组合物/构成第八号Composition VIII_1923_康定斯基抽象印象派油画作品欣赏_瓦西里·康定斯基油画作品.
从第七部作品的天启情感到第八部作品的几何节奏，观众都受到了很大的冲击。写于1923年10年后的第八部作品反映了康定斯基在返回德国到包豪斯教书之前在俄罗斯所吸收的至上主义和建构主义的影响。在这里，康定斯基已经从一种颜色转移到另一种形式，成为主要的构图元素。对比形式现在提供了作品的动态平衡；左上角的大圆圈与画布右侧精确线条的网络相对。还要注意康定斯基是如何在表格中使用不同的颜色来激发他们的几何图形的：一个带有蓝色光晕的黄色圆圈和一个带有黄色光晕的蓝色圆圈；一个充满蓝色的直角和一个带有锐角的粉红色。背景也有助于增强构图的活力。这种设计并不是平面上的几何运动，而是在未定义的空间中进行的。分层背景色——底部浅蓝色，顶部浅黄色，中间白色——定义了这个深度。这些形状在这个深度内趋向后退和前进，创造了一种动态的推挽效应。
The viewer receives quite a shock in moving from the apocalyptic emotion of Composition VII to the geometrical rhythm of Composition VIII. Painted ten years later in 1923, Composition VIII reflects the influence of Suprematism and Constructivism absorbed by Kandinsky while in Russia prior to his return to Germany to teach at the Bauhaus. Here, Kandinsky has moved from color to form as the dominating compositional element. Contrasting forms now provide the dynamic balance of the work; the large circle in the upper left plays against the network of precise lines in the right portion of the canvas. Note also how Kandinsky uses different colors within the forms to energize their geometry: a yellow circle with blue halo versus blue circle with yellow halo; a right angle filled with blue and an acute angle colored pink. The background also works to enhance the dynamism of the composition. The design does not appear as a geometrical exercise on a flat plane, but seems to be taking place in an undefined space. The layered background colors - light blue at bottom, light yellow at top and white in the middle - define this depth. The forms tend to recede and advance within this depth, creating a dynamic, push-pull effect.
