Пътят на модернизма в живописта на Кандински: от религиозна образност до абстракция. Анализът на Композиция 4 (1911) на кръстопътя между визуалната семиотика и историята на изкуството
The Road of modernism in Kandinsky’s painting: from religious imagery to abstraction. The analysis of Composition 4 (1911) at the crossroads between visual semiotics and art history

Summary/Abstract: The article reconstructs a virtual debate between the visual semiotics and the art history to trace the path of a possible collaboration between the two research fields. Initially, dialogue seems impossible since visual semiotics ranks among the nomothetic sciences and art history occupies a place among the ideographic sciences. The epistemological features of the two sciences in development prove that Windelband’s distinction ceases to be pertinent. Hubert Damisch detaches the semiotic study of painting from the nomothetic linguistic model, and Mieke Bal and Norman Bryson outline a collaborative strategy around an insightful definition of the sign as event. Some features of modernism are traced, demonstrating a connection between the semio-linguistic paradigm in semiotics and avant-garde art: cubism and abstractionism. The study of Jean-Marie Floch on the abstract painting Composition 4 as Kandinsky’s transition from figurative to non-figurative to abstract discourse is critically analysed.

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