VASILII KANDINSKY AND THE SECTION OF MONUMENTAL ART ATINKhUK 1

• 1. Translated (after the author's editorial emendations) from S. Khan-Magomedov, "V. V. Kandinsky v Sektsii monumental'nogo iskusstva Inkhuka (1920)" in A. Gusarova and N. Av- tonomova, eds., Vasilii Vasil'evich Kandinsky (M: State Tret'iakov Gallery, 1989), pp. 46-56. 2. See S. Khan-Magomedov, "Inkhuk: vozniknovenie, formirovanie i pervyi period raboty, . 1920," in V. Polevoi el al., eds., Sovetskoe iskusslvoznanie, 80/2 (M: Sovetskii khudozhnik, 1981), pp 332-38. . 3. In the original transaction, Sinezubov's first initial is given as "I" which, presumably, is a misprint for "N" (Nikolai).

• 4. See the "Program for the Institute of Artistic Culture" below. i 5. Ibid.

• 6. V. Kandinsky, "O stsenicheskoi kompozitsii," Izobrazitel'noe iskusstvo (P), No. I (1919), pp. 40, 46, 48. Kandinsky had published very similar ideas in his first version of the essay in German as "Uber Buhnenkomposition," in V. Kandinsky and F. Marc, Der Blaue Reiter (Miinchen: Piper, 1912), pp. 103-13. 7. The reference is to the composer, mathematician, and critic Emilii Kaflovich Rozenov (1861-1935) and not- as indicated in some sources - to the poet Ivan Rozanov. Author, for ex- ample, of "Primenenie zakona 'zolotogo secheniia' v poetike i muzyke" Sbornik rabot . fiziologo-psikhologicheskoi sektsii (M: Institute of Musical Science, 1925), No. 1, pp. 96-103), Rozenov was a member of RAKhN and, like Boris Krasin and Petr Zimin, was also a researcher at the Institute of Musical Science in Moscow. ' 8. Evidently, Kandinsky applied his own research plan to the study of painting here. 9. The questionnaire was entitled Institut khudozhestvenuoi ku'tury (Inkhuk). Pri Otdele IZO NKP. Sektsiia monumental'nogo iskusstva. Oprosnyi list (M: 120 NKP, 1920). See below for the English translation of the basic part of the questionnaire.

• 10. See the translation of the Program below.

• , I1. See the translations of "The Primary Elements of Painting. Their Essence and Their Value (Brief Elucidation of a Theory of Painterly Form)" and "The Primary Elements of Paint- ing" below. -

• 12. See "The Primary Elements of Painting. Their Essence and Their Value (Brief Elucida- . tion of a Theory of Painterly Form)" below.

• . 13. See note 3. , f-..■■ -■■■■■, ; 1.

• 14. In the Russian text Khan-Magomedov suggests that "is" should be negative, i.e., "is . not," although Kandinsky's sense would seem to be affirmative here.

• 15. For information on Kandinsky and RAKhN, see the section on RAKhN below.

VASILII KANDINSKY AND THE SECTION OF MONUMENTAL ART ATINKhUK ¹

In: Experiment

Online Publication Date:

01 Jan 2002

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