Natalie Angier in The New York Times:
CIRCLING my way not long ago through the Vasily Kandinsky show now on display in the suitably spiral setting of the Guggenheim Museum, I came to one of the Russian master’s most illustrious, if misleadingly named, paintings: “Several Circles.” Those “several” circles, I saw, were more like three dozen, and every one of them seemed to be rising from the canvas, buoyed by the shrewdly exuberant juxtapositioning of their different colors, sizes and apparent translucencies. I learned that, at around the time Kandinsky painted the work, in 1926, he had begun collecting scientific encyclopedias and journals; and as I stared at the canvas, a big, stupid smile plastered on my face, I thought of yeast cells budding, or a haloed blue sun and its candied satellite crew, or life itself escaping the careless primordial stew.
I also learned of Kandinsky’s growing love affair with the circle. The circle, he wrote, is “the most modest form, but asserts itself unconditionally.” It is “simultaneously stable and unstable,” “loud and soft,” “a single tension that carries countless tensions within it.” Kandinsky loved the circle so much that it finally supplanted in his visual imagination the primacy long claimed by an emblem of his Russian boyhood, the horse.
More here.
