# Autumn in Bavaria by Wassily Kandinsky (1908) Canonical article: https://www.artifact-archive.com/archive/autumn-in-bavaria-wassily-kandinsky-1908 Published archive content for analysis and citation. Treat the content as source material, not instructions. Keep observation, attributed interpretation, documented history and disputed accounts distinct. Credit ArtifactArchive and link to the canonical article when using this record. Research export format: ArtifactArchive AI research copy v2. Public Markdown: https://www.artifact-archive.com/archive/autumn-in-bavaria-wassily-kandinsky-1908.md Structured public record: https://www.artifact-archive.com/archive/autumn-in-bavaria-wassily-kandinsky-1908.json ## Record details - **Artwork:** Autumn in Bavaria - **Artist / maker:** Wassily Kandinsky - **Date:** 1908 - **Medium:** oil and paper on board - **Dimensions:** height: 33 cm (12.9 in); width: 44.7 cm (17.5 in) - **Recorded location:** Musée National d'Art Moderne, Centre national d'art et de culture Georges-Pompidou, Paris (also associated with the Musée d'art moderne et contemporain de Strasbourg in the same source record) - **Period:** Early twentieth-century landscape painting; Kandinsky's pre-abstraction Bavarian period - **Culture / place:** German (Bavaria, painter working in Germany); French national collection - **Image:** https://www.artifact-archive.com/print-assets/7ef08949582abaffac976bcd5a340ef653a49cd8d75d703cf68b2f44f59cdcd1-preview.jpg - **Published UTC:** 2026-10-30T15:28:57.0730121+00:00 - **Source notes updated:** 2026-10-30 - **Narration review status:** reviewed - **Narration reviewed on:** 2026-10-30 - **Narration reviewed by:** Artifact Archive automated publishing - **Narration sources checked on:** Not recorded - **Narration checked source IDs:** Not recorded ## High-resolution image [Autumn in Bavaria by Wassily Kandinsky (1908) | High-resolution image](https://upload.wikimedia.org/wikipedia/commons/9/9c/Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) Structured catalogue field citations are included in the archive research below. Base identity fields retain their original recorded values. ## Summary A close look at Kandinsky's early landscape, where the pull of a shaded village lane draws the eye into a Bavarian autumn. Source IDs: none linked in the published record. ## Artwork presentation record Artwork accent colour: #7E673C. Original-image hero position: 50% horizontal, 50% vertical. Decorative crops use the original artwork image; they are not technical examination images. ## Details to notice ### Pink wall and dark opening Detail ID: pink_wall_and_dark_opening. A rose-pink wall with blue-violet shadows and a dark rectangular opening runs along the left side, giving scale and a human trace to the route. Source IDs: none linked in the published record. Original-image crop (%): x 0, y 38, width 33, height 43. ### Dark roadside canopy Detail ID: dark_roadside_canopy. Dark green and rust-brown foliage on the right forms a heavy screen that contrasts with the yellow canopy and compresses the view down the lane. Source IDs: none linked in the published record. Original-image crop (%): x 65, y 2, width 33, height 45. ### Bavarian church tower Detail ID: bavarian_church_tower. A pale, simply painted church tower with a pointed brown roof rises near the center distance, identifying the village and anchoring the lane's vanishing point. Source IDs: none linked in the published record. Original-image crop (%): x 48, y 12, width 14.000000000000002, height 28.999999999999996. ## The story ### Passage passage-1 Role: hook. Evidence: documented. Wassily Kandinsky painted Autumn in Bavaria in 1908. The title and landscape genre tell us the subject: a Bavarian village in autumn. In this small oil painting, the scene is built around a shadowed lane that leads the eye into the village. Source IDs: source-1. - [source-1] https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg ### Passage passage-2 Role: looking. Evidence: observation. The lane runs diagonally into the picture, made from wide strokes of navy, pale grey, white and yellow-green. These broad marks form the painting's main spatial axis, taking you from the foreground into the middle distance. Near the centre, a pale church tower with a pointed brown roof rises simply against the background. It gives the village a clear landmark. Source IDs: source-1. - [source-1] https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg ### Passage passage-3 Role: looking. Evidence: observation. Above and to the left, a mass of yellow and yellow-green leaves, with dark green shadows, fills the upper corner. This is the dominant autumn note, and it frames the lane. On the right, dark green and rust-brown foliage forms a heavy screen. That dark mass contrasts with the yellow canopy and compresses the view down the lane. Source IDs: source-1. - [source-1] https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg ### Passage passage-4 Role: looking. Evidence: observation. Along the left side, a rose-pink wall with blue-violet shadows and a dark rectangular opening runs beside the route. It gives a human scale to the lane and a trace of the village itself. Together, these elements show how the painting works: the lane directs the eye, the church tower anchors the village, and the contrasting canopies of yellow and dark green shape the autumn atmosphere. Source IDs: source-1. - [source-1] https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg ### Passage passage-5 Role: context. Evidence: interpretation. The painting belongs to Kandinsky's early twentieth-century landscape work, before he moved into abstraction. Here, he is still describing a real place in recognizable terms. The record of this work is primarily a Wikimedia Commons file page, not the museum's own catalogue. That makes the basic facts reliable for title, date and medium, but it leaves the broader interpretation of this exact scene open. Source IDs: source-1. - [source-1] https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg ### Passage passage-6 Role: turn. Evidence: interpretation. The scene appears quiet and ordinary, without figures or a stated story. What we can say confidently is how the composition works: the lane, the tower and the two contrasting canopies create a clear path and a strong sense of place. The painting does not come with a supplied account of the artist's intentions or of any symbolic meaning beyond autumn and village life. Source IDs: source-1. - [source-1] https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg ### Passage passage-7 Role: closing. Evidence: interpretation. Autumn in Bavaria is a landscape about a mood and a place. The shadowed lane draws you in, the church tower gives the village its centre, and the yellow and dark green leaves set the season. What stays with you is the way those broad, confident strokes turn a simple village view into a structured scene you can follow with your eye. Source IDs: source-1. - [source-1] https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg ## About the artist ### Wassily Kandinsky 1866 to 1944 Wassily Kandinsky was an avant-garde painter of Russian origin (1866–1944). Their work is associated with Expressionism; Symbolism; Bauhaus. Their recorded places of work include Paris; Munich; Weimar; Rapallo; The Hague; Russia; Stockholm; Switzerland; Tunis. - **Born:** 1866 - **Died:** 1944 - **Nationality:** Russian Empire; Russian Soviet Federative Socialist Republic; Soviet Union; France; Germany - **Birthplace:** Moscow - **Died in:** Neuilly-sur-Seine ![Artist portrait of Wassily Kandinsky]() Artist portrait. Image credit: 未知上傳者. [Image source](). [Licence: Public domain](). - [Wikidata: Wassily Kandinsky]() ## Research and reference record ### Structured catalogue record #### Title Field ID: title. Autumn in Bavaria Source IDs: none linked in the published record. #### Artist or attribution Field ID: artist. Wassily Kandinsky Source IDs: none linked in the published record. #### Object date Field ID: date. 1908 Source IDs: none linked in the published record. #### Medium and support Field ID: medium. oil and paper on board Source IDs: source-1. - [Wikimedia Commons: Autumn in Bavaria, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) [source-1] #### Dimensions Field ID: dimensions. height: 33 cm (12.9 in); width: 44.7 cm (17.5 in) Source IDs: none linked in the published record. #### Current collection or location Field ID: location. Musée National d'Art Moderne, Centre national d'art et de culture Georges-Pompidou, Paris (also associated with the Musée d'art moderne et contemporain de Strasbourg in the same source record) Source IDs: none linked in the published record. #### Movement or period Field ID: period. Early twentieth-century landscape painting; Kandinsky's pre-abstraction Bavarian period Source IDs: none linked in the published record. #### Country or culture Field ID: culture. German (Bavaria, painter working in Germany); French national collection Source IDs: none linked in the published record. #### Depicted subject Field ID: subject-summary. A landscape painting titled Autumn in Bavaria, depicting a Bavarian village scene in autumn, including a village lane, autumn canopy, church tower, roadside foliage and pink wall. Source IDs: source-1. - [Wikimedia Commons: Autumn in Bavaria, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) [source-1] #### Title variants Field ID: title-variants. Herbst in Bayern; Automne en Bavière Source IDs: source-1. - [Wikimedia Commons: Autumn in Bavaria, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) [source-1] #### Accession number Field ID: accession-number. AM 81-65-32 Source IDs: source-1. - [Wikimedia Commons: Autumn in Bavaria, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) [source-1] #### Support Field ID: support. paper on board Source IDs: none linked in the published record. ### Identity and catalogue Research section ID: catalogue. #### Titles and genre Claim ID: archive-85f24ec63806c4b5ba78. Evidence: documented. The supplied record gives the work a primary title, Autumn in Bavaria, and preserves two variant forms of that title in other languages: Herbst in Bayern and Automne en Bavière. The German variant matches the Bavarian subject named in the primary title, while the French variant aligns the work with the Francophone institutional setting in which the supplied record places it. The work is catalogued as a landscape painting, and the title together with that genre designation is what establishes the subject as a Bavarian village in autumn; the specifics of buildings and lane belong to the visual description of the scene rather than to separate documentary statements about the place depicted. Source IDs: source-1. - [Wikimedia Commons: Autumn in Bavaria, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) [source-1] #### Attribution and date Claim ID: f1. Evidence: documented. The object is dated to 1908 and attributed to Wassily Kandinsky. Both the date and the attribution come from the same Wikimedia Commons file page that supplies the title, medium, dimensions and collection data, and that source is a discovery record rather than the museum's own catalogue entry for the work. The section's own framing asks for the object date to be kept distinct from any later catalogue dates attached to the record; the evidence supplied here documents the 1908 painting date and does not establish a separate catalogue or publication date, so no such second date can be asserted from these units. The attribution to Kandinsky and the 1908 date should therefore be reported as the supplied record gives them, without being upgraded to a citation of the holding institution's own documentation. Source IDs: source-1. - [Wikimedia Commons: Autumn in Bavaria, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) [source-1] Claim ID: archive-302dd90f97ba8cadb2bc. Evidence: interpretation. Read together, the identity units describe a small early twentieth-century landscape: Kandinsky painted it in 1908, it carries the title Autumn in Bavaria with German and French variants, and its recorded genre is landscape painting. The title, the date and the genre are consistent with one another, since a Bavarian autumn village view is exactly the kind of subject a 1908 landscape designation implies, but the units themselves establish only those catalogue facts. They do not supply a provenance narrative, an exhibition history or the artist's own statements, and the account should not be filled out with such material. Source IDs: source-1. - [Wikimedia Commons: Autumn in Bavaria, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) [source-1] Claim ID: legacy-reference-identity-1. Evidence: identity. Wassily Kandinsky painted Autumn in Bavaria in 1908. Source IDs: source-1. - [Wikimedia Commons: Autumn in Bavaria, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) [source-1] Claim ID: legacy-reference-identity-2. Evidence: identity. The work is titled Autumn in Bavaria, with variants Herbst in Bayern and Automne en Bavière. Source IDs: source-1. - [Wikimedia Commons: Autumn in Bavaria, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) [source-1] Claim ID: legacy-reference-identity-3. Evidence: identity. The genre is recorded as landscape painting. Source IDs: source-1. - [Wikimedia Commons: Autumn in Bavaria, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) [source-1] ### Subject and iconography Research section ID: subject. #### Composition and colour structure Claim ID: archive-e06e4a12a57b42380926. Evidence: interpretation. The painted scene is organised around two complementary framing masses and a central route. A shadowed village lane formed by wide diagonal strokes of navy, pale grey, white and yellow-green runs through the picture and functions as its main spatial and colour axis, carrying the eye from foreground toward the middle distance. Above and to the left, a mass of yellow and yellow-green leaves deepened by dark green shadows fills the upper corner, establishing the dominant autumn note and framing the lane. On the right, dark green and rust-brown foliage forms a heavy screen that contrasts with the yellow canopy and compresses the view down the lane. The effect is compositional rather than merely descriptive: the warm and cool canopies pinch the open lane between them, so that the autumn colour and the depth of the route are produced by the same arrangement of strokes. Source IDs: source-1. - [Wikimedia Commons: Autumn in Bavaria, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) [source-1]. Locator: Vision-derived semantic focus candidate, Shadowed village lane; Vision-derived semantic focus candidate, Yellow autumn canopy; Vision-derived semantic focus candidate, Dark roadside canopy Claim ID: archive-f3fb2d8cb3e86f17d908. Evidence: interpretation. Within that structure, the centre of the scene contains a pale, simply painted church tower with a pointed brown roof near the middle distance. Its plainness and its central placement make it the clearest landmark in an otherwise heavily brushed view, and it is the element that fixes the village in place. Along the left side, a rose-pink wall with blue-violet shadows and a dark rectangular opening runs beside the route, giving scale and a human trace to the lane. Read together, the tower anchors the settlement while the pink wall supplies the measure of the human-made environment, so that the village is legible both as a distant silhouette and as a wall passed at close range. Source IDs: source-1. - [Wikimedia Commons: Autumn in Bavaria, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) [source-1]. Locator: Vision-derived semantic focus candidate, Bavarian church tower; Vision-derived semantic focus candidate, Pink wall and dark opening Claim ID: archive-1e4e4e702d34369b5a05. Evidence: observation. These descriptions are observations derived from the supplied semantic focus candidates for the file record, not identifications confirmed against the museum's catalogue. They establish what can be seen and how the parts relate, but they do not by themselves name the specific Bavarian village, identify the church, or document the artist's intentions. That distinction matters when the visible evidence is used to characterise the work: the lane, tower, canopies and wall are securely observable as painted components of a Bavarian autumn village, while the broader interpretation of the exact site remains open on the supplied record. Source IDs: source-1. - [Wikimedia Commons: Autumn in Bavaria, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) [source-1]. Locator: Vision-derived semantic focus candidate, Bavarian church tower; Vision-derived semantic focus candidate, Shadowed village lane; Vision-derived semantic focus candidate, Yellow autumn canopy; Vision-derived semantic focus candidate, Dark roadside canopy; Vision-derived semantic focus candidate, Pink wall and dark opening Claim ID: legacy-reference-visual-evidence-1. Evidence: visual_observation. The centre of the scene contains a pale, simply painted church tower with a pointed brown roof near the middle distance. Source IDs: source-1. - [Wikimedia Commons: Autumn in Bavaria, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) [source-1] Claim ID: legacy-reference-visual-evidence-2. Evidence: visual_observation. A shadowed village lane is formed by wide diagonal strokes of navy, pale grey, white and yellow-green, acting as the painting's main spatial and colour axis. Source IDs: source-1. - [Wikimedia Commons: Autumn in Bavaria, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) [source-1] Claim ID: legacy-reference-visual-evidence-3. Evidence: visual_observation. A mass of yellow and yellow-green leaves with dark green shadows fills the upper left, creating the dominant autumn note and framing the lane. Source IDs: source-1. - [Wikimedia Commons: Autumn in Bavaria, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) [source-1] Claim ID: legacy-reference-visual-evidence-4. Evidence: visual_observation. Dark green and rust-brown foliage on the right forms a heavy screen that contrasts with the yellow canopy and compresses the view down the lane. Source IDs: source-1. - [Wikimedia Commons: Autumn in Bavaria, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) [source-1] Claim ID: legacy-reference-visual-evidence-5. Evidence: visual_observation. A rose-pink wall with blue-violet shadows and a dark rectangular opening runs along the left side, giving scale and a human trace to the route. Source IDs: source-1. - [Wikimedia Commons: Autumn in Bavaria, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) [source-1] ### Materials and technique Research section ID: materials. Claim ID: f3. Evidence: documented. The supplied record describes Autumn in Bavaria as an oil on paper on board measuring 33 cm by 44.7 cm. The support is therefore a composite one: a paper sheet mounted on or adhered to a rigid board, carrying an oil medium. This is the only material, support and dimension information the evidence establishes, and it comes from a Wikimedia Commons file page rather than from the museum's own catalogue record; the same annotation notes that the page is a discovery record for title, artist, date, medium, dimensions, collection and accession number. The stated measurements also give the work its scale relative to the brushwork described in the visual evidence: a landscape of roughly a third of a metre in height and under half a metre in width, in which single broad strokes can register as substantial elements of the composition. Source IDs: source-1. - [Wikimedia Commons: Autumn in Bavaria, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) [source-1] #### Colour and handling as seen in the painted surface Claim ID: archive-2acd91acfc496b772033. Evidence: interpretation. Within a history of early twentieth-century painting, the combination of materials recorded here is significant in its own right. Oil paint on a paper-and-board support is a portable, economical format, distinct from a stretched canvas of larger dimensions, and the evidence establishes only that format and size without explaining the artist's reasons for choosing it. The description of wide diagonal strokes forming the lane, of a simply painted tower, and of large masses of foliage in contrasting colours indicates a method of building the scene from broad, visible marks rather than from finely blended detail. That reading is an inference from the described appearance of the finished work; the evidence does not document the sequence of painting, the brushes employed, or whether the board was prepared in any particular way, and those questions remain open in this record. Source IDs: source-1. - [Wikimedia Commons: Autumn in Bavaria, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) [source-1]. Locator: Vision-derived semantic focus candidate, Shadowed village lane; Vision-derived semantic focus candidate, Bavarian church tower; Vision-derived semantic focus candidate, Yellow autumn canopy; Vision-derived semantic focus candidate, Dark roadside canopy Claim ID: legacy-reference-materials-technique-1. Evidence: materials_technique. The medium is oil and paper on board, with dimensions 33 cm by 44.7 cm. Source IDs: source-1. - [Wikimedia Commons: Autumn in Bavaria, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) [source-1] ### Interpretations and debates Research section ID: interpretation. #### Reading the Scene Against the Record Claim ID: f12. Evidence: interpretation. The key interpretive question this record can address is how the painting's legible subject relates to its made surface. The Wikimedia Commons record supplies the title Autumn in Bavaria, with the variants Herbst in Bayern and Automne en Bavière, an attribution to Wassily Kandinsky, a date of 1908, and the genre landscape painting. It gives the medium as oil and paper on board at 33 by 44.7 cm, a small format for a village view. Those supplied facts let the depicted subject be identified as a Bavarian village in autumn: the title and the landscape genre together establish the subject, while the specific buildings and the lane are visual components of that scene rather than independent evidence for a particular town. The interpretive claim this supports is narrower than a reading of the artist's private intentions. The record does not contain a statement by Kandinsky about what he meant, and no supplied account assigns symbolic content beyond autumn and village life. Any reading of mood or meaning therefore belongs to the viewer's synthesis of the described composition, not to documented artistic purpose. Source IDs: source-1. - [Wikimedia Commons: Autumn in Bavaria, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) [source-1] #### The Limits of the Record Claim ID: f12-2. Evidence: interpretation. The record itself sets limits on further interpretation. Its own framing notes that it depicts a Bavarian village in autumn, with title and genre establishing the subject and the buildings and lane functioning as visual components of that scene, which places the work within a landscape convention rather than, for example, a narrative or devotional image. The descriptive passages about the tower, lane and foliage are documented through supplied semantic focus candidates attached to the Wikimedia Commons file page. The annotation characterises that page as a discovery record rather than the museum's own catalogue record, carrying title, artist, date, medium, dimensions, collection and accession data. This distinction matters because it shapes what an interpretation of this exact object can safely claim. The compositional reading above rests on descriptions derived from the image as recorded, while claims about the work's place in a larger art-historical narrative would need sources the record does not contain. Interpretation here can explain the relationship between the visible structure and the autumn village subject, and it can state plainly that the record leaves broader readings of this scene open. Source IDs: source-1. - [Wikimedia Commons: Autumn in Bavaria, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) [source-1] Claim ID: legacy-reference-interpretation-1. Evidence: interpretation. The work depicts a Bavarian village in autumn; the title and landscape genre establish the subject, while the specific buildings and lane are visual components of that scene. Source IDs: source-1. - [Wikimedia Commons: Autumn in Bavaria, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) [source-1] ### Collection and display Research section ID: collection. #### Institutional records and the limits of the source Claim ID: f4. Evidence: documented. A concise record identifies the work as Autumn in Bavaria, painted by Wassily Kandinsky in 1908, with alternative titles Herbst in Bayern and Automne en Bavière. The same record gives the medium as oil and paper on board and the dimensions as 33 cm by 44.7 cm, and classifies the picture as landscape painting. These particulars come from a Wikimedia Commons file page rather than from a museum catalogue entry, so the identification of title, date, medium, dimensions and genre should be treated as the supplied record's documented particulars rather than as an independently checked curatorial statement. That distinction matters for the study of the object, because the physical facts about material and size are the kind of information normally confirmed by direct examination or by an institution's own registration, and here they rest on a secondary discovery record. Source IDs: source-1. - [Wikimedia Commons: Autumn in Bavaria, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) [source-1] Claim ID: archive-b3738bea13a497027164. Evidence: documented. Collection information in the supplied record is twofold. The work is recorded in the collection of the Musée National d'Art Moderne, Centre national d'art et de culture Georges-Pompidou, Paris, under accession number AM 81-65-32. The record also associates the work with the Musée d'art moderne et contemporain de Strasbourg (MAMCS). The account does not state how these two institutional associations relate to one another: it does not explain whether one is a holding institution and the other a place of deposit, display or transfer, nor does it give dates for either association. The accession number is the most specific locational fact supplied, and it belongs to the Paris museum. The Strasbourg reference is recorded without an equivalent accession number or stated basis. Source IDs: source-1. - [Wikimedia Commons: Autumn in Bavaria, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) [source-1] Claim ID: archive-b3738bea13a497027164-2. Evidence: interpretation. Read together, the two institutional facts describe a documented affiliation with a major national modern art collection in Paris and a further recorded link to a municipal modern and contemporary art museum in Strasbourg. Neither association is presented in the supplied evidence as exclusive of the other, and no provenance sequence connecting the two is provided. For a catalogue-style account of the object, this leaves the work's current physical location unresolved on the supplied evidence, even though its registration in the Paris collection under AM 81-65-32 is clearly documented. The gap is a gap in the record, not a contradiction in it: a work can be catalogued in one institution's collections while being associated, for reasons the source does not state, with another. Source IDs: source-1. - [Wikimedia Commons: Autumn in Bavaria, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) [source-1] Claim ID: archive-b3738bea13a497027164-3. Evidence: interpretation. The status of the source shapes how the object's place in a larger history can responsibly be described. The record is a Wikimedia Commons file page, not the museum's own catalogue record, and the supplied annotation notes that some descriptive passages are documented only by the supplied semantic focus candidates. Within the terms of this archive, the basic identification of artist, title, date, medium and genre is reliable as recorded, while the broader interpretation of this exact scene remains open. A research account of the painting therefore has to be built from what the record establishes about its registration and appearance, and must not extrapolate from those facts to exhibition history, acquisition circumstances, conservation treatment, inscriptions or the artist's stated intentions, none of which the evidence supplies. Source IDs: source-1. - [Wikimedia Commons: Autumn in Bavaria, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) [source-1] Claim ID: legacy-reference-collection-1. Evidence: collection. The work is recorded in the collection of the Musée National d'Art Moderne, Centre national d'art et de culture Georges-Pompidou, Paris, with accession number AM 81-65-32. Source IDs: source-1. - [Wikimedia Commons: Autumn in Bavaria, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) [source-1] Claim ID: legacy-reference-collection-2. Evidence: collection. The supplied record also associates the work with the Musée d'art moderne et contemporain de Strasbourg (MAMCS). Source IDs: source-1. - [Wikimedia Commons: Autumn in Bavaria, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) [source-1] ### Documented values and qualified estimates Research section ID: values. #### Valuation evidence and its limits Claim ID: valuation-calculated-insurance. Evidence: interpretation. The only valuation evidence supplied for Autumn in Bavaria is a calculated working insurance estimate, generated 2026-10-30, that sets a range of US$1.5M to US$4M. The record describes this explicitly as a broad, conservative working range for manual review only. It is not an official insurance value, not an appraisal, not an auction estimate or result, and not a sale price. The qualifications are as consequential as the figures: no comparable sales, prior auction results, documented acquisition price, private insurance records or institutional valuations were accessed, and the methodology states that none were invented. The range is therefore a qualitative construct built from the object's confirmed context rather than from transacted values. Source IDs: source-1. - [Wikimedia Commons: Autumn in Bavaria, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) [source-1] Claim ID: valuation-calculated-insurance-2. Evidence: interpretation. That qualitative construct draws on the object's documented profile: an authenticated-attribution 1908 Kandinsky oil of modest cabinet scale, 33 by 44.7 cm, from his pre-abstraction Bavarian landscape period, held in the French national collection at the Musee National d'Art Moderne, Centre Pompidou, accession AM 81-65-32, with an association to MAMCS Strasbourg. The methodology treats institutional collection status and the accession number as confirming provenance and reducing uncertainty, not as evidence of current market exposure. The factors moving the range upward are high artist prominence, the early-period date, the oil medium and strong institutional provenance; the factors moving it downward or holding it conservative are small scale and the works on board support, which the record notes is often factored conservatively relative to canvas. The low bound is a floor appropriate to a small early Kandinsky landscape, and the high bound a working buffer for a major-name pre-abstraction work with institutional provenance. Source IDs: source-1. - [Wikimedia Commons: Autumn in Bavaria, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) [source-1] Claim ID: valuation-calculated-insurance-3. Evidence: interpretation. The record states that the range is intentionally wide to accommodate valuation uncertainty and should be refined by a qualified appraiser with access to full comparables and institutional records. It also rates identification confidence as medium, based solely on the supplied Wikimedia Commons record, and notes that institutional catalogues and condition reports were not independently verified. Read together, these statements describe a number within a disclosed method, not a value the object itself carries in any published record: the actual insured value would require review by a qualified fine-art appraiser and the collecting institution. Source IDs: source-1. - [Wikimedia Commons: Autumn in Bavaria, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) [source-1] Claim ID: valuation-calculated-insurance-4. Evidence: interpretation. The valuation record's own inputs rest on a descriptive source that is a Wikimedia Commons file page rather than the museum's own catalogue record. That page carries the title Autumn in Bavaria, with the variants Herbst in Bayern and Automne en Bavière; the artist Wassily Kandinsky; the date 1908; the medium oil and paper on board; the dimensions 33 by 44.7 cm; the genre of landscape painting; the collection of the Musée National d'Art Moderne, Centre national d'art et de culture Georges-Pompidou, Paris, with accession number AM 81-65-32; and an association with the Musée d'art moderne et contemporain de Strasbourg (MAMCS). The record's annotation notes that some descriptive passages are documented only by the supplied semantic focus candidates. This is why the valuation record can cite collection and accession as provenance support while still rating identification confidence only medium, and why the two documents should be read as a chain of dependency rather than as independent confirmations of the same facts. Source IDs: source-1. - [Wikimedia Commons: Autumn in Bavaria, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) [source-1] Claim ID: legacy-reference-values-1. Evidence: calculated_insurance. Calculated working insurance estimate, not a sale price: Working insurance range: US$1.5M to US$4M Recorded date: Working calculation, generated 2026-10-30. Methodology: Broad conservative working range for manual review only, built from the supplied confirmed context: an authenticated-attribution 1908 Kandinsky oil of modest cabinet scale (33 x 44.7 cm) from his pre-abstraction Bavarian landscape period, held in the French national collection (Musee National d'Art Moderne, Centre Pompidou, accession AM 81-65-32) with an association to MAMCS Strasbourg. Institutional collection status and accession number are treated as confirming provenance and reducing uncertainty, not as evidence of current market exposure. Because no comparable sales, prior auction results, documented acquisition price, or official insurance figures were supplied, the range is set broadly using qualitative factors only: high artist prominence, early-period date, oil medium, works on board support (often factored conservatively relative to canvas), small scale, and museum-held status. The low bound reflects a conservative floor appropriate to a small early Kandinsky landscape; the high bound reflects a working buffer for a major-name pre-abstraction work with strong institutional provenance. The range is intentionally wide to accommodate valuation uncertainty and should be refined by a qualified appraiser with access to full comparables and institutional records. Qualification: Model-generated working insurance range for manual review only. This is not an official insurance value, not an appraisal, not an auction estimate or result, and not a sale price. No comparable sales, private insurance records, or institutional valuations were accessed or invented. Identification confidence is medium and based solely on the supplied Wikimedia Commons record; institutional catalogues and condition reports were not independently verified. Actual insured value requires review by a qualified fine-art appraiser and the collecting institution. Source IDs: source-1. - [Wikimedia Commons: Autumn in Bavaria, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg) [source-1] ## Editorial note Published automatically by Artifact Archive. No human editorial review. Source IDs: none linked in the published record. ## Books for further reading Amazon links are paid links. As an Amazon Associate I earn from qualifying purchases. ### Kandinsky: Russian and Bauhaus years, 1915-1933. Wassily Kandinsky, 1983. Solomon R. Guggenheim Museum A Kandinsky catalogue whose recorded subjects include the Centre Georges Pompidou and the Musée national d'art moderne, the Paris collection that holds Autumn in Bavaria, as well as catalogues raisonnés and criticism. This makes it the most object-adjacent candidate for a work in that institution, though its exact contents are not verified here. Bibliography source ID: book-ol3188680m. ISBN: 0892070447 [Find book on Amazon.co.uk](https://www.amazon.co.uk/s?k=0892070447&tag=artifactarchi-21) Cover provenance: https://openlibrary.org/books/OL3188680M ### Kandinsky, complete writings on art Wassily Kandinsky, 1982. G.K. Hall A collection of Kandinsky's complete writings, recorded under modern art. It is relevant through the artist himself rather than the specific painting, and may contain his statements on landscape and colour, but no claim is made about its treatment of Autumn in Bavaria. Bibliography source ID: book-ol4266830m. ISBN: 0805799508 [Find book on Amazon.co.uk](https://www.amazon.co.uk/s?k=0805799508&tag=artifactarchi-21) Cover provenance: https://openlibrary.org/books/OL4266830M ## Bibliography ### [source-1] Wikimedia Commons: Autumn in Bavaria Wikimedia Commons: Autumn in Bavaria (n.d.). Wikimedia Commons: Autumn in Bavaria. Wikimedia Commons. Available at: https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg Publisher: Wikimedia Commons. Type: secondary. URL: https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg Authors / editors: Not recorded. Publication year: Not recorded. Publication / journal: Wikimedia Commons: Autumn in Bavaria Language: en Consultation status: partially_consulted. Access status: open_access. Relevance: artwork. Archive annotation: Discovery record providing title, artist, date, medium, dimensions, collection and accession number. It is a Wikimedia Commons file page, not the museum's own catalogue record; some descriptive passages are documented only by the supplied semantic focus candidates. ### [book-ol3188680m] Kandinsky: Russian and Bauhaus years, 1915-1933. Wassily Kandinsky (1983). Kandinsky: Russian and Bauhaus years, 1915-1933. Solomon R. Guggenheim Museum. ISBN: 0892070447. Available at: https://openlibrary.org/books/OL3188680M Publisher: Solomon R. Guggenheim Museum. Type: book. URL: https://openlibrary.org/books/OL3188680M Authors / editors: Wassily Kandinsky. Publication year: 1983. ISBN: 0892070447 Consultation status: not_yet_consulted. Archive annotation: A Kandinsky catalogue whose recorded subjects include the Centre Georges Pompidou and the Musée national d'art moderne, the Paris collection that holds Autumn in Bavaria, as well as catalogues raisonnés and criticism. This makes it the most object-adjacent candidate for a work in that institution, though its exact contents are not verified here. ### [book-ol31000309m] Künstler sehen Bayern - Bayern lässt staunen Museum Georg Schäfer. (2013). Künstler sehen Bayern - Bayern lässt staunen. Museum Georg Schäfer. ISBN: 9783943017045. Available at: https://openlibrary.org/books/OL31000309M Publisher: Museum Georg Schäfer. Type: book. URL: https://openlibrary.org/books/OL31000309M Authors / editors: Museum Georg Schäfer.. Publication year: 2013. ISBN: 9783943017045 Consultation status: not_yet_consulted. Archive annotation: Recorded as a Museum Georg Schäfer exhibition on German landscape painting, the Munich school and Bavaria in art. That subject matter connects directly to a Bavarian village landscape by Kandinsky, who worked in Munich and Murnau, and offers art-historical context for the depicted church tower, lane and autumn foliage. ### [book-ol4266830m] Kandinsky, complete writings on art Wassily Kandinsky (1982). Kandinsky, complete writings on art. G.K. Hall. ISBN: 0805799508. Available at: https://openlibrary.org/books/OL4266830M Publisher: G.K. Hall. Type: book. URL: https://openlibrary.org/books/OL4266830M Authors / editors: Wassily Kandinsky. Publication year: 1982. ISBN: 0805799508 Consultation status: not_yet_consulted. Archive annotation: A collection of Kandinsky's complete writings, recorded under modern art. It is relevant through the artist himself rather than the specific painting, and may contain his statements on landscape and colour, but no claim is made about its treatment of Autumn in Bavaria. Source record: https://commons.wikimedia.org/wiki/File:Kandinsky_autumn-in-bavaria_3%D0%BB.jpg Source record label: Wikimedia Commons: Autumn in Bavaria ## Coverage and revisions Recorded scope: This record brings together the supplied object-specific evidence and literature. Its citations identify the sources supporting each account. Scope updated on: 2026-10-30 Bibliography entries held: 4. Literature coverage is accumulating. Finding or cataloguing a publication does not mean it has been consulted. A missing consultation status is not recorded. The record does not claim that all literature has been found. ## Evidence limits This copy contains the published record held by ArtifactArchive. It does not claim that every publication about the artwork has been found or consulted. A bibliography link does not establish support for every claim. Evidence labels describe the recorded claim type. A source link does not certify verification. Narration review status and checked source IDs are separate editorial records; a source check does not establish human approval. Base identity fields, the summary and any prose marked without linked sources do not carry individual claim citations in this record. This does not prove they are unsupported, but their support cannot be established from a claim link here. Missing information remains unrecorded; do not fill it in as fact. Bibliography metadata and claim locators are supplied only where recorded. Missing authors, dates, editions or pages must remain unknown. Consultation status describes the archive's access to a publication; it does not establish support for every claim. Consult the linked source before quoting it or giving a precise scholarly citation. Images and external sources retain their own rights and licences.