1928, Vassily Kandinsky, Auf Spitzen (On Top) -- Pompidou Center (Paris)
From the museum label: The colours treated like watercolours contribute to the impression of lightness and weightlessness emanating from this work.
Wassily Kandinsky painted Auf Spitzen in a perfect square, relying on the plastic grammar he explained in his theoretical work Point and Line to Plane (published in 1926). Circles and triangles form an aerial composition moored to a base of three grey lines. All alone, a small orangish square contributes to re-establishing the overall balance. Here the rigour of geometry is combined with refinement of the touch.
1928, Vassily Kandinsky, Auf Spitzen (On Top) -- Pompidou Center (Paris)
From the museum label: The colours treated like watercolours contribute to the impression of lightness and weightlessness emanating from this work.
Wassily Kandinsky painted Auf Spitzen in a perfect square, relying on the plastic grammar he explained in his theoretical work Point and Line to Plane (published in 1926). Circles and triangles form an aerial composition moored to a base of three grey lines. All alone, a small orangish square contributes to re-establishing the overall balance. Here the rigour of geometry is combined with refinement of the touch.