Pioneering Russian artist (1866–1944) who takes a place among the seminal figures in the development of abstract art. In addition to his influence as a painter, he was also one of the original instructors at the Bauhaus. TLS in French, signed “Kandinsky,” one page both sides, 5.75 x 4, June 25, 1933. Letter to Andre de Ridder, Belgian art critic and strong supporter of Expressionism. His periodical ‘Selection’ published a special Kandinsky issue in July of 1933. In full (translated): “I hasten to tell you that I’ve sent the proofs to Mr. Grohmann. Please have him send the corrections for the texts as soon as possible. He will thus have to do the page numbering. Perhaps you’ll send the text corrections to me too—I’d be grateful to you. It will be necessary to cut the margins from the photographic plate of ‘Composition 4.’ You will see this on the proof of that canvas (the margins are not part of the painting). If you please, don’t forget this! Have the goodness to send a copy of the issue to M. Zervos: he wanted to call attention to the issue in the next issue of his magazine. I’m sorry that the reproductions of the large canvases (’Composition 4’ and ‘Composition 6’) are so small. Comp. 6 is three meters long! I will write you in the next few days about the firm orders. Write please yourself therefore to Mr. E. Weyhe…and to John Becker’s gallery…and finally to Madame Galka E. Scheyer, I think you’ll be successful in getting orders.” In fine condition, with a uniform shade of mild toning and a couple light corner creases.
As critic Andre de Ridder prepared the July 1933 Kandinsky issue of his periodical ‘Selection,’ the artist remained in Berlin to wrap up business as the Bauhaus closed. Facing constant accusations of teaching ‘un-German, degenerate art’ and fostering Communism, the school could no longer function under the pressure of the Nazi Party. Kandinsky reviewed de Ridder’s pieces from afar and passed them along to his friend and future biographer Will Grohmann. Two decades after their creation, his Compositions continued to spark discussion; his abstract style of painting based on the nonrepresentational properties of color and form, intended to create the same emotional impact that music did, challenged the art world both theoretically and aesthetically. The artist requests that de Ridder send a copy to publisher Christian Zervos, and suggests contacting prominent gallery owners Erhard Weyhe and John Becker, along with Galka Scheyer, the American representative for Die Blaue Vier (a group of Bauhaus artists—Kandinsky, Klee, Jawlensky, and Feininger—who exhibited and lectured together) to secure orders. This letter, with an abundance of important references to modern art figures as well as its discussion of his famous Compositions, holds spectacular content regarding the groundbreaking artist’s life and career. Pre-certified John Reznikoff/PSA/DNA and RR Auction COA.
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