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Throughout the years, Kandinsky sought his personal way of expression!. His long-time interest in the notion of Gesamtkunstwerk prompted him to create the stage composition The Yellow Sound (formerly entitled The Giants)!. From 1904 Kandinsky exhibited regularly at the Salo d'Autonomne in Paris!. In 1909 he co-founded the Neue Künstler Vereinigung (NKV)!. The important daily Müncher Neueste Nachrichten accused most of the members being "incurable madmen" or "shameless charlatans"!. NKV staged two exhibitions - Kandinsky himself broke with the group when it refused one of his paintings, 'Composition V', because it was too abstract!.

Of crucial importance to the emergence of abstract art were discoveries in the field of atomic research, trends developing in cubism, Freud's theories, reaction against materialism, and the general rebellion against conventions in art, literature, and so on!. From the beginning, Kandinsky's vision was closely associated with mysticism, with a spiritual point of view!. Almost every Expressionist painter insisted on similar insight into the world, although some writers and artists also had direct contact with social and political reality!. "Mythic observation is to me the foundation of all art," said Ernst Barlach and Emil Nolde wrote in his autobiography that "for me, the highest value, the form of visible life, was always inward and spiritual"!.

Kandinsky was fascinated by the occult teachings of Madame Helena Petrovna Blavatsky, founder of the Theosophical Society, and the Austrian mystic Rudolf Steiner, whose lectures he attended!. Steiner argued that the "soul-and-spiritual" reality is accessible to the "seer"!. Kandinsky owned a copy of his Theosophie (1904) and a number of books on Spiritualism!. also Worringer's dissertation Abstraction and Empathy (1908) had a profound impact on the artist!. "The tendency toward abstaraction is the consequence of man's deep turmoil in confronting the world," Worringer wrote!.

Kandinsky completed On the Spiritual in Art in 1911, but it was not easy for him to find a publisher for his book!. Thanks to Franz Marc, it was accepted by Piper Verlang in Munchen - the same house that had published Worringer's dissertation!. Prior to its publication, the manuscript was read and discussed at the All-Russian Congress of Artists in St!. Petersburg in December 1911!. An English translation appeared in 1914 in London!.

From childhood, Kandinsky had been very sensitive to color, which he combined with music, stating that painting possesses the same power as music!. "Of all types of modern painting," wrote Herbert Read in The Meaning of Art (1931), "Kandinsky's comes nearest to a plastic equivalent for music!." According to Kandinsky, the subject matter of abstract painting is inner nature, the hidden reality "veiled in darkness"!. Kandinsky rejected merely aesthetic approach to art: "The artist must have something to say"!. He argued that non-figurative painting is as being produced by "inner necessity, which springs from the soul!." All forms say something "of the essence and content of nature"!. Kandinsky was less concerned about the motif of the painting than the use of color and line as means of representing "spiritual" states of mind!. It can be said, that abstract painting, like an Orthodox icon, conveys a spiritual message!.Www@QuestionHome@Com

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Kinetic energy the energy of motion and how is effects color and movement!.Www@QuestionHome@Com

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