Vasily Kandinsky. Picture with an Archer. 1909

Vasily Kandinsky Picture with an Archer 1909

  • Not on view

The color in Picture with an Archer is vibrantly alive—so much so that the scene is initially hard to make out. The patchwork surface seems to be shrugging off the task of describing a space or form. Kandinsky was the first modern artist to paint an entirely abstract composition; at the time of Picture with an Archer, that work was just a few months away.

Kandinsky took his approach from Paris—particularly from the Fauves—but used it to create an Eastern landscape suffused with a folktale mood. Galloping under the trees of a wildly radiant countryside, a horseman turns in his saddle and aims his bow. In the left foreground stand men in Russian dress; behind them are a house, a domed tower, and two bulbous mountainy pinnacles, cousins of the bent–necked spire in the picture's center. Russian icons show similar rocks, which do exist in places in the East, but even so have a fantastical air. The lone rider with his archaic weapon, the traditional costumes and buildings, and the rural setting intensify the note of fantasy or poetic romance.

There is a nostalgia here for a time or perhaps for a place: in 1909 Kandinsky was living in Germany, far from his native Russia. But in the glowing energy of the painting's color there is also excitement and promise.

Publication excerpt from The Museum of Modern Art , MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 61.
Oil on canvas
68 7/8 x 57 3/8" (175 x 144.6 cm)
Gift and bequest of Louise Reinhardt Smith
Object number
© 2019 Artists Rights Society (ARS), New York / ADAGP, Paris
Painting and Sculpture

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This work is included in the Provenance Research Project, which investigates the ownership history of works in MoMA's collection.

Sold through Galerie Der Sturm (Herwarth Walden), Berlin to Christian Tetzen-Lund (1852-1936), Copenhagen, December 17, 1918 [1]. Acquired by Efraim Lundmark, Stockholm, Sweden, [c. 1930]; sold to Svensk-Franka Konstgalleriet, Stockholm, Sweden, 1957 [2]; sold to Galerie Europe, Paris, 1958; sold to Jacques Lindon, New York, 1958 [3]; acquired by Louise Reinhardt Smith, New York, 1958; The Museum of Modern Art, New York (Gift and Bequest of Louise Reinhardt Smith), 1959.
[1] Roethel 270.
[2] Ibid.
[3] Ibid.

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