‘Wassily Kandinsky. Dalla Russia all’Europa’.
Another great exhibition in Pisa at the “Palazzo Blu” up to February the third, 2013, after the cycle devoted to outstanding 20th century artists such as Chagall , Mirò and Picasso. Fifty works from the State Hermitage Museum in St. Petersburg, various Russian public institutions, the Centre Pompidou in Paris and private collections. Cosimo Bracci Torsi, President of the” Fondazione Palazzo Blu”, stated in his briefing to the press the main guidelines of this exhibition, that is, the aim of exploring, as far as painting is concerned, the birth of abstractionism as one of the most revolutionary features of modernism.
Colour, line and space have set up a new language which aims at expressing the inner reality of the artist beyond any figurative and descriptive perspective. The exhibition presents the works of Wassily Wassilyevich Kandisky from the beginning of the past century until its early twenties. The visitor immediately approaches the opening section devoted to the fascinating conceptual roots of Russian folklore and shamanism, visually represented by the colourful objects, collected by the young Kandinsky when a student of anthropology. From his early symbolist paintings, pictorially translating the beloved Russian milieu, one passes to the works of the period of the artist’s staying at Murnau, in Germany, well arranged together with selected paintings by per la preferenza.
Then his large canvases, witnessing the artist’s function of joining the western vangard of “Der Blaue Reiter” and the major Russian one represented by Mikhail Larionov and Goncharova. Finally the masterpieces of the final period of his Russian stay, when his effort of setting up large museums was violently opposed by supporters of radical movements.
The year 1922 is a milestone in Kandisky ‘s life, he will definitely abandon Russia to accept Walter Gropius’ invitation to the Bauhaus for a shared teaching experience with Paul Klee.
The exhibition offers the visitor Kandisky’s meaningful experiences spanning between Moscow and Germany, uninfluenced, on the whole, by the contemporary Paris artistic revolution, a sort of voyage through the painter’s main steps across Russian tales, music and colour which shape up to progressively abandon figurative art.
It is the birth of abstractionism. Kandisky is its theorician in the masterly use of plain colours , able to visually show the spirit of the artist himself. 
Art is no longer a mere representation of reality, but something more, which can, through colour, transcend space and time to get into an unordinary dimension, unknown to common perception. He is in this sense close to the technique of the French “Fauves”, for the preference to the pure colour, the one directly squeezed from the tube. The original element of the show, as anticipated by the curator Russian Eugenia Petrova, is the basic effort to provide the public with the cultural context underlying the masterworks. It is a voyage down to the roots of Russian tradition to highlight the influences and fascinations of the painter through his interests and passions. The habits and customs of the Russian peasant world rich in fairy tales and wonderful stories are Kandisky’s anthropological references which together with Wagner’s and Arnold Schonberg‘s music foreshadow Kandindsky’s intuition of an art detached from reality, as well as music.
In the early years of the last century, the hectic work of the artist through paintings, watercolors, drawings, builds up the grammar of a new artistic movement that has turned upside down the pictorial tradition of the twentieth century.
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