Kandinsky's favourite medium for illustrations was the woodcut because ‘one discovers the traces of my development from the “figurative” to the abstract’.īoth Kandinsky and Marc wrote important texts for the Almanac. The lively, almost vibrating colours make it difficult to distinguish the figure from the lush landscape.Īs for the title, Kandinsky explained that, ‘We both loved blue, Marc horses I riders.’ The popular Christian saints George and Martin were fused on the cover in the figure of the blue rider. Kandinsky’s woodcut is an abstracted depiction of a solitary archer with bow and arrow in a rural setting. Inserted at the front of this deluxe edition are two signed, hand-coloured woodblock prints by the editors: Wassily Kandinsky’s Bogenschutze (The Archer, 1908-09) and Franz Marc’s Fabeltier (Fantastic Creature, 1912). The book is bound in blue kid leather and has a vignette by Kandinsky embossed with gold lead on the title page The exhibition featured the numbered copy of the deluxe edition of the Blue Rider Almanac, including its original sleeve. In a letter to Franz Marc, dated 19 June 1911, Wassily Kandinsky first mentioned the idea of working together on a publication, not knowing that it would be one of the most important art books of the twentieth century. Wassily Kandinsky and Franz Marc, the Blue Rider Almanac, 1912. As an enemy alien, Kandinsky was forced to leave Germany, while Marc was killed in the vicinity of Verdun in 1916. The First World War brought an abrupt end to Kandinsky’s plan to publish an annual edition of Der Blaue Reiter. The idea of innovation and leadership is expressed in the almanac’s cover plate: a triumphant knight bounding forward. The publication was intended as the first in a series that would present an annual review of innovation in the arts and cast a glance to the future. This edition was produced by the Munich-based publisher Reinhard Piper and has become one of the 20th century’s most important art books. The Der Blaue Reiter Almanac was intrinsically and editorially prepared by Wassily Kandinsky and Franz Marc in 1911–1912 and contains contributions by August Macke, Arnold Schoenberg and others. The Der Blaue Reiter Almanac is the first changeover in Museum Boijmans Van Beuningen’s revamped presentation of its permanent collection. This work is a rare, numbered exemplar of the almanac’s luxury edition, housed in its original box and containing two coloured and signed woodcuts by Wassily Kandinsky and Franz Marc. The Der Blaue Reiter Almanac is being presented on the basis of its genesis, at the same time dramatically exploring the revolutionary artistic ideas of the German group of Expressionist artists known as Der Blaue Reiter – The Blue Rider. Museum Boijmans Van Beuningen is showcasing an exceptional edition of the Der Blaue Reiter Almanac (1912), acquired from the estate of Arthur Lehning (1899–2000).
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