Vasily Kandinsky. Small Worlds IV (Kleine Welten IV) from Small Worlds (Kleine Welten). 1922

Vasily Kandinsky

Small Worlds IV (Kleine Welten IV) from Small Worlds (Kleine Welten)

1922

Medium
Lithograph from a portfolio of twelve prints, six lithographs (including two transferred from woodcuts), four drypoints, and two woodcuts
Dimensions
composition (irreg.): 10 1/2 x 10 1/16" (26.6 x 25.6 cm); sheet: 13 1/4 x 11 3/8" (33.6 x 28.9 cm)
Publisher
Propyläen-Verlag, Berlin
Printer
Reineck & Klein, Weimar
Edition
230 (including deluxe edition of 30 on "japan" paper and regular edition of 200 on "Bütten" paper)
Credit
Gift of Abby Aldrich Rockefeller
Object number
339.1940
Copyright
© 2017 Artists Rights Society (ARS), New York / ADAGP, Paris
Portfolio
Small Worlds (Kleine Welten)
Department
Drawings and Prints
This work is not on view.
This work is part of a portfolio with 11 other works online.
Vasily Kandinsky has 150 works  online.
There are 21,456 prints online.

Published in 1922, shortly after Vasily Kandinsky began teaching at the Bauhaus, this portfolio includes four prints each in etching, woodcut, and lithography. As the artist explains in the portfolio's introduction, each technique was chosen for its unique character: etching is characterized by its precision and appropriateness to the study of lines; woodcut is marked by the interplay of foreground and background, and the richness of textures; lithography combines a range of markings and colors to produce an image that most closely approximates a painting. As evident in their titles, each print represents an autonomous microcosm, a reflection of Kandinsky's view of the world as a self-contained cosmic entity consisting of innumerable independent, hermetic units.

Gallery label from 2006

In Kleine Welten (Small worlds) Vasily Kandinsky demonstrates the different effects of drypoint, lithography, and woodcut, providing four examples of each technique. As suggested by the portfolio's title, each abstract image is a world unto itself; meaning is generated exclusively through the interplay of line, plane, and color and the specific properties of the given medium. The constellation of dots orbiting the center of the drypoint Kleine Welten X penetrates deeply into the paper's surface. By contrast, the elegant marks in the lithograph Kleine Welten III seem barely to brush the surface. In the woodcut Kleine Welten V, dots made by digging into the soft, wood block with a cold, metal instrument express violent energy.

Kandinsky systematically elaborated his position on the inherent qualities of each print technique in the set's foreword and in his 1926 book, Punkt und Linie zur Fläche (Point and Line to Plane). Drypoint expressed passion and haste, foregrounding line and point. The limited number of impressions that could be pulled from a metal drypoint plate made it an "aristocratic" medium. Woodcut was more egalitarian in that it allowed for greater edition sizes; it also best conveyed planar relationships. Lithography was the most painterly, and its unlimited reproducibility made it the most "democratic," a quality that led Kandinsky to proclaim it the medium of his time.

Publication excerpt from Heather Hess, German Expressionist Digital Archive Project, German Expressionism: Works from the Collection. 2011.

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