Heavy Circles
1927
Vassily Kandinsky (Russian, 1866–1944)
Not on View

Writing to the art historian Will Grohmann in 1930, Kandinsky explained the crucial role of the circle in his recent work: “It is a link with the cosmic and I use it above all formally... The circle is the synthesis of the greatest oppositions. It combines the concentric with the ex-centric in a single form and in balance.” The cosmic resonance of circles is powerfully felt in this composition, where fourteen of them—each delineated with a slender halo of bright paint—seem to float in space, imaginary planets in orbit and eclipse.

Details

  • Artist Name: Vassily Kandinsky (Russian, 1866–1944)
  • Title: Heavy Circles
  • Date: 1927
  • Medium: Oil on canvas
  • Dimensions: 22-1/2 x 20-1/2 in. (57.2 x 52.1 cm)
  • Credit Line: Norton Simon Museum, The Blue Four Galka Scheyer Collection
  • Accession Number: P.1953.216
  • Copyright: © Norton Simon Museum

Object Information

The artist, consigned summer 1928 to;
[Galerie Neue Kunst Fides, Dresden];
later gifted by artist in May, 1933 to;
Galka Scheyer;
Pasadena Art Institute, Pasadena, 1953-1954;
Pasadena Art Museum, Pasadena,1954-1975;
Norton Simon Museum, 1975.

Vasily Kandinsky 1966-1944: A Retrospective Exhibition [organized by The Solomon R. Guggenheim Museum]

  • Pasadena, Pasadena Art Museum, 1963-01-15 to 1963-02-15
  • San Francisco Museum of Art, 1963-03-01 to 1963-04-01
  • Portland, The Portland Art Museum, 1963-04-15 to 1963-05-15
  • Marion Koogler McNay Art Institute, 1963-06-01 to 1963-07-01
  • Colorado Springs Fine Arts Center, 1963-07-15 to 1963-08-25
  • Baltimore Museum of Art, 1963-09-19 to 1963-10-20
  • Columbus Museum of Art, 1963-11-05 to 1963-12-05
  • St. Louis, Washington University Art Gallery, 1963-12-22 to 1964-01-06
  • Montreal, Montreal Museum of Fine Arts, 1964-02-05 to 1964-03-05
  • Worcester, Worcester Art Museum, 1964-03-20 to 1964-04-20
Campbell Abdo, Sara, Wassily Kandinsky, p. 26
Wünsche, Isabel, Galka E. Scheyer and the Blue Four: Correspondence 1924 - 1945, Plate X p. 337
Grohmann, Will, Wassily Kandinsky: Life and Work, cc 262 pp. 206, 336, 371
Brougher, Kerry; Jeremy Strick, Ari Weisman, Judith Zilczer, and Olivia Mattis, Visual Music: Synaesthesia in Art and Music Since 1900, p. 104
Roethel, Hans K. and Jean K. Benjamin, Kandinsky: Catalogue Raisonné of the Oil Paintings 1916-1944, no. 841
Peabody, Rebecca, et al., Pacific Standard Time: Los Angeles Art, 1945-1980, Fig. 1-4 p. 8
Roethel, Hans K. and Jean K. Benjamin, Kandinsky, pp. 132-133
Katzenstein, Peter J., Sinicization and the Rise of China, Cover Cover
Barnett, Vivian Endicott, The Blue Four Collection at the Norton Simon Museum, no. 289 pp. 246-248
Andréi Nakov, Kandinsky the Enigma of the First Abstract Painting, fig. 15 p.181
The Blue Four. Feininger, Jawlensky, Kandinsky, and Klee in the New World, no. 76 pp. 176, 345-6
The Blue Four Galka Scheyer Collection, Norton Simon Museum of Art at Pasadena, no. 236 pp. 83, 87
co-edited by Naman P. Ahuja and Louise Belfrage, A Mediated Magic: The Indian Presence in Modernism, fig. 1 p. [4], p. 8; p. [1] (ill.), p. [9] (ill.)
Varga, Richard S., Gerschgorin and His Circles, cover
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Additional Artwork by Artist

Blue Vassily Kandinsky 1922
Lithograph for the Fourth Bauhaus Portfolio Vassily Kandinsky 1922
Lithograph No. III Vassily Kandinsky 1925

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