This article is about the work of Arnold Schönberg1 (1874-1951) as a painter, a little-known facet, but a skill which has shown in excellent art expositions, both in life and posthumously. The last Arnold Schönberg. Peintre l’âme in the MahJ Museum (le musée d’art et d’histoire du Judaïsme) in París in 2016. In Barcelona in 1992: Arnold SchönbergPaintings and drawings. The collection of art work, an exhibition that came from Vienna, Cologne, Manchester, Berlin and Milan. Schönberg answers the first letter from Wassily Kandinsky (1866-1944), and tells him he was apainter, too, and wanted to speak to him about art. These works reveal the relationships that he established in his life: painting and music, idea and style, art and life, tonality and atonality, the established and the new. The doubts faced during some hard years due to the fall of an empire and theapparent peace. Pain in the vanguards at the beginning of the twentieth century. The importance of their meetings and the extensive correspondence with Kandinsky and other artists. The quest for total art. The relationship between Kandinsky’s book “The Spiritual in Art” (1912), which hedelivered to the printer at the same time as Schönberg published his “Treaty on harmony” (1911); despite their conceptual differences both have a common intention: to create from inside the individual’s interior. At the same time, atonal music and abstract art were born. Schönberg was spoken of as a musician, teacher, writer, inventor, scenographer, designer and painter.
Tal Vez no Sepa Vd. que yo también Pinto. Arnold Schönberg