Wassily Kandinsky. Point and Line to Plane. 1926 year

Point and Line to Plane

1926

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The “Point and Line to Plane” book, which can well be called a philosophical treatise, offers a deep investigation into the basics of the artistic language. First, the point is studied thoroughly: from the simplest axioms of geometry to the highest forms of art. Then, the line undergoes the same careful analysis. And finally, it gets to the plane, or rather the “main plane”, acting as the consolidating principle.


INTRODUCTION
Interior – exterior. Any phenomenon can be experienced in two ways. These two methods are not spontaneous, but are associated with the phenomena themselves: they originate from the nature of the phenomenon, from two properties of the same thing: Interior – Exterior.

One can look at a street through a window glass, then, its sounds are attenuated, its motions turn into phantoms and it seems through a glass which is transparent but still firm and hard to be a detached apparition pulsating in the “other world”.

Or a door opens and you go outside, submerging into the phenomenon, act extensively inside it and experience this pulsation in its entirety. The gradation of shades and frequencies of sounds fluctuating during the process wrap around the person, ascend whirling and then, having suddenly weakened, fall sluggishly down.

Motions twine around the person in a similar way: a play of horizontal and vertical strokes and lines, going in different directions, splashes of color concentrating and dissipating which sometimes sound high and sometimes low.

A work of art reflects on the surface of the consciousness. It lies “on the other side” and when attraction [to it] vanishes, it disappears from the surface without leaving a trace. And there is also a glass which is transparent but still firm and hard, and it renders direct internal connection impossible. And here we can enter a work of art, act extensively inside it and experience this pulsation in its entirety.





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