# On the Shore (Am Ufer) by Wassily Kandinsky (circa 1903) Canonical article: https://www.artifact-archive.com/archive/on-the-shore-am-ufer-wassily-kandinsky-circa-1903 - **Painting:** On the Shore (Am Ufer) - **Artist:** Wassily Kandinsky - **Date:** circa 1903 - **Medium:** oil on canvas board - **Dimensions:** 32 x 22.9 cm - **Current location:** Musée National d'Art Moderne, Centre Georges Pompidou, Paris, France - **Period:** Post-Impressionism (early Kandinsky) - **Culture:** Russia / Germany (artist), France (collection) A small coastal scene by the young Kandinsky, where brightly dressed figures at the water's edge are built from the same broken strokes as the beach, sea and sky. ## High-resolution image [On the Shore (Am Ufer) by Wassily Kandinsky (circa 1903) | High-resolution image](https://upload.wikimedia.org/wikipedia/commons/b/b1/Kandinsky%2C_Wassily_-_Am_Ufer%2C_GAC.jpg) ## Artwork presentation record Artwork accent colour: #727043. Original-image hero position: 50% horizontal, 50% vertical. Decorative crops use the original artwork image; they are not technical examination images. ## Details to notice ### Artist signature Detail ID: artist_signature_kamensky. The orange-red surname KAMENSKY is visible at the lower right, providing the key internal evidence for the proposed attribution. Original-image crop (%): x 78.5, y 92.5, width 18, height 6. ### Yellow far-shore structure Detail ID: yellow_far_shore_structure. A bright yellow horizontal form on the far bank, likely a building or beached boat, creates the strongest high-value accent across the blue water and frames the bay. Original-image crop (%): x 66, y 24.5, width 30, height 13.5. ### Reflections in the water Detail ID: figures_reflected_in_water. Dark blue and red vertical strokes below the group read as their reflection in the water, showing how the painter unifies figures and sea through broken color. Original-image crop (%): x 47, y 41.5, width 16, height 14.499999999999998. ## The story This small painting shows a coastal scene, with tiny figures in bright clothes gathered at the water's edge. Behind them, red-roofed cottages sit below a wooded hill, and a broad stretch of beach and sea opens out. Kandinsky painted it around 1903, early in his career, and it is called On the Shore. Evidence: observation. Source references: source-1. The figures form the main human incident. Their small scale against the wide beach makes the landscape feel large and open. Look at how they are painted: dark blue and red vertical strokes below them read as reflections in the water. The same broken colour links the figures to the sea. Evidence: observation. Source references: source-1. In the lower foreground, thick, separately laid strokes of green, ochre, blue and white describe stones and grass. The surface is tactile, almost mosaic-like. At the upper left, the red roofs and dense green hill give the picture a dark tonal anchor. On the far bank, a bright yellow horizontal form, likely a building or beached boat, is the strongest high-value accent across the blue water. Evidence: observation. Source references: source-1. The painting is oil on canvas board. That support helps explain the intimate scale and the freedom of the brushwork. It belongs to Kandinsky's early Post-Impressionist period, before the abstract works for which he became known. Here he is still describing a real place, but with a technique that lets colour and touch carry much of the effect. Evidence: documented. Source references: source-1. The broken strokes do more than describe textures. They unify the scene: the figures, their reflections, the beach and the water are all made of similar marks. That makes the human incident feel part of the landscape rather than separate from it. The bright yellow accent across the water also frames the bay, giving the eye a resting point. Evidence: interpretation. Source references: source-1. So On the Shore is a coastal view, but also a study in how paint builds a world. The small figures at the water's edge are not just staffage; they anchor the scale and draw the eye into the reflections. Kandinsky's early attention to surface and colour here looks forward to the expressive freedom of his later work, while keeping the landscape legible. Evidence: interpretation. Source references: source-1. ## 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. On the Shore (Am Ufer) Source IDs: source-1. - [Wikimedia Commons: Shore, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky,_Wassily_-_Am_Ufer,_GAC.jpg) [source-1] #### Artist or attribution Field ID: artist. Wassily Kandinsky Source IDs: none linked in the published record. #### Object date Field ID: date. circa 1903 Source IDs: none linked in the published record. #### Medium and support Field ID: medium. oil on canvas board Source IDs: source-1. - [Wikimedia Commons: Shore, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky,_Wassily_-_Am_Ufer,_GAC.jpg) [source-1] #### Dimensions Field ID: dimensions. 32 x 22.9 cm Source IDs: source-1. - [Wikimedia Commons: Shore, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky,_Wassily_-_Am_Ufer,_GAC.jpg) [source-1] #### Current collection or location Field ID: location. Musée National d'Art Moderne, Centre Georges Pompidou, Paris, France Source IDs: source-1. - [Wikimedia Commons: Shore, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky,_Wassily_-_Am_Ufer,_GAC.jpg) [source-1] #### Movement or period Field ID: period. Post-Impressionism (early Kandinsky) Source IDs: none linked in the published record. #### Country or culture Field ID: culture. Russia / Germany (artist), France (collection) Source IDs: none linked in the published record. #### Depicted subject Field ID: subject-summary. A coastal scene with small, brightly dressed figures at the water's edge, red-roofed cottages below a wooded hill, and a broad expanse of water and beach, painted in a broken, impasto technique. Source IDs: source-1. - [Wikimedia Commons: Shore, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky,_Wassily_-_Am_Ufer,_GAC.jpg) [source-1] #### Title variants Field ID: title-variants. Shore; On the Shore; Rivage Source IDs: none linked in the published record. #### Accession number Field ID: accession-number. AM 81-65-26 Source IDs: none linked in the published record. #### Support Field ID: support. canvas board Source IDs: none linked in the published record. ### Identity and catalogue Research section ID: catalogue. #### Catalogue identity Claim ID: identity-1. Evidence: documented. The object is catalogued as "On the Shore" (Am Ufer), attributed to Wassily Kandinsky and dated circa 1903. The title is recorded in both English and German, and the circa qualifier marks the date as approximate rather than fixed to a single year. This catalogue identity, together with the attribution, is the frame within which any further examination of the work takes place; the approximately 1903 date belongs to the object as catalogued and should be kept distinct from any later catalogue, file or reference date attached to the record itself, which the supplied evidence does not give. Source IDs: source-1. - [Wikimedia Commons: Shore, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky,_Wassily_-_Am_Ufer,_GAC.jpg) [source-1]. Locator: File title and description Claim ID: identity-3. Evidence: documented. The recorded dimensions are 32 cm in height and 22.9 cm in width. The slightly greater height gives the picture a portrait-oriented format, and the modest measurements place it among small-scale works. These figures are the catalogue's measurements, recorded alongside the title and date in the same descriptive record. Source IDs: source-1. - [Wikimedia Commons: Shore, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky,_Wassily_-_Am_Ufer,_GAC.jpg) [source-1]. Locator: Dimensions Claim ID: legacy-reference-identity-1. Evidence: identity. The painting is titled 'On the Shore' (Am Ufer) by Wassily Kandinsky, dated circa 1903. Source IDs: source-1. - [Wikimedia Commons: Shore, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky,_Wassily_-_Am_Ufer,_GAC.jpg) [source-1] Claim ID: legacy-reference-identity-2. Evidence: identity. The dimensions are 32 cm in height and 22.9 cm in width. Source IDs: source-1. - [Wikimedia Commons: Shore, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky,_Wassily_-_Am_Ufer,_GAC.jpg) [source-1] ### Subject and iconography Research section ID: subject. #### The recorded composition Claim ID: archive-2d00672a411befd83794. Evidence: observation. The visual evidence for this coastal painting is recorded as a set of observed features rather than as documented identifications: small, brightly dressed figures clustered at the water's edge, red-roofed cottages beneath a wooded hill, a foreground of separately laid strokes, reflections rendered in dark blue and red, and a bright yellow horizontal form on the far bank. These observations derive from the vision-derived semantic focus candidates recorded for the work in the Wikimedia Commons file page for Kandinsky's 'Am Ufer', and they should be treated as descriptive readings of the image rather than as facts confirmed by an official museum record, since that page is used as a discovery aid and no official museum record was supplied. Source IDs: source-1. - [Wikimedia Commons: Shore, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky,_Wassily_-_Am_Ufer,_GAC.jpg) [source-1]. Locator: Vision-derived semantic focus candidates, figures_at_waters_edge; Vision-derived semantic focus candidates, cottages_below_wooded_hill; Vision-derived semantic focus candidates, impasto_pebble_cluster; Vision-derived semantic focus candidates, figures_reflected_in_water; Vision-derived semantic focus candidates, yellow_far_shore_structure Claim ID: archive-89a2dca8e4ab371f1155. Evidence: observation. The human incident in the picture is small in scale but central in attention. The figures are described as clustered at the water's edge in bright dress, and they function simultaneously as the main narrative event and as a scale marker against the broad beach. Read together with the red-roofed cottages and the dense green wooded hill at the upper left, the figures establish the coastal village setting, while the hill and roofs supply the picture's dark tonal anchor against which the lighter beach, water and sky are measured. The yellow horizontal form on the far bank, described as likely a building or a beached boat, is the strongest high-value accent across the blue water and effectively frames the bay. That form is an identification offered with qualification: the record says what it is likely to be, not what it demonstrably is, and it should be cited as such. Source IDs: source-1. - [Wikimedia Commons: Shore, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky,_Wassily_-_Am_Ufer,_GAC.jpg) [source-1]. Locator: Vision-derived semantic focus candidates, figures_at_waters_edge; Vision-derived semantic focus candidates, cottages_below_wooded_hill; Vision-derived semantic focus candidates, yellow_far_shore_structure #### Paint handling and reflection Claim ID: archive-d060110c4874099a54d5. Evidence: observation. The surface is described as having thick, separately laid strokes of green, ochre, blue and white in the lower foreground, marking stones and grass and producing a tactile, mosaic-like quality. The same broken colour is used for the reflections: dark blue and red vertical strokes below the cluster of figures read as their reflection in the water. The observation therefore links two registers of the picture, the landscape ground and the human incident, through a shared handling of paint. The medium recorded for the work is oil on canvas board, a support consistent with the intimate dimensions of the picture, though the vision-derived observations themselves describe surface effect and do not establish the support independently. Source IDs: source-1. - [Wikimedia Commons: Shore, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky,_Wassily_-_Am_Ufer,_GAC.jpg) [source-1]. Locator: Vision-derived semantic focus candidates, impasto_pebble_cluster; Vision-derived semantic focus candidates, figures_reflected_in_water; Description Claim ID: archive-89a2dca8e4ab371f1155-2. Evidence: interpretation. The value structure described in the record is worth stating as a relation rather than as a list of parts: the red roofs and dense green hill form the darkest mass; the broad beach and blue water open the middle of the picture; and the yellow form on the far bank supplies the strongest high-value accent. The dark upper-left anchor and the bright far-bank accent together direct the eye across the bay, so that the small cluster of figures at the water's edge sits between the two poles of the composition. This reading is an interpretation of the recorded observations rather than a claim about the painter's intention. Source IDs: source-1. - [Wikimedia Commons: Shore, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky,_Wassily_-_Am_Ufer,_GAC.jpg) [source-1]. Locator: Vision-derived semantic focus candidates, figures_at_waters_edge; Vision-derived semantic focus candidates, cottages_below_wooded_hill; Vision-derived semantic focus candidates, yellow_far_shore_structure #### Observation and identification Claim ID: archive-440b048e4628bdb3745c. Evidence: observation. The yellow form is the clearest instance in this evidence of the gap between observation and identification. It is described as a bright yellow horizontal form on the far bank, likely a building or beached boat; the record does not resolve which. Similarly, the reflections are read as such from their position and colour rather than chemically or optically confirmed, and the foreground strokes are described as reading as stones and grass. These are visual readings derived from the vision-derived semantic focus candidates, and they retain the uncertainty of semantic description rather than the authority of technical analysis. No technical imaging, pigment analysis or conservation record is supplied in this evidence, so changes in appearance over time cannot be documented here. Source IDs: source-1. - [Wikimedia Commons: Shore, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky,_Wassily_-_Am_Ufer,_GAC.jpg) [source-1]. Locator: Vision-derived semantic focus candidates, impasto_pebble_cluster; Vision-derived semantic focus candidates, figures_reflected_in_water; Vision-derived semantic focus candidates, yellow_far_shore_structure Claim ID: legacy-reference-visual-evidence-1. Evidence: visual_observation. The painting depicts a coastal scene with small, brightly dressed figures clustered at the water's edge, forming the main human incident and a scale marker against the broad beach. Source IDs: source-1. - [Wikimedia Commons: Shore, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky,_Wassily_-_Am_Ufer,_GAC.jpg) [source-1] Claim ID: legacy-reference-visual-evidence-2. Evidence: visual_observation. Red-roofed cottages sit beneath a dense green wooded hill at the upper left, establishing the coastal village setting and the picture's dark tonal anchor. Source IDs: source-1. - [Wikimedia Commons: Shore, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky,_Wassily_-_Am_Ufer,_GAC.jpg) [source-1] Claim ID: legacy-reference-visual-evidence-3. Evidence: visual_observation. Thick, separately laid strokes of green, ochre, blue and white describe stones and grass in the lower foreground, revealing the painting's tactile, mosaic-like surface. Source IDs: source-1. - [Wikimedia Commons: Shore, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky,_Wassily_-_Am_Ufer,_GAC.jpg) [source-1] Claim ID: legacy-reference-visual-evidence-4. Evidence: visual_observation. Dark blue and red vertical strokes below the cluster of figures read as their reflection in the water, showing how the painter unifies figures and sea through broken colour. Source IDs: source-1. - [Wikimedia Commons: Shore, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky,_Wassily_-_Am_Ufer,_GAC.jpg) [source-1] Claim ID: legacy-reference-visual-evidence-5. Evidence: visual_observation. A bright yellow horizontal form on the far bank, likely a building or beached boat, creates the strongest high-value accent across the blue water and frames the bay. Source IDs: source-1. - [Wikimedia Commons: Shore, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky,_Wassily_-_Am_Ufer,_GAC.jpg) [source-1] ### Materials and technique Research section ID: materials. #### Support and medium Claim ID: identity-2. Evidence: documented. The documented material basis of the painting is narrow but firm: the work is executed in oil on canvas board. This is the only support and medium recorded in the available description, which supplies no further information about the ground, the priming, the thickness or weave of the canvas, the dimensions or construction of the board, or any varnish, retouching or conservation treatment. The description also does not record pigments, binding media analysis, sampling, imaging, or any other technical examination. Any account of how the paint was prepared or layered therefore rests on what the painted surface visibly shows rather than on laboratory or documentary evidence, and the two kinds of statement should be kept distinct. Source IDs: source-1. - [Wikimedia Commons: Shore, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky,_Wassily_-_Am_Ufer,_GAC.jpg) [source-1]. Locator: Description #### Broken colour and surface Claim ID: archive-93fb27b693e30d4efa5e. Evidence: interpretation. The figures at the water's edge are painted in bright clothing and clustered at the shoreline, forming the main human incident and a scale marker against the broad beach. Their small scale, set against the wide beach and the broken strokes of the shore, means the human incident is described with the same kind of mark as the landscape around it rather than modelled in separate, finer detail. Within a history of coastal painting this matters because it shows a small, rapidly worked oil on board being used to test how far descriptive texture and divided colour could carry a scene, while the subject remained a legible shore with identifiable figures, cottages and a bay. The evidence available documents the medium and the visible handling; it does not document the artist's intentions, working sequence or the place depicted beyond the generic coastal setting the image itself presents. Source IDs: source-1. - [Wikimedia Commons: Shore, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky,_Wassily_-_Am_Ufer,_GAC.jpg) [source-1]. Locator: Description; Vision-derived semantic focus candidates, figures_at_waters_edge Claim ID: legacy-reference-materials-technique-1. Evidence: materials_technique. The medium is oil on canvas board. Source IDs: source-1. - [Wikimedia Commons: Shore, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky,_Wassily_-_Am_Ufer,_GAC.jpg) [source-1] ### Collection and display Research section ID: collection. #### Institutional location Claim ID: collection-1. Evidence: documented. The painting known as On the Shore (Am Ufer) is recorded as belonging to the Musée National d'Art Moderne, Centre national d'art et de culture Georges-Pompidou, Paris, where it carries the accession number AM 81-65-26. That single, specific piece of collection data is the firmest institutional fact the available evidence supplies. The source that records it is a Wikimedia Commons file page, and its own annotation describes it as a discovery aid rather than an official museum record. The collection and accession number should therefore be treated as an attributed report from that page, not as a confirmation drawn directly from the museum's own catalogue. The same page is also the origin of the title, the attribution to Wassily Kandinsky and the approximate date of circa 1903, so the object's basic identification and its institutional home come from one and the same secondary source. Source IDs: source-1. - [Wikimedia Commons: Shore, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky,_Wassily_-_Am_Ufer,_GAC.jpg) [source-1]. Locator: Collection and accession number Claim ID: collection-1-2. Evidence: documented. Reading the collection record alongside the physical description in the same source shows why the object's display context matters. The page records oil on canvas board at 32 cm in height by 22.9 cm in width, an intimate scale that sits comfortably with the reduced dimensions of a museum collection number and with the freedom of handling described in the image. The canvas-board support and the small format help explain the thick, separately laid strokes of green, ochre, blue and white in the lower foreground, where stones and grass are built up as a tactile, mosaic-like surface. The material facts and the visual facts reinforce one another: the picture was made to be held close as much as to fill a wall, and its broken colour is legible at that distance. Source IDs: source-1. - [Wikimedia Commons: Shore, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky,_Wassily_-_Am_Ufer,_GAC.jpg) [source-1]. Locator: Collection and accession number #### The visible object and its record Claim ID: collection-1-3. Evidence: documented. The compositional description on the same page adds a further reason the work rewards close viewing in a collection setting. Small, brightly dressed figures cluster at the water's edge and serve at once as the main human incident and as a scale marker against the broad beach. Red-roofed cottages sit beneath a dense green wooded hill at the upper left and give the picture its dark tonal anchor, while a bright yellow horizontal form on the far bank, probably a building or a beached boat, is the strongest high-value accent across the blue water and frames the bay. Dark blue and red vertical strokes below the figures read as their reflection, so that figures and sea are unified through broken colour. Together these features describe a coastal village view in which paint handling, rather than narrative incident, carries much of the effect. Source IDs: source-1. - [Wikimedia Commons: Shore, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky,_Wassily_-_Am_Ufer,_GAC.jpg) [source-1]. Locator: Collection and accession number Claim ID: collection-1-4. Evidence: interpretation. Because the only supplied evidence is a Commons page marked partially consulted, the collection account should be built to accommodate whatever an official museum record might add or revise. Dates, medium, dimensions and accession number all currently rest on that one secondary source, and no provenance interval, acquisition date, gallery history or display history is established by the evidence supplied. The value of the object within a larger history of material culture is nonetheless clear enough from what is documented: a small oil on canvas board of about 1903, held in a major national modern art collection under an identifiable accession number, and described as an early coastal landscape in which the handling of paint is as consequential as the place depicted. That combination of modest scale, institutional standing and painterly ambition is itself a meaningful fact about how early twentieth-century landscape painting entered public collections. Source IDs: source-1. - [Wikimedia Commons: Shore, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky,_Wassily_-_Am_Ufer,_GAC.jpg) [source-1]. Locator: Collection and accession number Claim ID: legacy-reference-collection-1. Evidence: collection. The painting is in the collection of the Musée National d'Art Moderne, Centre national d'art et de culture Georges-Pompidou, Paris, with accession number AM 81-65-26. Source IDs: source-1. - [Wikimedia Commons: Shore, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky,_Wassily_-_Am_Ufer,_GAC.jpg) [source-1] ### Documented values and qualified estimates Research section ID: values. #### The Recorded Valuation Figure Claim ID: valuation-calculated-insurance. Evidence: interpretation. The only value figure supplied for Wassily Kandinsky's painting On the Shore (Am Ufer) is not a market record. It is a calculated working insurance estimate, recorded as a working calculation generated on 2026-10-30, giving a broad range of US$1.5M to US$4M. The methodology described in that calculation builds the bracket from four object-specific factors: the confirmed attribution to Kandinsky, the early date circa 1903, the medium of oil on canvas board, and the modest scale of 32 by 22.9 cm. To these it adds institutional context, since the work is held in a major public collection, the Musee National d'Art Moderne, Centre Georges Pompidou, Paris, under accession number AM 81-65-26, and it places the picture within an early Post-Impressionist period. The range is described as deliberately wide so that it does not imply precision. Source IDs: source-1. - [Wikimedia Commons: Shore, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky,_Wassily_-_Am_Ufer,_GAC.jpg) [source-1] Claim ID: valuation-calculated-insurance-2. Evidence: interpretation. The qualifications attached to this figure are as consequential as the figure itself. The calculation states explicitly that the supplied excerpt contains no market price, appraisal, or private insurance figure, and that the range does not rely on comparable sales or private insurance records. It is characterized as model-generated and intended for manual review only, not as an official insurance value, appraisal, auction result, or sale price, and it is said to require verification by a qualified professional before any insurance or financial use. Read together, these statements place the number in the category of an internal working heuristic rather than a documented valuation event: no sale, no appraisal, and no insurer's schedule stands behind it in the evidence supplied. Source IDs: source-1. - [Wikimedia Commons: Shore, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky,_Wassily_-_Am_Ufer,_GAC.jpg) [source-1] #### The Descriptive Basis Claim ID: valuation-calculated-insurance-3. Evidence: interpretation. Within the larger history of valuation, the case illustrates how a working range can be derived from documented attributes without any transaction behind it. The attribution, the circa 1903 date, the oil-on-canvas-board medium, the small dimensions, and the public collection each contribute stated support to the bracket, yet the calculation itself insists that these premises support only a conservative bracket for manual review. The evidentiary chain therefore runs from a discovery-level description of the object to a model-generated financial heuristic, and the intermediate documents that would normally anchor a valuation, such as an appraisal, an auction record, or an insurer's figure, are expressly absent from the supplied material. Source IDs: source-1. - [Wikimedia Commons: Shore, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky,_Wassily_-_Am_Ufer,_GAC.jpg) [source-1] Claim ID: legacy-reference-values-1. Evidence: calculated_insurance. Calculated working insurance estimate, not a sale price: Estimated value: US$1.5M to US$4M Recorded date: Working calculation, generated 2026-10-30. Methodology: Broad working range calculated from the confirmed attribution, early date circa 1903, oil on canvas board medium, and modest 32 x 22.9 cm scale. The work is held in a major public collection, the Musee National d'Art Moderne, Centre Georges Pompidou, Paris, with accession number AM 81-65-26. The institutional context and early Post-Impressionist period support a conservative insurance-calculation bracket for manual review, but the supplied excerpt does not provide a market price, appraisal, or private insurance figure. The range is deliberately wide to avoid implying precision. Qualification: This is a model-generated working insurance range for manual review only. It is not an official insurance value, appraisal, auction result, or sale price. The range does not rely on comparable sales or private insurance records and should be verified by a qualified professional before any insurance or financial use. Source IDs: source-1. - [Wikimedia Commons: Shore, n.d.](https://commons.wikimedia.org/wiki/File:Kandinsky,_Wassily_-_Am_Ufer,_GAC.jpg) [source-1] ## 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 catalogue of writings by Wassily Kandinsky whose recorded subjects include Catalogs, Centre Georges Pompidou, Musée national d'art moderne (Paris), and criticism and interpretation. This aligns with the painting's documented collection at the Musée National d'Art Moderne, Centre Pompidou, and with study of Kandinsky's early work. The record describes a catalogue, not a verified discussion of On the Shore. 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 Recorded as Kandinsky's complete writings on art, with subjects modern art and twentieth-century art. As the artist's own collected texts, it is relevant to the artist behind On the Shore (circa 1903) and to the period context of his painting theory and practice, though the catalogued record does not confirm mention of this specific canvas. 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 ## Sources and literature ### [source-1] Wikimedia Commons: Shore Wikimedia Commons: Shore (n.d.). Wikimedia Commons. Available at: https://commons.wikimedia.org/wiki/File:Kandinsky,_Wassily_-_Am_Ufer,_GAC.jpg Publisher: Wikimedia Commons. Type: secondary. URL: https://commons.wikimedia.org/wiki/File:Kandinsky,_Wassily_-_Am_Ufer,_GAC.jpg Authors / editors: Not recorded. Publication year: Not recorded. Consultation status: partially_consulted. Access status: open_access. Relevance: artwork. Archive annotation: Wikimedia Commons file page for Kandinsky's 'Am Ufer', providing title, artist, date, medium, dimensions, collection and accession number. Used as a discovery aid; no official museum record was supplied. ### [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 catalogue of writings by Wassily Kandinsky whose recorded subjects include Catalogs, Centre Georges Pompidou, Musée national d'art moderne (Paris), and criticism and interpretation. This aligns with the painting's documented collection at the Musée National d'Art Moderne, Centre Pompidou, and with study of Kandinsky's early work. The record describes a catalogue, not a verified discussion of On the Shore. ### [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: Recorded as Kandinsky's complete writings on art, with subjects modern art and twentieth-century art. As the artist's own collected texts, it is relevant to the artist behind On the Shore (circa 1903) and to the period context of his painting theory and practice, though the catalogued record does not confirm mention of this specific canvas. ## Editorial note Published automatically by Artifact Archive. No human editorial review. ## 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: 3. 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. Editorial review date: 2026-10-30. ## Product range [Browse ArtifactArchive's current product range](https://www.artifact-archive.com/shop). [This artwork's editions and availability](https://www.artifact-archive.com/archive/on-the-shore-am-ufer-wassily-kandinsky-circa-1903#prints). Delivery country: GB. - Notebook: Choose your size below. - Tough phone case: No suitable size for this painting. - Framed art print: Choose your size below. - Canvas tote bag: Choose your size below. - Mouse mat: Choose your size below. - Flexible phone case: Choose your size below. - Mug: Choose your size below. - Biodegradable phone case: Choose your size below. - Fine art poster: Choose your size below. - Clear phone case: Choose your size below. - Desk mat: Choose your size below. 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