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ART REVIEW - Kandinsky and Schoenberg, Seen and Heard

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ART REVIEW - Kandinsky and Schoenberg, Seen and Heard ART REVIEW - Kandinsky and Schoenberg, Seen and Heard... http://www.nytimes.com/2003/10/24/arts/art-review-kandinsk... HOME PAGE TODAY'S PAPER VIDEO MOST POPULAR U.S. Edition SUBSCRIBE NOW Log In Register Now Help Search All NYTimes.com Arts WORLD U.S. N.Y. / REGION BUSINESS TECHNOLOGY SCIENCE HEALTH SPORTS OPINION ARTS STYLE TRAVEL JOBS REAL ESTATE ART & DESIGN BOOKS DANCE MOVIES MUSIC TELEVISION THEATER VIDEO GAMES EVENTSAUTOSINTERNATIONAL ARTS ART REVIEW ART REVIEW; Kandinsky and Schoenberg, Seen and Heard on Canvas By ROBERTA SMITH Published: October 24, 2003 Premier Inn Waterloo St Birmingham Birmingham When it comes to ''Schoenberg, Kandinsky and the Blue Rider'' at the FACEBOOK £73.00 Jewish Museum, we can be grateful on two counts. First, in a time TWITTER View Deals! when recorded music often wafts through museum exhibitions, the GOOGLE+ organizers of this show have refrained from making us listen while we look -- even though they might have claimed every right to do so. The EMAIL show examines a historical intersection of art and music: the SHARE friendship between the Viennese Modernist composer Arnold PRINT Premier Inn Broad Street Canal Side Birmingham Schoenberg and the Russian Modernist painter Wassily Kandinsky. Birmingham REPRINTS £99.00 But fortunately, musical accompaniment has been limited to the View Deals! Acoustiguide, which in this case is a valuable aid that I recommend listening to -- at least the musical selections -- with eyes shut. Kandinsky's roiling paintings, radical in their time, may have lost much of their ability to shock, assuming a secure place in both the Heathrow Hotel Bath Road history of art and public consciousness. But Schoenberg's tumultuous music, like London Malevich's ''Black Square,'' remains relatively unassimilated, emblematically modern. It £62.00 demands your complete attention and is not about to fade quietly into any easy-listening View Deals! background. (A related article appears on Page 1 of Weekend.) The second cause for gratitude is that Schoenberg was himself a painter, a genuine if somewhat capricious hit-and-miss one. His efforts, usually small and often wan, center on self-portraits and are variously outsiderish, nearly abstract and conventionally representational. The last category includes a series of full-size portraits of friends, which he painted on commission in an attempt to support himself. The 36 Schoenberg paintings here outnumber all else and add a wonderful emotional MOST EMAILED RECOMMENDED FOR YOU weight to the visual firepower of the rest of the show: 13 paintings by Kandinsky, as well as 1. EDITORIAL 12 by other members of the German Expressionist Blue Rider (Blaue Reiter) group, which Moments of Grace in a Grim Year flourished briefly just before the First World War -- among them Franz Marc, Alexi von Jawlensky, August Macke, Albert Bloch and Gabriele Münter, Kandinsky's companion. 2. THE STONE Flitting in and out among more professional, fully committed visual statements, Dear White America Schoenberg's images both disrupt and pull together the exhibition's visual narrative in an essential way. 3. LETTERS How Diversity Plays Out on Campuses This exhibition, organized by Fred Wasserman, the museum's associate curator, and Esther da Costa Meyer, an art historian at Princeton, concentrates on a thin slice of history 4. OP-ED | THOMAS B. EDSALL Trump, Obama and the Assault on Political to the exclusion of much -- maybe too much -- else; but it is a relatively unexamined slice, Correctness centering on two giants in the history of Modernism. Their sensibilities crossed paths in January 1911, when Kandinsky heard Schoenberg's controversial atonal music for the first 5. Oberlin Students Take Culture War to the Dining Hall time at a concert in Munich. Inspired, he painted ''Impression III (Concert),'' now in the collection of the Lenbachhaus in Munich. 6. OP-ED | LINDA GREENHOUSE The Supreme Court’s Diversity Dilemma This work, at the beginning of the show, is visiting the United States for the first time. In this context, at least, the grand piano and the attentive audience that the painting loosely 7. OP-ED | ARTHUR C. BROOKS depicts are startlingly recognizable, but it is still an unusually raw, unfussy work for The Real Victims of Victimhood Kandinsky. Mainly through letters, the painter and the composer established an immediate rapport as 1 of 3 26/12/2015, 23:28 ART REVIEW - Kandinsky and Schoenberg, Seen and Heard... http://www.nytimes.com/2003/10/24/arts/art-review-kandinsk... kindred Modernist soul mates. Probably taking a swipe at Cubism, Kandinsky wrote, ''Our 8. New York Sheet Metal Workers Case own modern harmony is not to be found in the 'geometric' but rather in the Highlights Persistence of Workplace Discrimination anti-geometric, anti-logical way'' based on ''dissonances.'' 9. Classical Music Listings for Dec. 25-31 Responding, Schoenberg located their common ground ''in what you call the 'unlogical' and I call the 'elimination of the conscious will in art.' '' Both were trying to move beyond traditional composition to works that put their audiences in a kind of free fall, where 10. Review: Musica Sacra’s ‘Messiah,’ Buoyant and Burnished at Carnegie Hall nothing could be taken for granted. They saw and professed to like each other's paintings. By the fall of 1911, Kandinsky and Log in to discover more articles Marc were planning to include Schoenberg's scores in the first and only Blue Rider based on what you‘ve read. Almanac -- a publication surveying modern, folk and children's art -- along with scores by What’s This? | Don’t Show other Viennese composers in Schoenberg's circle, like Alban Berg and Anton Webern. But in December, the supposedly forward-looking NKVM (Modern Artists Society of Munich), barely two years old, rejected Kandinsky's submission to its annual show. The Blue Rider Almanac was hastily upgraded to an exhibition. Its 48 works by 14 artists included 4 paintings by Schoenberg. The centerpiece of the Jewish Museum's show is a big gallery devoted to that Blue Rider exhibition. Excepting a blazing little Münter landscape, the high point of the gallery display is Kandinsky's ''Sketch for Composition V'' (1911), the work rejected by the NKVM and on loan here from the Hermitage in St. Petersburg, Russia. With black whiplash lines and its landscape forms riled to the point of dynamic near-abstraction, this work is noticeably more liberated than the pre-Schoenberg Kandinskys, which are hung in a preceding gallery, although the color is more muted. The earlier works are full of chunks of jewel-like color and hints of fairy tale landscapes, figures and horseback riders; they reflect the artist's infatuation with Persian miniatures and Russian folk art. Hints of figures would remain in Kandinsky's paintings until the 1920's, by which point his friendship with Schoenberg was mostly over. Paradoxically, it is these late works, with their crystalline geometric shapes and almost scorelike compositions, that seem closest to painted music. The sharp focus of this exhibition may distort the importance of Schoenberg's music to Kandinsky's development. After all, it was part of an intellectual and emotional support system that included Marc, Münter and their work, as well as the cultural environment of Munich, where Kandinsky had lived since 1896. But for purely competitive reasons, artists can often feel emotionally closest to artists working in other mediums, and other cities. It can't have hurt their relationship that Schoenberg had made nearly all his paintings by 1911, the year they met. Occupying two small galleries at the Jewish Museum, Schoenberg's paintings move in and out of Kandinsky and company's push for Modernism like a double agent -- moving ahead, then dallying behind, and either way providing both emotional and comic relief. (One image, a caustic caricature titled ''Critic,'' shows a bearded, slightly Mesopotamian face, with huge black ears.) They make explicit the Expressionism that lurks within both Schoenberg's discordant but highly structured music and Kandinsky's more intuitive free-form paintings, revealing a basic primitive force that assumes a tamer but still essential form in the works that earned the two men their places in history. Many of his self-portraits underscore Schoenberg's vision of the suffering artist pilloried by a philistine society with a maudlin, indulgent crudeness that rarely appears in his music. Yet other works feel strikingly advanced, and more accessible than his music. In one, a large, goofy hand reaches down to grasp a balding head -- Schoenberg's -- that features a single enormous eye staring straight into the ground. The work is pure Philip Guston. In the most astounding images, the face is reduced to a floating eye or two embedded in pale, gently shaded monochrome grounds. Even better is a small, pale gold square, titled ''Thinking''; it seems completely abstract, until you realize that the curving mound of pink and dark brush strokes obtruding into the painting from the bottom edge is undoubtedly Schoenberg's own shiny pate. Looking somewhat like a painting by the midcentury American outsider Forrest Bess, it zeroes in on the composer's pulsing brain. It is interesting to remember that Kandinsky's favorite paintings by Schoenberg were the 2 of 3 26/12/2015, 23:28 ART REVIEW - Kandinsky and Schoenberg, Seen and Heard... http://www.nytimes.com/2003/10/24/arts/art-review-kandinsk... more conventional, full-faced self-portraits, rather than these pared-down, flayed little images. You wonder if Kandinsky ever suspected that Schoenberg's maverick paintings might be every bit as daring as his own. ''Schoenberg, Kandinsky and the Blue Rider'' is at the Jewish Museum, Fifth Avenue at 92nd Street, (212) 423-3200, through Feb. 12.
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