組合物/構(gòu)成第八號(hào)Composition VIII_1923_康定斯基抽象印象派油畫作品欣賞_瓦西里·康定斯基油畫作品.
從第七部作品的天啟情感到第八部作品的幾何節(jié)奏，觀眾都受到了很大的沖擊。寫于1923年10年后的第八部作品反映了康定斯基在返回德國到包豪斯教書之前在俄羅斯所吸收的至上主義和建構(gòu)主義的影響。在這里，康定斯基已經(jīng)從一種顏色轉(zhuǎn)移到另一種形式，成為主要的構(gòu)圖元素。對比形式現(xiàn)在提供了作品的動(dòng)態(tài)平衡；左上角的大圓圈與畫布右側(cè)精確線條的網(wǎng)絡(luò)相對。還要注意康定斯基是如何在表格中使用不同的顏色來激發(fā)他們的幾何圖形的：一個(gè)帶有藍(lán)色光暈的黃色圓圈和一個(gè)帶有黃色光暈的藍(lán)色圓圈；一個(gè)充滿藍(lán)色的直角和一個(gè)帶有銳角的粉紅色。背景也有助于增強(qiáng)構(gòu)圖的活力。這種設(shè)計(jì)并不是平面上的幾何運(yùn)動(dòng)，而是在未定義的空間中進(jìn)行的。分層背景色——底部淺藍(lán)色，頂部淺黃色，中間白色——定義了這個(gè)深度。這些形狀在這個(gè)深度內(nèi)趨向后退和前進(jìn)，創(chuàng)造了一種動(dòng)態(tài)的推挽效應(yīng)。
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.
