by Tom Gurney
Tom Gurney BSc (Hons) is an art history expert with over 20 years experience
Published on June 19, 2020 / Updated on October 14, 2023
Email: tomgurney1@gmail.com / Phone: +44 7429 011000
Wassily Kandinsky: An Introduction
Wassily Kandinsky (1866–1944) changed what a painting could ask of a viewer. A rider, mountain or city might still be visible in one work; in another, lines and colours seem to act without a settled scene behind them. The change was neither immediate nor uniform. Kandinsky made prints, watercolours, oil paintings and writings while moving between Russia, Germany and France. He worked among artists and musicians who were asking different versions of the same question: how can form carry feeling or thought when it is no longer tied to a faithful image of the world? This guide follows the works and settings in which Kandinsky tested that question, from early story-like prints to the crowded compositions of 1913, Bauhaus geometry and the changing forms of his final Paris years. [1]; [5].
Watch: Wassily Kandinsky
Five museum videos about Kandinsky’s art, sources of inspiration and the relationship between colour and music.
Vasily Kandinsky: Around the Circle
Curator Megan Fontanella introduces Kandinsky and the Guggenheim collection.
Watch on YouTubeAt a Glance
- Born:1866, Moscow; grew up partly in Odessa, now Ukraine.
- Died:1944, Neuilly-sur-Seine, near Paris.
- Work:painting, watercolour, drawing, printmaking, writing and teaching.
- Major settings:Munich and Murnau; Moscow; the Bauhaus in Weimar, Dessau and Berlin; Paris/Neuilly.
- Key ideas:the independent expressive roles of colour, line and form; the artist's “inner necessity”; dialogue between painting and music.
- Selected works in this cluster:Blue Mountain, Impression III (Concert), Composition VII, Composition VIII, Several Circles and Sky Blue.
Kandinsky in context
German Expressionist circles
c. 1905–1920Der Blaue Reiter
1911–1914Bauhaus
1919–1933Wassily Kandinsky
active 1896–1944Gabriele Münter
Munich/Murnau shared yearsFranz Marc
Blue Rider collaborationPaul Klee
Bauhaus colleaguesThe Blue Rider
1903Blue Mountain
1908–09Composition VII
1913Composition VIII
1923Several Circles
1926Sky Blue
1940Contents
- From law to art in Munich
- Murnau and the force of colour
- The Blue Rider was a circle, not a single style
- Music and the 1911 concert
- Improvisations, impressions and compositions
- Composition VII and the labour of abstraction
- Return to Moscow, 1914–1921
- Teaching and making at the Bauhaus
- Conversations with artists and collectors
- Paris and the final decade
- The materials behind the changing style
- How to look at a Kandinsky painting
- Kandinsky's importance without a single origin story
- Frequently asked questions
- References
From law to art in Munich
Kandinsky was born in Moscow in 1866 and spent part of his childhood in Odessa. He studied law and political economy and had an academic career in Russia before deciding to train as an artist. In 1896, at about thirty, he moved to Munich. The choice matters because it was a deliberate change of profession, not the start of a childhood career as a painter. Munich gave him art schools, exhibitions and a community in which he could test ways of making images that went beyond academic teaching. [3]; [2].
The early work should not be treated merely as a waiting room for abstraction. Kandinsky made scenes that drew on folklore, journeys and imagined places. He worked in small formats as well as paintings, especially colour woodcuts. The Golden Sail, a 1903 print, turns a boat and shoreline into a dark, patterned image lit by a gold sail. Its shape and colour are deliberate within a recognisable story-like scene. The Lenbachhaus holds the impression reproduced on this site and records the black and multicolour printing blocks used for it. [11].
Printmaking was more than a minor sideline. MoMA's collection essay describes a substantial body of Kandinsky prints, including many Jugendstil and fairy-tale woodcuts in the early 1900s and increasingly abstract woodcuts for Klänge (Sounds), published in 1913. Reduction is part of what makes a woodcut valuable to an artist: forms must be built from choices about line, dark and light, and sometimes separately applied colour. Those choices later mattered in Kandinsky's painting, but the prints also deserve attention as finished works in their own right. [2].
Mounted figures recur across these years. The Blue Rider, painted in 1903, and the later Couple Riding give different roles to a horse and rider. A figure in motion can carry a sense of journey even when place and identity are left open. The theme became one way Kandinsky could preserve a recognisable image while making the surrounding colour and pattern more forceful.
Murnau and the force of colour
In 1908, Kandinsky worked in and around Murnau with Gabriele Münter, Alexej von Jawlensky and Marianne von Werefkin. The Lenbachhaus describes that shared summer as an important point in the circle's development. Their conversations and the local landscape did not make their paintings identical, but the period gave them opportunities to compare what strong colour and simplified forms could do. [3].
Kandinsky's Blue Mountain, painted in 1908–09, still contains three riders, a mountain and trees. Its blue hill, yellow-orange tree and dark red tree do more than describe a view. They hold the near-square canvas in a forceful arrangement, while the riders remain visible at the bottom. The Guggenheim Museum, which owns the painting, points to the trees' rhythmic and unrealistic brushwork and the continuing clarity of the riders. It is a useful work for seeing transition as tension rather than a clean division between representational and abstract art. [5]; [12].
Other Murnau landscapes make a similar question available in different ways. Buildings, churches and hills can be recognised, but an intense red roof or blue slope may structure the picture more strongly than natural light would. The point is not that a given colour always means one thing. Its size, location and neighbour change what it can do. Kandinsky's work in these years asks viewers to look at colour as part of the picture's action.
Münter was an artist and participant in this exchange, not simply a witness to Kandinsky's development. She painted, photographed and later preserved a large body of work that became central to the Lenbachhaus collection. Their artistic lives intersected closely during the Munich and Murnau years, but a page about Kandinsky should not absorb her own practice into his. Her perspective helps explain why this was a conversation among artists rather than the isolated discovery of one painter. [3]; [3].
The Blue Rider was a circle, not a single style
Kandinsky and Franz Marc were central to Der Blaue Reiter, which took shape in 1911. It brought together artists who did not make identical pictures and who were interested in exchanges across art forms and cultural traditions. The Lenbachhaus records the first exhibition and the broad range of participants; the associated almanac appeared in 1912. The group name belongs to this moment, not to every earlier painting that happens to include a blue horse or rider. [3].
The distinction helps with chronology. Kandinsky's The Blue Rider dates to 1903, and Blue Mountain to 1908–09. The group formed later. Earlier rider works can show a persistent interest that made the name attractive, but they were not painted as retrospective logos for an organisation that did not yet exist.
Marc was a close collaborator in forming the group and almanac. His horses and Kandinsky's riders provided memorable imagery, yet their paintings followed different paths. Some accounts of the group's name recall their shared liking for blue and riding motifs. That anecdote is more useful when kept modest: it explains a choice of name, not a single meaning that can be imposed on every blue shape in both artists' work. [5]; [3].
Music and the 1911 concert
Kandinsky's interest in music was part of his thinking about how art might affect a viewer without describing an object. A musical work can be deeply organised and emotionally powerful without depicting a landscape or portrait. He explored whether relationships among colour, line and shape might have comparable independence. That is an analogy between arts, not proof that each painted hue corresponds to an exact note. [1].
A specific event brought this question into sharp focus. On 2 January 1911, Kandinsky heard Arnold Schönberg's music in Munich. The programme included two string quartets, piano pieces and songs. His Impression III (Concert) followed the performance. In the painting, the grand piano is still legible as a large dark form, while the surrounding figures and yellow field are compressed and transformed. The work is not a literal transcription of sound. Two charcoal studies and the finished canvas show decisions about what to retain from the remembered scene. [13]; [14].
Kandinsky and Schönberg corresponded after this encounter. The Arnold Schönberg Center documents their January 1911 exchange and situates it within a broader artistic dialogue. Their later work should not be collapsed into one system. Schönberg's twelve-tone method belongs to the 1920s; the 1911 concert did not present it. Kandinsky's own paintings also changed across the following decade. What the encounter shows is a relationship between two artists questioning familiar structures in different media. [7].
Improvisations, impressions and compositions
Kandinsky used these three words to distinguish kinds of artistic experience and making. An impression began with an encounter in the external world. An improvisation gave freer expression to an inward response. A composition was usually worked through with especially sustained attention. These were ideas in his practice, not rigid recipes or measures of quality. Impression III has an identifiable concert behind it; Improvisation No. 30 (Cannons) contains recognisable artillery but does not function as a straightforward war illustration; and Composition VII was prepared through many studies. [13]; [9]; [15].
The titles are helpful because they can direct attention to different questions. In Impression III, what did Kandinsky retain from a concert, and what did he alter? In Improvisation No. 30, how can a visible cannon coexist with a picture organised for its total colour and form? In Composition VII, what do extensive preparations tell us about a painting whose final surface looks energetic and free? The answers come from each object's sources and visible form, not from assuming one fixed formula behind the category word.
Kandinsky's writing On the Spiritual in Art, first published in December 1911 with a 1912 date, set out an ambitious account of art's inward purpose. It discusses how colour and form might act on a viewer beyond external resemblance. That text is an important source, but it should not be used as a decoder ring for every later work. Kandinsky continued to make choices and revisions, and his paintings do not become interchangeable diagrams when read alongside his theory. [5]; [8]; [1].
Composition VII and the labour of abstraction
Painted in 1913, Composition VII is often taken as a sign of Kandinsky's new freedom. Its large canvas is dense with colour, arcs, diagonals and forms that no longer sit easily inside a single scene. Yet the Museum of Modern Art's catalogue documents more than thirty preparatory drawings, watercolours and oil studies, along with photographs taken by Münter during the painting process. The finished energy was supported by sustained work. [9].
The studies make a useful correction to a romantic story of spontaneous abstraction. Kandinsky could reshape a motif repeatedly before arriving at a canvas that feels immediate. His interest in internal necessity did not remove decisions about scale, spacing and how one part of a picture meets another. The result invites a viewer to move among many events, rather than find one central object that explains all the rest.
Other major works of 1911–13 show the range of this moment. Composition IV still lets a viewer find transformed riders and landscape elements. Painting with White Border gives the frame-like white area an active role in holding together an image with Russian motifs. Improvisation No. 30 includes cannons while resisting a single battle narrative. These pictures do not define one uniform level of abstraction. They show Kandinsky testing how a work can keep traces of the world and still depend on its own visual organisation. [16]; [17]; [18].
Return to Moscow, 1914–1921
The outbreak of the First World War ended Kandinsky's Munich period. As a Russian citizen, he returned to Russia in 1914. The change of place was not simply a pause between two German chapters. He painted, drew and took part in efforts to reorganise artistic culture after the revolution. MoMA records his leadership roles in the Museums of Painterly Culture and then INKhUK in 1919–20. Those activities show an artist engaged with institutions and public ideas as well as with private studio practice. [1].
Works from the Russian years challenge an account in which every year had to move further from recognisable imagery. Kandinsky returned to Moscow views. Zubovsky Platz, made in 1916, shows rooftops and streets from an elevated viewpoint. The Lenbachhaus records it as oil on canvas mounted on cardboard and discusses Kandinsky's windows near Zubovsky Square. It is one view among several, not evidence that he abandoned the concerns of his abstract work. Colour, perspective and crowded form still make the city an occasion for pictorial decisions. [19].
Moscow I gives another way to see his attachment to the city. It need not be treated as the same view from a nearby window. Kandinsky could work with Moscow as a place remembered and experienced, choosing different degrees of recognisability. His 1916 Composition study in Milan is again different: watercolour and pencil on paper, made in relation to a lost oil painting. The range within a short period matters more than a single label for “the Russian style.” [5]; [20].
His move back to Germany came through a new professional setting. He was invited to teach at the Bauhaus and joined it in 1922, first in Weimar. A life story that says he simply resumed his pre-war practice misses the changes in country, teaching responsibility and visual methods that followed. [1]; [4].
Teaching and making at the Bauhaus
At the Bauhaus, Kandinsky worked in a school where art, design and teaching met. The institution moved from Weimar to Dessau and later to Berlin. Kandinsky taught through these changes until its final closure in 1933. He did not become only a theorist or only a teacher: paintings and works on paper continued beside the classroom. The Bauhaus years are often associated with stronger geometric forms in his work, but that description should not make every picture sound like an exercise sheet. Circles, triangles, lines and painted fields are materials he could combine for particular effects. [1]; [4].
Composition VIII, made in 1923, spreads circles, lines and other forms across a broad canvas. It is a clear starting point for the Bauhaus period because its geometry is immediately visible, yet it still depends on placement, variation and scale. A circle does not matter just because it is a circle. It matters because it meets other shapes, colours and areas of open ground in a particular way. The Guggenheim's teaching materials place the painting in Kandinsky's interest in geometric structure and in the museum's early collection history. [21]; [5].
The 1926 Several Circles shows how one elementary form can generate variety. Its circles differ in colour, size and apparent depth against a dark ground. The Guggenheim records selective varnishing of the circular forms, a material choice that affects how they meet light. Describing the work as “just circles” misses these differences and the care with which the picture turns repetition into contrast. [5].
Kandinsky also continued to work on paper. Gelb Rosa, made in December 1929, combines watercolour, pen and ink in an arrangement of arcs, checkerboard shapes and warm colour. Its inherited English URL says “Yellow Rose,” but the documented German title means Yellow Pink. Leichtes, painted in 1930, offers another title problem: the French Léger means light rather than naming the painter Fernand Léger. The Centre Pompidou records it as Ripolin on cardboard with a frame Kandinsky painted. These exact materials and titles prevent broad Bauhaus labels from making unlike works seem identical. [22]; [23].
He wrote Point and Line to Plane, issued in 1926 as a Bauhaus book. The title signals an interest in elementary visual relations, but reading the book alongside his artworks should be a conversation rather than a search for diagrams reproduced on canvas. His teaching explored possibilities; a finished painting still had to make its own particular arrangement. [24].
Conversations with artists and collectors
Kandinsky's career is easier to understand as a network than as a lone movement from one style to another. Münter shared the Munich and Murnau artistic setting. Marc collaborated on the Blue Rider exhibitions and almanac. Schönberg offered a parallel challenge to familiar structures in music and became a correspondent after the 1911 concert. At the Bauhaus, Paul Klee was a fellow artist and teacher. These relationships did not erase differences in their work. They give a viewer a reason to compare methods and subjects while keeping each artist distinct. [3]; [7]; [4].
The Bauhaus connection also brought Kandinsky into the orbit of major collectors. Hilla Rebay helped shape Solomon R. Guggenheim's engagement with non-objective art. Guggenheim and Rebay visited Kandinsky at the Dessau Bauhaus in 1930, and the resulting collection became an important home for his paintings. The Guggenheim's own account describes this relationship without making every work a direct commission. The museum now holds Blue Mountain, Composition VIII, Several Circles and other works from different phases, making it a particularly useful place to compare changes across his career. [6]; [5].
A collector's perspective can also help us see an artwork's early reception. Arthur Jerome Eddy, who owned Improvisation No. 30, printed Kandinsky's explanation in a 1914 book. Eddy noticed how quickly viewers could turn visible cannons into a war story; Kandinsky asked them to consider the whole arrangement. The exchange is a rare case where early viewers and artist can be heard discussing the same specific painting. It does not mean the artist's account makes viewers' observations irrelevant. It gives us more evidence with which to test them. [25]; [15].
Paris and the final decade
The Bauhaus closed in stages: Dessau in 1932, then Berlin in 1933. Kandinsky moved to France and settled in Neuilly-sur-Seine near Paris, where he worked until his death in 1944. The change was not merely an epilogue. The Centre Pompidou describes a large late body of paintings and drawings, with forms often recalling biology—embryos, larvae or tiny organisms. Its account helps identify a shift in visual vocabulary while leaving room for variation among individual works. [26]; [4].
Composition IX, made in 1936, sets forms against a diagonally structured field. Composition X of 1939 places coloured shapes in a dark expanse. Sky Blue of 1940 is lighter in atmosphere and full of small organic forms. Looking among these paintings makes the point better than a blanket claim about late style: Kandinsky could still vary ground, colour density and the degree to which his forms seemed like creatures. [27]; [28]; [29].
The final years also resist a comforting account of uninterrupted artistic progress. Kandinsky worked amid the political upheaval and war that affected the institutions, collectors and people around him. A work such as At Rest makes the complexity of that history visible in another way: the painting dates to 1928, but it was confiscated from a German museum in 1937 and shown in the Nazi Entartete Kunst exhibition. Its present interpretation must keep the work's date distinct from its later treatment. [30].
The materials behind the changing style
An overview of Kandinsky's career can overstate the separation between media: early print, middle-period oil, Bauhaus drawing and late painting. He kept working across formats. Woodcuts were important before 1914, but he returned to print processes later. MoMA's printmaking account describes drypoints from 1913–16 and renewed print activity during the Bauhaus years. The site’s prints overview should therefore be read beside the paintings, not after them as an appendix. A line cut into a block, etched into a plate or drawn on paper behaves differently from one laid down with paint. Each medium gives Kandinsky another way to decide what a form can be. [2].
A specific comparison helps. The 1903 Golden Sail uses blocks of dark and colour to build a legible boat scene. The 1913 colour study Squares with Concentric Circles uses watercolour, gouache and chalk on paper to test repeated rings. Composition VII is a large oil canvas prepared through multiple studies. None of these objects can be described adequately by calling them simply “abstract Kandinskys.” Their scale, tools and surfaces affect how viewers meet them. [11]; [31]; [9].
This attention to medium also prevents some common catalogue errors. A watercolour should not become an oil painting because its colours are intense. A print impression should not inherit the hand-finished details of another impression. A canvas mounted to card has a different physical history from a work painted directly on card. Exact records are part of the experience of looking, because they tell us what sort of object we are seeing.
How to look at a Kandinsky painting
Begin with what can be seen without a code. Which area first catches the eye? How does its colour compare with the neighbouring area? Does a line guide movement, divide space or hold two forms in tension? In Blue Mountain, the blue hill and the differently coloured trees establish a structure before each rider is found. In Impression III, a black piano and a broad yellow area reshape a concert memory. In Several Circles, size and placement make repeated forms unequal. A viewer can describe these relationships before deciding what a work might mean. [12]; [13]; [5].
Then ask what the title and object record add. A title may name a visible subject, as Blue Mountain does, or suggest a quality such as Leichtes. A collection record can establish the medium, date, size, related studies and path into a museum. That information can correct a first impression. Gelb Rosa has no rose; a 1916 watercolour called Composition should not be confused with the numbered Compositions; At Rest should not be placed in 1942. Exact identities let close looking and history support one another. [22]; [20]; [30].
Finally, keep interpretation proportional to evidence. Kandinsky wrote powerfully about colour, sound and spiritual effects, but that does not give every circle a permanent definition or make every blue shape a disguised rider. His own works changed across decades and materials. The most rewarding reading holds the visible picture, its object record and its historical setting together while allowing uncertainty where a source does not answer a question. [1]; [8].
Kandinsky's importance without a single origin story
Kandinsky was a central figure in the development of abstract art, but the history is larger than one heroic first canvas. Artists, writers and musicians across Europe and beyond were reconsidering representation before the First World War. MoMA situates Kandinsky in that network. His own work makes the complexity visible: rider pictures and woodcuts; painted landscapes with increasingly independent colour; concert responses; large compositions worked through many studies; Bauhaus geometry; late Paris forms. [1].
Even the often-cited “first abstract watercolour” needs careful dating. The Centre Pompidou explains why the signed 1910 date of the sheet long used for that story has been questioned, and why a relation to Composition VII in 1913 is plausible. The debate does not reduce Kandinsky's importance. It makes his achievement more concrete: years of exploration in more than one medium, rather than one disputed birth certificate for abstraction. [10].
This cluster follows that approach. Its artwork pages keep existing routes while correcting object names, dates and media where institutional records warrant it. The artist's life supplies a chronology, but the works remain particular. Readers can move from a single painting to another and see both what changed and what returned: riders, city views, the pull of music, colour as a force, and the repeated question of how a picture can act beyond what it depicts.
Four stages of Kandinsky’s career
Moscow and Russia
War displaced Kandinsky from Munich; Moscow city views and postrevolutionary institutional work kept his practice varied. [1]
Paris and Neuilly
After the Bauhaus closure he worked near Paris, often exploring organic forms while continuing to vary colour and structure. [4]
Essential works
The Blue Rider
1903 · An early rider subject before the later group name.
Blue Mountain
1908–09 · Three riders meet an intensely coloured landscape.
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Impression III (Concert)
1911 · A concert transformed through colour and form.
Composition IV
1911 · Figurative traces within a changing composition.
Composition VII
1913 · A large canvas prepared through many studies.
Painting with White Border
1913 · The border helps organise a densely worked image.
Composition VIII
1923 · Bauhaus geometry spread across a broad surface.
Several Circles
1926 · Repeated circles vary in colour, scale and finish.
Composition X
1939 · Late forms suspended against a dark ground.
Sky Blue
1940 · Small organic forms populate a nuanced blue field.
Kandinsky artworks directory
Frequently Asked Questions
He is known for his role in the development of abstract painting, his writings on colour and form, his work with the Blue Rider circle and his teaching at the Bauhaus. He also made substantial bodies of prints, drawings and watercolours. [1]; [2].
He was born in Moscow in 1866, grew up partly in Odessa, trained and worked in Munich, returned to Russia during the First World War, taught at the German Bauhaus and spent his final years near Paris. He died in Neuilly-sur-Seine in 1944. [3]; [1].
He was a major figure in its development, but a single unquestioned “first” date is not supported by every object record. The Centre Pompidou discusses the disputed dating of the sheet traditionally called the first abstract watercolour. His wider work shows a gradual and varied experimentation with representation, colour and form. [10]; [1].
It was an artistic circle and exhibition initiative formed around Kandinsky and Franz Marc in 1911, with an almanac published in 1912. It should be distinguished from Kandinsky's separate 1903 painting The Blue Rider. [3].
Music was a major touchstone for his thinking, and Schönberg's 1911 concert prompted Impression III. The painting was developed through studies and visual choices. Its colours do not establish a universal, medically specific sound-to-colour code. [13]; [1].
For change across periods, compare the recognisable riders of Blue Mountain, the concert transformed in Impression III, the dense 1913 Composition VII, the Bauhaus geometry of Composition VIII and the later forms of Sky Blue. Each page gives the exact object record and a closer reading.
Discussion
Which Kandinsky work first changed the way you looked at colour or form?
Use a specific painting, print or drawing, and tell us what you see in it.
Reader Insights
Compare Blue Mountain and Several Circles: where does colour do different work?
How do the Munich, Moscow, Bauhaus and Paris settings change your reading of one work?
Which disputed date, title or material detail would you want a museum record to clarify?
Join the Conversation
Share a close observation about a Kandinsky work and the source that helped you understand it.
References
- Museum of Modern Art, Vasily Kandinsky artist essay, career, artistic ideas and key works. View source.
- Museum of Modern Art, German Expressionism: Kandinsky collection essay, printmaking and chronology. View source.
- Städtische Galerie im Lenbachhaus und Kunstbau München, Kandinsky biography and Blue Rider history. View source 1 · View source 2.
- Centre Pompidou, English Kandinsky monograph, Bauhaus and Paris phases. View source.
- Solomon R. Guggenheim Museum, Kandinsky teaching materials and 2021 exhibition press kit, artworks and contexts. View source 1 · View source 2.
- Solomon R. Guggenheim Museum, Kandinsky Gallery, Rebay, Guggenheim and the Dessau visit. View source.
- Arnold Schönberg Center, Schönberg–Kandinsky exhibition, correspondence and artistic dialogue. View source.
- Heidelberg University Library, digitised 1912 Über das Geistige in der Kunst, original theory text. View source.
- Museum of Modern Art, Kandinsky: Compositions, composition studies and development. View source.
- Centre Pompidou, the dating problem of the “first abstract watercolour”. View source.
- Lenbachhaus, Das Goldene Segel. View source.
- Guggenheim, first abstract works. View source.
- Lenbachhaus, Impression III. View source.
- Philharmonie de Paris, Kandinsky exhibition. View source.
- Art Institute of Chicago, Improvisation No. 30. View source.
- Kunstsammlung NRW, Composition IV. View source.
- Guggenheim, Painting with White Border conservation discussion. View source.
- Art Institute of Chicago, Improvisation No. 30. View source.
- Lenbachhaus, Zubovsky Platz. View source.
- Italian national cultural-heritage catalogue, 0302039997. View source.
- Guggenheim teaching materials. View source.
- Christie's, Gelb Rosa. View source.
- Centre Pompidou, Leichtes (Léger). View source.
- Bauhaus-Universität Weimar publication register. View source.
- Eddy, Cubists and Post-Impressionism. View source.
- Centre Pompidou archive. View source.
- Centre Pompidou, Composition IX. View source.
- Kunstsammlung NRW, Composition X. View source.
- Centre Pompidou, Sky Blue. View source.
- Degenerate Art: The Fate of the Avant-Garde in Nazi Germany exhibition catalogue. View source.
- Lenbachhaus, colour study. View source.
