Kandinsky based his fundamental approach to the ‘language of painting’ by trying to
define the visual messages emanating from different arrangements of lines on the basic
plane of a canvas. This raised the important question of distinguishing between ‘top’ and
‘bottom’. There are associated questions about whether we respond differently to
square, rectangular, circular and ovoid canvases. Also, is there a fundamental
difference between the left and right halves of the basic plane, no matter what is placed
there (Figs 8-10
Fig 8 Tensions and contrasts in the basic plane
Fig 9 Horizontal, vertical and diagonal positions produce contrasts in tension
Fig 10 Position of forms influences the ‘sound’ of the composition
The effects of some of Kandinsky’s compositions on the viewer are strongly influenced
by rotating them through so that bottom becomes top (Fig 11).
Fig 11 Point and Line to Plane
A. Kandinsky: Illustrative composition in Point and Line to Plane turned through 90
degrees.
B. Kandinsky: Illustrative composition in Point and Line to Plane turned through 180
degrees.
Finally, Kandinsky opened up the problem of including multiple planes within the basic
plane. What is the influence of their shape, surface structure; colour and gradients of
tonality. Artists were exploring photography at this time and it was being used to
address the problems of creating depth by superimposing semi-transparent planes.
This was a particular concern to the Futurists who were also merging compositional
planes and superimposing multiple images to convey movement and noise. Kandinsky
experimented with semi-transparent planes under the influence of contemporaries and
friends, notably Feininger and Klee.
