The development of Kandinsky to abstraction finds its theoretical justification in "Abstraction and Empathy" Wilhelm Worringer, which was published in 1908. Worringer argues that the hierarchy of values to use, based on the laws of the Renaissance, is not valid to consider the art of other cultures, many artists create from reality but with an abstract impulse that makes the latest trends in art den less materialistic societies. Kandinsky, like Piet Mondrian, was interested in theosophy, understood as the fundamental truth that lies behind doctrines and rituals in all religions of the world, the belief in an ultimate reality behind appearances, provides an obvious rationale to abstract art. In Concerning the Spiritual in Art, talks about a new epoch of great spirituality and the contribution of painting to her.New art must be based on a language of color and Kandinsky gives guidelines on the emotional properties of each pitch and each color, in contrast to theories of color oldest, he is not interested in the spectrum but only in response soul. Composition 8, Kandinsky 1923. Guggenheim Museum, New York In 1913 one of his works presented at the Armory Show in New York and, at the outbreak of World War I, returned to Russia and settled in Moscow until 1921. From the October Revolution of 1917, Kandinsky develops administrative work for the People's Commissariat for Education, among the projects of this organization is the educational reform of schools of art.In 1920 he was a founder in Moscow INJUK (Institute for Artistic Culture), during this year a dispute arose between Kandinsky, Malevich and other artists idealists against the productivist (or constructivist), Vladimir Tatlin and Aleksandr Rodchenko The latter group found strong support in "the plan of monumental propaganda" devised by the political authorities of the Revolution. The situation enabling the output voltage of the Russian Kandinsky. In 1922 he moved to Weimar (Germany), where he gives lectures to the Bauhaus. In 1926 he published his book Point and Line on the plane. Contribution to the analysis of the pictorial elements. An organic continuation of his earlier work On the Spiritual in Art. Remain at the Bauhaus until 1933 when the Third Reich closing the institution. Since 1933 moved to Paris where he will continue his career as an artist until his death in 1944 at the age of 78, in Neuilly-sur-Seine (France).
