The New Bauhaus V2

Language of Vision In 1923 Wassily Kandinsky circulated a questionnaire at the Bauhaus, asking respondents to fill in a triangle, square, and circle with the primary colors of red, yellow, and blue. Kandinsky expected that yellow, a “sharp” color would correspond with the triangle; red, and ‘earthbound” color with the square; and blue, a “spiritual” color with the circle. Apparently, a majority of his students made this choice. Kandinsky’s impulse to use scientific methodology to discover universal laws that might be applied to a systematized grammar of visual languages typifies Bauhaus pedagogy.  The term translation appears in Kandinsky’s Bauhaus textbook “Point and Line to Plane”, where it refers to the act of drawing correspondences between graphic, linear marks and a range of non-graphic experiences, such as color, music, spiritual intuition, and visual perception. The series represents Kandinsky’s attempt to prove a universal correlation between color and geometry. …beyond the