impels artists to create as a spiritual impulse and audiences to admire art as a spiritual hunger. Sharing in Schopenhauers skepticism about style, Kandinsky predicts that only the third element, which knows neither period nor nationality, accounts for the timeless in art: In the past and even today much talk is heard of personality in art. Neither the quality of the inner need, nor its subjective form, can be measured nor weighed. All means are sacred which are called for by the inner need. For many centuries have to pass away before the third element can be received with understanding. In reflecting on the birthplace of art, he returns to the notion of creative freedom: The work of art is born of the artist in a mysterious and secret way. But the most culturally toxic effect of all, Kandinsky argues, takes place in periods when art has no noble champion and the true spiritual food is wanting. Art holds out the promise of inner wholeness, wrote Alain de Botton half a century later in the excellent. But the measure of freedom of each age must be constantly enlarged. If its form is bad it means that the form is too feeble in meaning to call forth corresponding vibrations of the soul The artist is not only justified in using, but it is his a Hero in One Age Will be a Hero in Another duty to use only those forms which fulfill his own. A triangle (without the accessory consideration of its being acute or obtuse angled or equilateral) has a spiritual value of its own.
The Three artist Dialogue
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Literature, music and art are the first and most sensitive spheres in which this spiritual revolution makes itself felt. Considering color and form the two weapons of painting, and defining form as the outward expression of inner meaning, Kandinsky examines their interplay in creating a spiritual effect: This essential connection between color and form brings us to the question of the influences of form. Such works of art at least preserve the soul from coarseness; they key it up, so to speak, to a certain height, as a tuning-key the strings of a musical instrument. It is often most expressive when outwardly most imperfect, perhaps only a stroke, a mere hint of outer meaning. From him it gains life and being. Therefore, Kandinsky points out, the true artist gives credence only to that inner need, and not to the expectations and conventions of the time: The artist must be blind to distinctions between recognized or unrecognized conventions of form, deaf to the transitory teaching and demands. Every artist, as child of his age, is impelled to express the spirit of his age (this is the element of style) dictated by the period and particular country to which the artist belongs (it is doubtful how long the latter distinction will continue. The case is similar with a circle, a square, or any conceivable geometrical figure which has a subjective substance in an objective shell The mutual influence of form and color now becomes clear.