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1931

• Political pressure on the Bauhaus continues. The atmosphere grows increasingly tense, and the school's future becomes uncertain.
  
• In Kandinsky's painting, small intricate forms continue to emerge — sometimes biomorphic, anticipating his later Parisian works. He frequently employs airbrush technique, and in some works, the influence of Paul Klee is evident. Key works from this year: Soft Pressure, Sign Series, Fragile, Floating Pressure, Lightly Touching.
• Exhibitions: February — solo exhibition at Galerie Alfred Flechtheim, Berlin; November–December — exhibition at the Kunsthaus Zürich; November — "Los cuatro azules" (The Blue Four) exhibition in Mexico City — a significant international event featuring Kandinsky, Feininger, Jawlensky, and Klee. This exhibition became an important step in promoting abstract art in Latin America and was organized with the participation of Galka Scheyer and Diego Rivera.
  
• Design of the Salon de Musique for an architectural exhibition in Berlin. This project reflects his longstanding interest in the synthesis of the arts and the idea of the Gesamtkunstwerk (total work of art). Kandinsky created ceramic panels for the walls, while the architectural design was developed by Mies van der Rohe; the hall itself was intended for musical performances.
  
• Publication of the essay "Reflections on Abstract Art" (Réflexions sur l'art abstrait) in the Parisian journal Cahiers d'Art. In the essay, he defends abstract painting against attacks from critics who accused abstractionists of excessive rationality and a lack of substance. He uses the term "concrete art," coined in 1930 by the artist Theo van Doesburg.
  

Works

Soft Pressure

Sign Series

Fragile

Lightly Touching

Calmed

Brownish

Green

Green Tip

Floating Pressure

Taut Line

Pointed Black

Circulation Slowed

Photography

Timeline