Improvisation 28 (second version) Vasily Kandinsky (1866-1944)

The composition presents a dynamic and chaotic arrangement of forms, seemingly devoid of recognizable subject matter. A dense layering of color dominates the visual field, with broad strokes of red, yellow, blue, green, and white intermingling in a manner that resists easy categorization. The artist employed a palette characterized by both vibrant intensity and muted tones, creating an overall effect of energetic turbulence.
Here we see a proliferation of lines – some thick and assertive, others thin and hesitant – which intersect and overlap to generate a complex network across the canvas. These linear elements appear to function as both delimiters of color fields and independent forms in their own right. They possess a directional quality that suggests movement, though this motion is not channeled along any discernible path. Instead, it seems dispersed and fragmented.
The shapes themselves are amorphous; they swell and recede, suggesting rounded volumes but resisting precise definition. Certain areas appear to coalesce into vaguely organic forms – perhaps hinting at foliage or abstracted figures – while others remain purely chromatic zones. The artist’s application of paint is demonstrably expressive, with visible brushstrokes contributing to the sense of immediacy and spontaneity.
The absence of a clear focal point contributes to the paintings unsettling quality. The eye wanders across the surface, encountering an array of competing visual stimuli. This lack of hierarchy prevents any single element from asserting dominance, reinforcing the impression of a world in constant flux.
Subtly, there is a sense of underlying structure despite the apparent disorder. The arrangement of colors and lines suggests a rhythmic pulse, albeit one that is irregular and unpredictable. One might interpret this as an attempt to capture not a static scene but rather a fleeting moment – a sensory overload or a burst of emotional intensity. The work seems less concerned with depicting external reality than with conveying an internal state; it’s a visual manifestation of feeling, rather than observation.