style="font-size:15px;"> Курсив наш.
35
Мы уже приводили рассказ о тифозном видении, вдохновившем художника на создание серии картин, приведших его к апокалиптической репрезентации «Композиции II» в 1910 году.
36
Возможно, что стремление верифицировать пророческие видения было связано для Кандинского с какой-то личной необходимостью: может быть, он опасался самоубийства, зная о судьбе своего родственника, психиатра Виктора Кандинского (1849—1889), покончившего с собой в возрасте сорока лет. Ученый описал синдром Кандинского-Клерамбо (синдром психического автоматизма), а также опубликовал на немецком труд о различии между псевдо- и истинными галлюцинациями. При этом он и сам страдал галлюцинациями. Чувствуя, как обостряются симптомы заболевания, и желая избежать безумия, он прервал жизнь, приняв большую дозу морфия.
37
Emily Christensen – The Courtauld Institute of Art.
38
The Russian version of the article will be published in the next issue of the article. – Editorial Board. Русский перевод этой статьи будет помещен в следующем номере журнала. — Ред.
39
Rose-Carole Washton Long, Kandinsky: The Development of an Abstract Style (Oxford: Clarendon Press, 1980), p. 1. See also Alfred H. Barr, «Cubism and Abstract Art’ in Abstraction: Documents of Contemporary Art, ed. by Maria Lind (London: Whitechapel Gallery, 2013), pp. 28—33.
40
Wassily Kandinsky, «On the Spiritual in Art’, in Kandinsky: Complete Writings on Art, Volume One (1901—1921), trans. by and ed. by Kenneth C. Lindsay and Peter Vergo (London: Faber and Faber, 1982), pp. 114—219 (p. 212).
41
See, for example, Emily Christensen, «The Tunisian Sources of Wassily Kandinsky’s «Improvisation on Mahogany’», The Burlington Magazine 159 (September 2017): 714—719. A comprehensive study of Kandinsky’s abstract-Orientalist paintings forms the subject of the author’s PhD at The Courtauld Institute of Art, London.
42
Kandinsky assigned titles to his paintings in German until the year 1916, and recorded the titles in his Handlists, the hand-written lists of his paintings. See Hans K. Roethel and Jean K. Benjamin, Kandinsky: Catalogue Raisonné of the Oil Paintings, Volume One: 1900—1915 (London: Sotheby Publications, 1982), p. 23. For ease of reference, English translations of the titles will be used in the text of this study.
43
Edward W. Said, Orientalism (London: Routledge & Kegan, 1978; reprint, London: Penguin Books Ltd, 2003), p. 1.
44
Kandinsky also wrote several smaller articles and edited and contributed to The Blaue Reiter Almanac, but as the latter largely reiterated his views on abstract painting first propounded in «On the Spiritual in Art’, the Almanac will not be examined further here.
45
Kandinsky, «On the Spiritual in Art’, p. 138. «The Spiritual Turning Point’ is the title of Chapter 3 in «On the Spiritual in Art’.
46
Friedrich Nietzsche, The Gay Science (Cambridge: Cambridge University Press, 2001), p. 120. And see Kandinsky, «On the Spiritual in Art’, p. 139.
47
J.J. Clarke, Oriental Enlightenment: The encounter between Asian and Western thought (London: Routledge, 1997), p. 28.
48
See discussion in Clarke, pp. 16—34.
49
In addition, studies show that while there is some evidence that Russian academics were more willing to challenge the notion that «the Orient’ was a homogenous whole, this was primarily within St Petersburg University; meanwhile the general public perceptions and stereotypes paralleled those in Germany. Vera Tolz, Russia’s Own Orient: The politics of identity and Oriental studies in the late Imperial and early Soviet periods (Oxford: Oxford University Press, 2011).
50
Vivian Endicott Barnett, Kandinsky Drawings: Catalogue Raisonne, Volume Two: Sketchbooks (London: Philip Wilson Publishers, 2007), Vivian Endicott Barnett, Kandinsky Watercolours: Catalogue Raisonne, Volume One: 1901—1921 (London: Sotheby’s Publications, 1992), and Roethel and Benjamin.
51
See the discussion on authorship of the photographs in Roger Benjamin with Cristina Ashjian, Kandinsky and Klee in Tunisia (Oakland, California: University of California Press, 2015), p. 78.
52
Benjamin with Ashjian, pp. 93—94.
53
Wassily Kandinsky, «Cologne Lecture’, in Kandinsky: Complete Writings on Art, Volume One (1901—1921), trans. by and ed. by Kenneth C. Lindsay and Peter Vergo (London: Faber and Faber, 1982), pp. 392—400 (p
