Articles

Abstract

The article is devoted to the little-known in Russia facts of perception of Kandinsky’s work in Britain in the 1900—1910s. Considering the history of exhibiting Kandinsky’s works, and then familiarity with his theory through the publication of Sadleir, the author comes to the conclusion that the interest in the work of the master, his ideas took place in the context of the general national interest in the problems raised by the artist in the book «Concerning the Spiritual in Art» — the ideas of synesthesia, abstract painting, rhythm, psychology of colour. Many of the pictorial experiments in british art took place in parallel with the work of Kandinsky, some of them — under his influence, but in both cases it was only a short period ended in the 1920s.