Klänge (Sounds) was Kandinsky’s only poetry publication—a collection of prose poems, accompanied by 56 of his own inimitable woodcuts, 12 of them in colour. It appeared in late 1912, or early 1913 (the exact date is uncertain) from the Munich publishing house, Piper, and thus came at a crucial time in Kandinsky’s artistic life: just after he had made the great breakthrough into abstraction, and likewise just after the publication of his seminal text, Über das Geistige in der Kunst (Concerning the Spiritual in Art). These were not the only poems that he wrote—others are preserved in the artist’s papers—but these are the ones he chose to publish, and in a lavish edition.

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Aparecido en 1926, Punto y linea sobre el plano es la continuacion organica de otro texto de Kandinsky tambien publicado por Paidos, De lo espiritual en el arte, y debe su origen, en su mayor parte, a la tarea que su autor habia asumido en la Bauhaus desde 1922. En efecto, tanto en su pintura como en sus ideas esteticas, Kandinsky mostro siempre una personalidad absolutamente vanguardista y provocadora de acaloradas polemicas. Y, en este sentido, la presente obra es uno de sus trabajos fundamentales, ya que, a la par que una esclarecedora contribucion al analisis de los elementos esenciales del quehacer pictorico, constituye una aportacion basica a la busqueda de un metodo generico para las investigaciones de las ciencias artisticas. El libro, finalmente, tambien revela a Kandinsky como un artista apasionado y siempre deseoso de explicar y explicarse las razones primeras y mas profundas de esa extrana y singular aventura que es la creacion artistica.

Klange (Sounds) was Kandinsky's only poetry publication-a collection of prose poems, accompanied by 56 of his own inimitable woodcuts, 12 of them in colour. It appeared in late 1912, or early 1913 (the exact date is uncertain) from the Munich publishing house, Piper, and thus came at a crucial time in Kandinsky's artistic life: just after he had made the great breakthrough into abstraction, and likewise just after the publication of his seminal text, UEber das Geistige in der Kunst (Concerning the Spiritual in Art). These were not the only poems that he wrote-others are preserved in the artist's papers-but these are the ones he chose to publish, and in a lavish edition.