Many had previously decried the decision not to restitute the work, alleging that the museum had more to gain by keeping the important painting than the heirs.
A new project from Google Arts + Culture uses machine learning and Kandinsky’s extensive color theories to interpret what the painter might have heard when working on this painting.
The Amsterdam District Court rejected claims from the heirs of a Jewish art collector that a 1909 painting by Kandinsky in Amsterdam’s Stedelijk Museum was sold under Nazi-era duress and should be returned.
Bauhaus Beginnings succeeds in reanimating the dialogue that began in the school’s classrooms and hallways, and in following it, as it spilled out into the streets of a country.
In Walter Gropius: Visionary Founder of the Bauhaus, author Fiona MacCarthy attempts to debunk the myth that the German pioneer of modernist architecture is somehow an unsexy subject for biographical study.
Evocations of color dominate these ruminative prose poems.
London 1938: Defending “Degenerate” German Art tells the story of a monumental British exhibition of artists persecuted by the Nazis.
An exclusive look inside the archive of the American Museum of Western Art, which contains remarkable artworks and writings by Emil Bisttram.
An exhibition at Paris’s decorative arts museum hones in on the myriad ways that students and teachers at the Bauhaus sought to integrate art, architecture, and design into total artworks.
In 1895, after deciding to turn from a career in academic law to art-making, Wassily Kandinsky was working as the artistic director of a print shop in Moscow.
Der Sturm, the title of the arts magazine that served as the mouthpiece for German Expressionism during the Weimar Republic, translates to “the storm.”
In 1923, a flurry of colorful postcards heralded the first major Bauhaus school exhibition.