The picture shows a white oval with an irregular configuration on a black marble background. Background performs an equally important active role, as in realistic portraits. He brightens and simultaneously emphasizes the storyline.
Inside the oval there are various shapes. The basis of the composition is the black axis, the remaining components are grouped around it. The axis is of paramount importance, overlapping the rest of the figure. If you look at all the elements together, they resemble the human heart. The bottom-up image below to the left resembles a pincushion of a finger of the hand, which they want to touch the exposed surface of the most important organ of life and feeling.
All forms of paintings have a certain symbolic character and can be perceived as a sort of alphabet by the artist, not solved until now. This picture was painted by Kandinsky during the heyday of his work, in Moscow, shortly before his departure for Germany.
The well-known art critic D. Sarabyanov compared this picture with the revived music. In it, as if expressed a state of the artist’s soul, imbued with deep inner feelings. And at the same time, an objective intellectual situation is realized in it, revealed to the outside world. This refers to Kandinsky’s attitude to the events of the revolution and the Civil War in Russia.
“White Oval” is one of the key works of Kandinsky, it is the transition from abstract expressionism of the first half of the 1910s to a rational system of abstract art that will be developed in the 1920s, after his move to Germany, where he became a professor at the famous Bauhaus school.
The black frame, included in the picture field, creates a certain screen and forms the contours of the white oval, which is interpreted as a form and at the same time as a space that includes many other forms. Kandinsky creates a picture inside the picture, where each form opens as a spatial perspective. For example, an oval in the center and a brown oval in the upper right corner partially repeat the configuration of a large white oval.
All elements can be considered as traces of the “residual” landscape vision. They are coordinated along the diagonal axes, and the long black diagonal lines extending from the bottom right in the upper left corner of the picture balances the entire complex of oppositely directed elements directed from the lower left corner to the upper right corner. As a result, the whole composition is given a rotational dynamics.
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