Kandinsky exhibited with the Brücke group, and with Franz Marc and others he founded the Blaue Reiter group. In 1915 he returned to Moscow, where he taught and directed artistic activities. During the early 1920s his style evolved from riotous bursts of color in his "Improvisations" to more precise, geometrically arranged compositions. In 1921 he returned to Germany and the next year joined the Bauhaus faculty. In 1926 he wrote Point and Line to Plane (tr. 1947), which includes an analysis of geometric forms in art. At the outset of World War II, he went to France, where he spent the rest of his life. In American public collections, Kandinsky is particularly well represented in the Guggenheim Museum, New York City, and California's Pasadena Art Museum.
See his Reminiscences (1913; tr. in Modern Artists on Art, ed. by R. L. Herbert, 1964); biographies by J. Lassaigne (1964) and J. Hahl-Koch (1994); P. Weiss, Kandinsky in Munich: 1896-1914 (1982); V. E. Barnett, Kandinsky: At the Guggenheim (1983); C. V. Poling, Kandinsky: Russian and Bauhaus Years, 1915-1933 (1983); Solomon R. Guggenheim Foundation Staff, Kandinsky in Paris, 1934-1944 (1985); A. and L. Vezin, Kandinsky and the Blue Rider (1992); T. M. Messer, Vasily Kandinsky (1997); U. Becks-Malorny, Wassily Kandinsky, 1866-1944: The Journey to Abstraction (1999).
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This chair was revolutionary in the use of the materials (bent tubular steel and canvas) and methods of manufacturing. It is said that the handlebar of Breuer's 'Adler' bicycle inspired him to use steel tubing to build the chair, and it proved to be an appropriate material because it was available in quantity. The design (and all subsequent steel tubing furniture) was technologically feasible only because the German steel manufacturer Mannesmann had recently perfected a process for making seamless steel tubing. Previously, steel tubing had a welded seam, which would collapse when the tubing was bent.
The Wassily chair, like many other designs of the modernist movement, has been mass-produced since the 1960s, and as a design classic is still available today. Though patent designs are expired, the trademark name rights to the design are owned by Knoll of New York City. Reproductions are produced around the world by other manufacturers, who market the product under different names.