Wassily Wassilyevich Kandinsky (Russian: > ??????????????????? ? , tr. Vasily Vasilyevich Kandinsky ) (December 16 [OS 4 December] 1866 - December 13, 1944) is a Russian art painter and theorist.
He is credited with painting one of the first recognized pure abstract works. Born in Moscow, Kandinsky spent his childhood in Odessa, where he graduated at the Grekov Odessa Art school. He enrolled at the University of Moscow, studying law and economics. Success in his profession - he was offered a professorship (chair of Roman Law) at the University of Dorpat - Kandinsky began studying painting (life drawing, sketches and anatomy) at age 30.
In 1896, Kandinsky settled in Munich, first studied at Anton A's private school, and later at the Academy of Fine Arts. He returned to Moscow in 1914, after the outbreak of World War I. After the Russian Revolution, Kandinsky "became an insider in the culture administration of Anatoly Lunacharsky" and helped found the Museum of Cultural Painting. However, at that time his "spiritual outlook... was alien to the argumentative materialism of Soviet society," and the opportunity to signal in Germany, which he returned in 1920. There he taught at the Bauhaus arts and architecture school from 1922 until The Nazis closed it in 1933. He then moved to France, where he lived for the rest of his life, became a French citizen in 1939 and produced some of the most prominent art. He died in Neuilly-sur-Seine in 1944.
Video Wassily Kandinsky
Periode artistik
Creation of Kandinsky's abstract work follows a long period of development and maturation of deep thought based on his art experience. He calls this devotion to inner beauty, spirit, and spiritual desire inner needs ; it is a central aspect of his art.
Youth and inspiration (1866-1896)
Kandinsky was born in Moscow, the son of Lidia Ticheeva and Vasily Silvestrovich Kandinsky, a tea trader. His family is made up of German nobles, and from his maternal side he also has the origin of the Tatars, which he refers to as "a Mongolian characteristic in his face". Kandinsky learned from various sources in Moscow. He studied many areas while at school, including law and economics. Later, he will remember being fascinated and stimulated by the color as a child. Its appeal with color symbolism and psychology continues. In 1889, he was part of an ethnographic research group that traveled to the Vologda region north of Moscow. In Looks on the Past , he recounts that homes and churches were decorated with such glittering colors upon entering them, he felt that he was moving into a painting. This experience, and his studies of local folk art (in particular the use of bright colors on a dark background), is reflected in many of his earlier works. A few years later he first painted the way to create music in a way he would write, "Color is a keyboard, the eye is a hammer, the soul is a piano with lots of strings.A Artist is a hand that plays, touches a key or the other, causing vibrations in the soul ". Kandinsky was also the uncle of the Russian-French philosopher Alexandre KojÃÆ'¨ve (1902-1968).
In 1896, at the age of 30, Kandinsky submitted a teaching law and teaching economy that promised to enroll in the Munich Academy where his teachers would eventually include Franz von Stuck. He was not immediately given permission to enter, and began to learn his own art. That same year, before leaving Moscow, he saw an exhibition of paintings by Monet. He is primarily taken with the impressive style of Haystacks ; this, for him, has a strong sense of color almost independent of the object itself. Then he will write about this experience:
That it's a pile of hay catalogs tells me. I can not recognize it. This admission did not hurt me. I assume the painter has no right to paint unclearly. I really feel that the object of the painting is gone. And I watched with surprise and puzzlement that the picture not only gripped me, but also impressed itself in my memory. Painting takes on the power and splendor of fairy tales.
Kandinsky was also influenced during this period by Richard Wagner Lohengrin who, he felt, pushed the boundaries of music and melodies beyond the standard lyrics. He was also spiritually influenced by Madame Blavatsky (1831-1891), the most famous author of theosophy. Theosophical theory postulates that creation is a geometric development, beginning with a single point. The creative aspect of this form is expressed by a series of rounded circles, triangles, and squares. Kandinsky About Spiritual In Art (1910) and Point and Line to Plane (1926) echoes this theosophical teaching. The illustration by John Varley in Thought Forms (1901) influenced him visually.
Metamorphosis
In the summer of 1902, Kandinsky invited Gabriele MÃÆ'¼nter to join him in his summer painting class in the south of Munich in the Alps. He was accepted, and their relationship became more personal than professional. The art school, usually considered difficult, is easy for Kandinsky. During this time he began to emerge as a theorist of art and painter. The number of paintings that existed increased at the beginning of the 20th century; many of the remains of landscapes and towns he painted, using vast patches of color and recognizable shapes. For the most part, however, Kandinsky's paintings do not feature human figures; the exception is Sunday, Old Russia (1904), in which Kandinsky recreates a highly colorful (and fantastic) view of peasants and nobles in front of the city walls. Riding Couple (1907) describes a man riding a horse, holding a woman with tenderness and attention as they pass through a Russian city with a glowing wall across the river. Horses are turned off while leaves in the trees, towns, and reflections in the river sparkle with color spots and brightness. This work shows the influence of pointillism in the way the depth of the field collapses to a flat and glowing surface. Fauvism also appears in these early works. Color is used to express Kandinsky's experience of the subject matter, not to describe the objective nature.
Perhaps the most important of his paintings of the first decade of the 1900s is the The Blue Rider (1903), which shows a small, cloaked figure on a speeding horse through a rocky meadow. The robe of a medium blue rider, which forms a dark blue shadow. In the foreground is a more amorphous blue shadow, peers from a tree falling in the background. The blue rider in the painting is prominent (but not clearly defined), and the horse has an unusual gait (which Kandinsky must have known). Some art historians believe that a second figure (perhaps a child) is being held by a rider, although this may be another shadow of a solitary rider. This deliberate disjunction, enabling viewers to participate in the creation of artworks, became an increasingly conscious technique used by Kandinsky in subsequent years; it culminated in the abstract work of the period 1911-1914. In The Blue Rider , Kandinsky shows the rider more as a series of colors than on certain details. This painting is not extraordinary in that respect when compared to contemporary painters, but this shows the direction Kandinsky will take only a few years later.
From 1906 to 1908, Kandinsky spent a great deal of time traveling throughout Europe (he was a partner of the Blue Rose symbolic group in Moscow), until he settled in the small town of Murnau in Bavaria. In 1908 he bought copies of Annie Besant and Charles Webster Leadbeater copies of Thought-Form . In 1909 he joined the Theosophical Society. The Blue Mountain (1908-1909) is painted today, showing its tendency toward abstraction. The blue mountain is flanked by two big trees, one yellow and one red. A procession, with three riders and several others, traverses at the bottom. The faces, clothes, and saddles of each rider have one color, and neither they nor the walking figure show real detail. Flat and contour plane also shows Fauvist influence. The widespread use of colors in The Blue Mountain illustrates Kandinsky's tendency towards an art in which colors are presented independently of form, and each color is given equal attention. The composition is more planar; the painting is divided into four parts: sky, red tree, yellow tree and blue mountain with three riders.
Blue Rider Period (1911-1914)
Kandinsky's paintings from this period are expressive large colored masses that are evaluated independently of shapes and lines; this serves no longer to restrict them, but overlap freely to form a remarkable power painting. Music is very important for the birth of abstract art, because music is abstract by nature - it does not try to represent the outside world, but expresses immediately the inner feelings of the soul. Kandinsky sometimes uses the term music to identify his works; he calls his most spontaneous painting "improvisation" and describes more complex works as "compositions."
In addition to painting, Kandinsky is an art theorist; his influence on the history of Western art is probably more than his theoretical works than his paintings. He helped find the Neue KÃÆ'¼nstlervereinigung MÃÆ'¼nchen (New Munich Artist Association), became president in 1909. However, the group was unable to integrate Kandinsky's (and other) radical approach with conventional artistic concepts and this group dissolved in late 1911. Kandinsky then formed new group, Blue Rider (Der Blaue Reiter) with like-minded artists such as August Macke, Franz Marc, Albert Bloch, and Gabriele MÃÆ'¼nter. The group released an almanac ( The Blue Rider Almanac ) and held two exhibits. More than each was planned, but the outbreak of World War I in 1914 put an end to this plan and sent Kandinsky back to Russia via Switzerland and Sweden.
His writing on The Blue Rider Almanac and the "On the Spiritual In Art" treatise (released in 1910) is a defense and promotion of abstract art and the affirmation that all art forms are equally capable of attaining spirituality. He believes that color can be used in painting as something autonomous, regardless of the visual description of an object or other form.
These ideas have an almost immediate international impact, especially in the English-speaking world. As early as 1912, In Spiritual In Art was reviewed by Michael Sadleir at London-based Art News . Interest in Kandinsky flourished when Sadleir published an English translation of In Spiritual In Art in 1914. Extracts from the book were published that year in the weekly newspaper magazine Percy Wyndham Lewis, Blast, > and the weekly newspaper Alfred Orage The New Age The Art News .
Sadleir's interest in Kandinsky also caused Kandinsky's first work into the British art collection; Sadleir's father, Michael Sadler, obtained several wood paintings and an abstract painting of Fragment for Composition VII in 1913 after a father and son's visit to meet Kandinsky in Munich that year. These works were featured in Leeds, either at the University or the venue of the Leeds Arts Club, between 1913 and 1923.
- BibliothÃÆ'¨que Kandinsky
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- Western painting
The sun melts the whole of Moscow into a place that, like a crazy tuba, starts all the heart and all the soul vibrates. But no, the uniformity of the red color is not the most beautiful moment. This is just the last chord of the symphony that brings every color to the pinnacle of life which, like a great orchestral violin, is both forced and allowed by Moscow to ring.
In 1916 he met Nina Andreievskaya (he died in 1980), whom he married the following year.
From 1918 to 1921, Kandinsky engaged in Russian cultural politics and collaborated in art education and museum reform. He paints a bit during this period, but devotes his time to artistic teaching, with programs based on shape and color analysis; he also helped organize the Institute of Artistic Culture in Moscow where he was the first director. His spiritual views, his expressionism on art were eventually rejected by the institutional radicals as too individualistic and bourgeois. In 1921, Kandinsky was invited to go to Germany to attend the Bauhaus Weimar by its founder, architect Walter Gropius.
Bauhaus (1922-1933)
Kandinsky teaches basic design classes for beginners and advanced theory courses at Bauhaus; he also did painting classes and a workshop where he added color theory with new elements of psychological form. The development of his works on form studies, especially on points and lines, led to the publication of a second theoretical book ( Point and Line to the Aircraft ) in 1926. His examination of the effect of force on a straight line, contrasting curved and oblique lines, coinciding with the research of Gestalt psychologists, whose work is also discussed in the Bauhaus. The geometric element becomes increasingly important both in teaching and painting - especially circles, semicircles, angles, straight lines and curves. This period is very productive. This freedom is characterized in his works with plane-rich aircraft and gradations - as in Yellow - red - blue (1925), in which Kandinsky describes the distance from the movement of constructivism and time - consuming suprematism.
The width of two meters Yellow-red-blue (1925) of several main forms: vertical yellow rectangle, oblique red cross and large dark blue circle; many straight (or winding) black lines, circular arcs, monochromatic circles, and colored check boxes contribute to its complex complexity. The identification of simple visual forms and the main colored mass present on the canvas is only the first approach to the inner reality of the work, whose appreciation requires deeper observation - not only the shapes and colors involved in the paintings but also their relationships, the absolute position and relative to the canvas and their harmony.
Kandinsky is one of Die Blaue Vier (Blue Four), formed in 1923 with Klee, Feininger and von Jawlensky, who taught and exhibited in the United States in 1924. Because of the right-wing feud, the Bauhaus left Weimar and settled in Dessau in 1925. After the Nazi dirty campaign, the Bauhaus left Dessau in 1932 to Berlin, until its dissolution in July 1933. Kandinsky then left Germany, settling in Paris.
Living in an apartment in Paris, Kandinsky created his work in the living room studio. Biomorphic forms with bending and non-geometric shapes appear in his paintings - shapes that show microscopic organisms but express the artist's inner life. Kandinsky uses the original color composition, evoking popular Slavic art. He also occasionally mixes sand with paint to give a rough and rough texture to his paintings.
This period corresponds to the earlier synthesis of Kandinsky's work in which he used all the elements, enriching them. In 1936 and 1939 he painted two of his last major compositions, a complicated canvas type he had not produced for years. Composition IX has a very contrast contrast, its diagonal center shape gives the impression of embryo in the womb. Small squares of color and colored ribbons stand out against black backgrounds as a star fragment (or filament), while mysterious hieroglyphs with pastel tones cover a large maroon mass that seems to float above the left-hand corner of the canvas. In Kandinsky's work, some characteristics are very clear, while certain touches are more cautious and veiled; they reveal themselves only progressively to those who deepen their relationship with their work. He wants his forms (which are subtly aligned and placed) to resonate with the observer's soul.
Maps Wassily Kandinsky
Kandinsky's art conception
Artist as a prophet
Writing that "music is the master teacher," Kandinsky started on the first seven of ten Compositions . The first three survive only in black and white photographs taken by fellow artist and friend Gabriele MÃÆ'¼nter. While studies, sketches and improvisations existed (mainly from Composition II), Nazi attacks on the Bauhaus in the 1930s resulted in the seizure of the first three Compositions of Kandinsky. featured in the state-sponsored "Degenerate Art" exhibition, and later destroyed (along with Paul Klee's works, Franz Marc, and other modern artists).
Fascinated by Christian eschatology and perceptions of the New Age to come, a common theme among the first seven "Compositions" of Kandinsky is the end of the world as we know it. Writing about the "artist as a prophet" in his book, About Spiritual Art , Kandinsky created paintings in the years before World War I showed a cataclysm that would transform individual and social realities. Having strong belief in Orthodox Christianity, Kandinsky uses biblical stories of the Ark of Noah, Jonah and the whale, the resurrection of Christ, four horsemen of the Apocalypse in the Book of Revelation, the Russian folk tales and the general mythological experience of death and rebirth. Never attempting to describe any of these stories as narrative, he used their covert image as a symbol of the archetypes of rebirth and death contamination that he felt was imminent in the pre-World War I world.
As he stated in About Art in the Arts (see below), Kandinsky feels that an authentic artist who creates the art of "internal needs" inhabits the end of a pyramid that moves upward. This progressive pyramid penetrates and continues into the future. What is strange or unimaginable yesterday is a common thing today; what is avant garde today (and understood only by a few) is general knowledge tomorrow. Modern prophets stand alone at the top of the pyramid, making new discoveries and delivering to tomorrow's reality. Kandinsky is aware of the latest scientific developments and the progress of modern artists who have contributed to radically new ways of seeing and experiencing the world.
Composition IV and the subsequent paintings are mainly concerned with generating spiritual resonance in the audience and the artist. As in his painting of the end of the waters ( Composition VI ), Kandinsky puts the observer in a situation of experiencing these epic myths by translating them into contemporary terms (with a sense of despair, confusion, urgency, and confusion). The spiritual fellowship of the artist-these painters/prophets can be described in the boundaries of words and images.
Artistic and spiritual theorist
Like the Der Blaue Reiter Almanac essay and theorizing with composer Arnold Schoenberg shows, Kandinsky also states an alliance between artist and viewer as available to the senses and mind (synesthesia). Hearing the tone and chords as he painted, Kandinsky theorized that (for example), yellow is the middle color of C on a rough-sounding trumpet; black is the closing color, and the end of things; and that color combinations produce vibration frequencies, similar to chords played on a piano. In 1871 young Kandinsky learned to play piano and cello.
Kandinsky also developed the theory of geometric figures and their relationships - claiming, for example, that circles are the most peaceful and representative form of the human soul. These theories are described in Point and Line to Aircraft (see below).
The legendary stage design of Kandinsky for Mussorgsky's "Pictures at an Exhibition" show depicts his synesthetic concept of universal correspondence of shapes, colors and sounds of music. In 1928 at the Dessau theater, Wassily Kandinsky realized the stage production of "Pictures at an Exhibition". In 2015 the original designs of the stage elements were animated with modern video technology and synchronized with music according to Kandinsky preparation notes and manuscript director Felix Klee.
During the Kandinsky study made in preparation for Composition IV, he became tired while working on a painting and went for a walk. When he came out, Gabriele MÃÆ'¼nter smoothed out his studio and accidentally flipped the canvas on his side. Upon returning and looking at the canvas (but not yet recognizing it) Kandinsky fell to his knees and cried, saying it was the most beautiful painting he had ever seen. He has been freed from attachment to an object. Like when he first saw Monet's Haystacks, the experience would change his life.
In another episode with MÃÆ'¼nter during the abstract expressionist year of Bavaria, Kandinsky was working on his composition Composition VI . From nearly six months of study and preparation, he intends to do work to arouse flood, baptism, destruction, and rebirth simultaneously. After deciphering the work on the wooden panel of the mural size, it becomes blocked and can not continue. MÃÆ'¼nter tells him that he is stuck in his intelligence and does not reach the actual subject of the image. He suggested he just repeat the word uberflut ("big flood" or "flood") and focus on his voice rather than meaning. Repeating this word like a mantra, Kandinsky painted and completed a monumental work in a span of three days.
Theoretical writing on art
Kandinsky's analysis of form and color does not come from the simple and arbitrary idea association but from the inner experience of the painter. He spent many years creating sensational abstract paintings, working with shapes and colors, tirelessly studying his own paintings and other artist paintings, and noted the effects on his skin color. This subjective experience is something anyone can do - not the scientific, objective but in the subjective, what French philosopher Michel Henry says "absolute subjectivity" or "absolute phenomenological life".
About spiritual in art
Published in 1912, the Kandinsky text, Du Spirituel dans l'art , defines three types of paintings; impressions , improvisation and compositions . While impressions are based on external reality that serves as a starting point, improvisations and compositions illustrate images emerging from the unconscious, though compositions are developed from a more formal point of view. Kandinsky compares the spiritual life of humanity with the pyramids - artists have a mission to lead others to the top with his work. The pyramid point is some of the great artists. It is a spiritual pyramid, advancing and slowly rising though sometimes seemingly immobile. During the decadent period, the soul sank to the bottom of the pyramid; humanity is only seeking outside success, ignoring the spiritual power.
The color on the painter's palette evokes a double effect: a pure physical effect on the eyes that is fascinated by the beauty of color, similar to the impression of joy when we eat delicious food. This effect can be much deeper, however, causing a vibration of the soul or "inner resonance" - a spiritual effect in which the color touches the soul itself.
"Inner Needs" is, for Kandinsky, the principle of art and the foundation of color form and harmony. He defines it as the efficient principle of contact of form with the human soul. Each shape is the surface separator by another; it has an inner content, the effect it produces on someone who sees it attentively. This inner need is the artist's right to unlimited freedom, but this freedom becomes licensed if not based on such needs. Art is born out of the artist's inner need with mysterious mystical means and through which he gains autonomous life; it becomes an independent subject, driven by the spiritual breath.
The real properties we can see when we see the isolated color and let it act alone, on the one hand is the warmth or the coldness of the color tone, and on the other is the clarity or vagueness of the tone. Warmth is a yellow tendency, and a cold tendency to blue; yellow and blue form the first large dynamic contrast. Yellow has eccentric eccentric and blue concentric motion movements; The yellow surface seems to move closer to us, while the blue surface seems to move away. Yellow is a color that is usually terrestrial, whose violence can be painful and aggressive. Blue is a celestial color, evoking a deep calm. The combination of blue and yellow produces total immobility and calm, which is green.
Clarity is a tendency toward white, and obscurity is a tendency toward black. White and black form a second large contrast, which is static. White is a deep and absolute silence, full of possibilities. Black is the absence without chance, eternal silence without hope, and according to death. Other colors echo strongly in their neighbors. Mixing white with black leads to gray, which lacks active strength and a tone of sound approaching the green. Gray corresponds to immobility without hope; he tends to despair when it gets dark, regaining a bit of hope when it becomes bright.
Red is a warm, lively and restless color; it is powerful, a movement itself. Mixed with black to brown, hard color. Mixed with yellow, it becomes warm and becomes orange, which imparts a radiant movement around it. When the red is mixed with the blue it moves away from the human to a purple, which is a cold red. Red and green form a third big contrast, and orange and purple fourth.
Point and Line to Aircraft
In his writings, Kandinsky analyzes the geometric elements that make up each painting - the point and the line . He calls physical support and the material surface in which the artist draws or paints the basic field, or BP. He does not analyze them objectively, but from the point of view of their inner effects on the observer.
The dot is a bit of color affixed by the artist on the canvas. This is not a geometric point or a mathematical abstraction; it is an extension, shape and color. This shape can be square, triangle, circle, star or something more complex. The point is the most compact form but, according to its placement in the basic field, will require a different tone of voice. These can be isolated or resonate with other dots or lines.
A line is a product of a force that has been applied in a certain direction: the force given on a pencil or brush by the artist. The resulting linear form may consist of several types: straight line , generated from unique styles applied in one direction; angular lines, resulting from the alternation of two forces in different directions, or curved lines (or like waves ), generated by the effects of the two forces that work simultaneously. A plane can be obtained by condensation (from a line rotated around one end).
The subjective effect generated by a line depends on its orientation: the line horizontal corresponds to the soil in which the human rests and moves; it has a dark and cool affective tone of voice similar to black or blue. The vertical line corresponds to the height, and does not offer support; it has a warm, shiny tone of light near white and yellow. A diagonal has a warmer (or cooler) tone that is more-or-less, in accordance with its propensity to horizontal or vertical.
The force that disseminates itself, without obstacles, such as producing straight lines in accordance with lyricism ; some of the forces that face (or disturb) each other form a drama . Angles formed by angular lines also have a warm inner empire and are close to the yellow for acute angles (triangles), cold and are similar to blue for blunt (circle) angles, and are similar to red for angular angle- elbow (square).
The base field is, in general, rectangular or square. therefore, it consists of horizontal and vertical lines that define and define it as an autonomous entity that supports painting, communicating affection tone. This tone style is determined by the relative importance of the horizontal and vertical lines: horizontally gives quiet, cool tones to the base of the plane while vertical gives a tranquil, warm tone. The artist blends the inner effects of the canvas format and dimensions, which he chooses according to the tone he wants to give for his work. Kandinsky regards the basic plane as a living being, which the artist "fertilizes" and feels "breathing".
Each part of the base plane has an affective color; this affects the tonality of pictorial elements to be drawn on it, and contributes to the wealth of compositions that result from their alignment on the canvas. The above of the base aircraft corresponds to leeway and lightness, while below generates condensation and weight. The work of painters is to listen to and know these effects to produce a painting that is not only the effect of a random process, but a fruit of authentic work and the result of an effort toward inner beauty.
This book contains many examples of photography and drawings of Kandinsky's works that offer demonstrations of his theoretical observations, and which enable the reader to reproduce in him the inner clarity as long as he takes the time to look at the photographs carefully, that he lets them act upon his own sensitivity and letting him shake the wise and spiritual souls of his soul.
Other information
Art market
In 2012, Christie is auctioned Kandinsky Studie fÃÆ'¼r Improvisation 8 (Study for Improvisation 8), 1909's view of a man holding a broad sword in the rainbow village, for $ 23 million. The painting was loaned to Kunstmuseum Winterthur, Switzerland, since 1960 and sold to European collectors by the Volkart Foundation, the charity of Swiss commodity trading company Volkart Brothers. Prior to this sale, the artist's last record was set in 1990 when Sotheby's sold his book Fugue (1914) for $ 20.9 million. On November 16, 2016 Christie was auctioned Kandinsky Rigide et courbà ©  © (stiff and crooked) , a large abstract painting of 1935, for $ 23.3 million, a new record for Kandinsky. Solomon R. Guggenheim originally bought paintings directly from the artist in 1936, but was not exhibited after 1949, and then sold at auction to a private collector in 1964 by Solomon R. Guggenheim Museum.
In popular culture
The 1990 game Six Degrees of Separation refers to the painting "two sides of Kandinsky". No painting is known to exist; in the 1993 film version of the drama, the two-sided painting is portrayed as having a 1913 painting of Kandinsky Black Line on one side and his 1926 painting Some Circles on the other.
Movie 1999 Double Jeopardy makes many references to Kandinsky, and his piece, "Sketches", figures on the plotline. The protagonist, Elizabeth Parsons (Ashley Judd), takes advantage of registry entries for the job of tracking her husband under her new alias. Two variations of the "Blue Rider" almanac cover are also featured in the film.
In 2014, Google commemorates Kandinsky's 148th birthday by displaying Google Doodle based on its abstract paintings.
A biography of a picture book titled The Noisy Paint Box: Kandinsky Abstract Color and Sound is published in 2014. The illustrations by Mary GrandPre make it Caldecott Honor 2015.
His grandson is a music professor and author of Aleksey Ivanovich Kandinsky (1918-2000), whose career is focused and centered in Russia.
Exhibition
The Solomon R. Guggenheim Museum held a major retrospective of Kandinsky's work from 2009-2010, called Kandinsky . In 2017, Kandinsky's selection is being exhibited at the current Guggenheim exhibition, Visionary: Creating the Modern Guggenheim .
See also
References
Source of the article : Wikipedia
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