: Bibliothèque Nationale de France, Paris, France; Metropolitan Museum of Art, New York, NY, USA; Museum of Modern Art, New York, NY, USA. Roskill, Mark. Klee, Kandinsky, and the Thought of their Time: A Critical Perspective. Urbana: University of Illinois Press, 1992. Access: Kunstmuseum Basel, Basel, Switzerland; Bibliothèque Nationale de France, Paris, France; Bibliothèque Kandinsky/Centre Pompidou, Paris, France; American University of Paris, Paris, France; Metropolitan Museum of Art, New York, NY, USA; Museum of Modern Art, New York, NY, USA. Röthel, Hans Konrad. The Blue Rider. New York: Praeger, 1971. With works by Kandinsky, Klee, Macke, Marc, and other Blue Rider artists at Städtische Galerie München. Access: Bibliothèque d’Art et d’Archéologie, Paris, France; Metropolitan Museum of Art, New York, NY, USA; Museum of Modern Art, New York, NY, USA. Röthel, Hans Konrad. Kandinsky: Das graphische Werk. Cologne: M. DuMont Schaubert, 1970. Access: Kunstmuseum Basel, Basel, Switzerland; Bibliothèque d’Art et d’Archéologie, Paris, France; Bibliothèque

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Iris Schmeisser, “German Expressionism: Verlag Der Sturm,” Museum of Modern Art, n.d. http://www.moma.org/ collection_ge/artist.php?artist_id=14374&role=3. 7

Nationale de France, Paris, France; Metropolitan Museum of Art, New York, NY, USA; Museum of Modern Art, New York, NY, USA. Schoenberg, Kandinsky, and the Blue Rider. Edited by Esther Da Costa Meyer, Fred Wasserman. New York: Jewish Museum; London: Scala Publishers, 2003. With audio CD. Catalog of an exhibition at The Jewish Museum, New York, NY, USA, from October 24, 2003 to February 12, 2004. Chronologies of Arnold Schoenberg and Wassily Kandinsky: pp. 165-75. Access: Bibliothèque Nationale de France, Paris, France; Bibliothèque Kandinsky/Centre Pompidou, Paris, France; Metropolitan Museum of Art, New York, NY, USA; Museum of Modern Art, New York, NY, USA. Sheppard, Richard, “Kandinsky’s Oeuvre 1900-14: The Avant-garde as Rear-guard.” Word & Image 6, No. 1 (January-March 1990): pp. 41-67. Abstract: “Kandinsky was concerned with several media. Not only did he produce theoretical pieces, oil-paintings, paintings behind glass, coloured and black-and-white woodcuts, four abstract dramas and c.50 poems, he was also deeply interested in crafts, architecture, dance, musical composition, opera and stage design. Despite this, several major studies have either focused on one medium to the neglect of the others, or have compartmentalized Kandinsky’s interests. Other studies have, however, tried either to interrelate Kandinsky’s work in two media; or to crossrelate his work and interests against his more global concern with the ‘total work of art’ (Gesamtkunstwerk); or to locate his œuvre in a cultural context in which an avant-garde was grappling, across a range of media, with a set of profound and intractable problems. Given which, perhaps the most important insights to emerge from Washton Long’s remarkable study are that we should stop viewing Kandinsky’s œuvre in narrowly stylistic or formalistic terms, and, by situating it ‘in the context of his time’ see it, as Kandinsky did himself in A Retrospect (Rückblicke) of Autumn 1913, in terms of a spiritual struggle moving towards resolution.”9 Access: Bibliothèque Nationale de France, Paris, France; Bibliothèque Kandinsky/Centre Pompidou, Paris, France; Metropolitan Museum of Art, New York, NY, USA; Museum of Modern Art, New York, NY, USA. Tupitsyn, Margarita. Gegen Kandinsky/Against Kandinsky. Osterfildern: Hatje Cantz, 2006. Published in conjunction with the exhibition, Gegen Kandinsky (Against Kandinsky), Museum Villa Stuck, Munich, Germany, November 23, 2006 to February 18, 2007. Access: Kunstmuseum Basel, Basel, Switzerland; Metropolitan Museum of Art, New York, NY, USA; Museum of Modern Art, New York, NY, USA. Vergo, Peter. The Blue Rider. Oxford: Phaidon, 1977. Access: American University of Paris, Paris, France; Metropolitan Museum of Art, New York, NY, USA. Weiss, Peg. Kandinsky in Munich: The Formative Jugendstil Years. Princeton, NJ: Princeton University Press, 1979. Access: Kunstmuseum Basel, Basel, Switzerland; Bibliothèque Nationale de France, Paris, France; Bibliothèque Kandinsky/Centre Pompidou, Paris, France; American University of Paris, Paris, France; Metropolitan Museum of Art, New York, NY, USA; Museum of Modern Art, New York, NY, USA. Weiss, Peg. Kandinsky and Old Russia: The Artist as Ethnographer and Shaman. New Haven, CT: Yale University Press, 1995. Access: Kunstmuseum Basel, Basel, Switzerland; Bibliothèque Nationale de France, Paris, France; Bibliothèque Kandinsky/Centre Pompidou, Paris, France; American University of Paris, Paris, France; Metropolitan Museum of Art, New York, NY, USA; Museum of Modern Art, New York, NY, USA. XXe Siècle, no. 3 (July-August-September 1938). Paris: Éditions des Chroniques du Jour, 1938-1985. Edited by Gualtiero di San Lazzaro (Giuseppe Antonio Leandro Papa). With six woodcuts by Kandinsky (three in color). French text with the English essay by John Piper. “[XXe Siècle] is perhaps best known for its 163 original prints by almost every major artist of the time, including Arp, Braque, Chagall, Delaunay, De Stael, Dubuffet, Ernst, Giacometti, Indiana, Johns, Kandinsky, Lam, Laurens, Léger, Magritte, Man Ray, Manzu, Marini, Masson, Matta, Miró, Moore, and Tobey. A first series consisting of two volumes was published before the war. The 14 special numbers are devoted to Max Ernst, Esteve, Léger, Matisse, Miró,

9

Taylor and Francis, n.d., http://www.tandfonline.com/doi/abs/10.1080/02666286.1990.10435420#preview. 8

Moore, Picasso, Chagall, Calder, Chagall Monumental, Marini, Tanning, Kandinsky and Rouault.”10 Access: Bibliothèque Nationale de France, Paris, France; Bibliothèque d’Art et d’Archéologie, Geneva, Switzerland. XXe Siècle, no. 5-6 (February-March 1939). Paris: Éditions des Chroniques du Jour, 1938-1985. Edited by Gualtiero di San Lazzaro (Giuseppe Antonio Leandro Papa). With original lithograph by Max Ernst, a gravure by J.W. Power, a gravure by Gino Severini, an etching by Marcoussis and a woodcut by Kandinsky. Access: Bibliothèque Nationale de France, Paris, France; Bibliothèque d’Art et d’Archéologie, Geneva, Switzerland. XXe siècle: Hommage à Kandinsky (Special Issue 1974). Paris: Éditions des Chroniques du Jour, 19381985.

10

Ursus Books, n.d., http://www.ursusbooks.com/pages/books/38146/paris-editions-des-chronique-du-jour-vingtiemesiecle/xxeme-siecle-vingtieme-siecle. 9