The lack of syntaxial purpose in the placement of objects and colors builds the overwhelming chaos found in the paintings. In Composition VII, Kandinsky depicts recognizable objects such as a banana, cup, boat, and oars, but instead of guiding the viewer to what the painting might represents, the images themselves are blurred almost beyond recognition. While there are two sticks at the bottom, without further detail or visual references to compare their sizes, it cannot be determined whether they are ski poles, chopsticks, or something else. More importantly, these objects appear randomly, eliminating any syntaxial meaning from the painting. The banana near the center might recollect a familiar memory of its texture or taste, but there is no meaningful connection between the banana and the surrounding objects. The banana is simply there, suspended in space. It is comparable to a sentence with a jumble of letters like qlvp fnl xzoya. While each...
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...hout control, Kandinsky would not be able to express himself and the painting would be a mere production of nature, of chance.
It could well be said that Composition VII and No. 2 is otherworldly. Because the subject matter, emotion, is an entity that cannot be observed, its depiction results an equally confusing and incomprehensibility. Seen under the same light used to see the world, the image cannot be more ambiguous: it resembles nothing. But there is an artistic purpose to this madness. While Kandinsky seeks to capture music, Pollock aims to capture his changing emotional states. The incomprehensibility, however, adds another dimension to the painting. Faced with nothing familiar, the viewer is forced to question not the painting but the painter’s mind itself, leading to a deeper understanding of the depicted emotions. What could he have possibly been thinking?
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