Farbtheoretische Betrachtungen und Skizzen

Farbtheoretische Betrachtungen und Skizzen ( Observações sobre Teoria da Cor e Esboços) 1913
Tirado de Kandinsky. Ulrike Becks-Malorny  Taschen,2007,96-97.

"One side of the sheet has eight squares in four rows of two columns. The top four squares each contain a concentric circle motif with color notations. Each of the two lower circles is labeled "Kochen" (boiling, as translated by Vergo and Lindsay in Kandinsky's other writings), and each suggests movement. Both squares have an additional vertical line inside of them, to the right of the circle, about a quarter of the distance from the right edge of the bounding square. In the left square, arrows point towards the circle. In the bottom right square, the circle is surrounded by three numbered ovals made of dotted lines. The general arrangement is similar to those describing orbital patterns, which could be cosmic or atomic. 290-291" 

"At the same time, the forms in the sketches more closely correspond to the concentric circles in Composition VII than earlier iterations of the circle motif. "291-292"

Em cima à direita:

1. abgegrenzt / 2. aufgelöst / 3. lasiert / 4. übergeflossen auch schäumend (weiß , od. andere Farbe)".

1. Delimitado/ 2 dissolvido 3. envernizado  4. transbordado e e espumado ( branco ou outra cor)


{"It is uncertain if this referred to the four iterations of the motif, but it seems likely."291} 

Embaixo

"Das Kochen an der Grenze, die Fermata bildet = hoffnungsvolle / Berührung [?] der Hemmung. Kann die Verzweiflung steigen?

No ponto de ebulição,  a fermata é formada = contato promissor com a inibição. Pode a agitação aumentar?


Das Kochen entfernt kann Ausstrahlungen senden: 1. über Fermata / 2. von Ferm. kraftvoll fliehend / 3. [von Ferm.] ermattet fallend". 98 Ibid.: "1. abgegrenzt / 2. aufgelöst / 3. lasiert / 4. übergeflossen auch schäumend (weiß , od. andere Farbe)".

Do ponto de ebulição remoto são enviadas transmissões 1. sobre a fermata 2. da fermata, poderoso aclive, 3. da fermata, declive extenuante.

"The other side of the page has two squares, each with a series of concentric circles

(fig. 8.5). Unlike versions of the motif in the Kochen note on the other side, which were roughly symmetrical, these are set at opposite angles, with one pointed upward to the right, and the other pointed upward to the left."294

"His description of "brown in grey-blue-matte" and "the mysterious brown" seems to be related to the central form in Composition VII, which contains gray-blue matte, and a matte green-brown circle."295  










"Die matte Farbe ist schwach, besonders wenn sie in der Umgebung zerfließt. / Schwäche neigt zum Sinken, Herunterfließen. / Wenn also ein solcher Fleck nach oben (und besonders links) gedreht ist, so entsteht Unnatürlichkeit (innere Dissonanz); / ein Kern aber (besonders kräftiger- das geheimnisvolle Braun! was lebt dort versteckt?) ist eine verborgene Kraft (inneres Kochen!!) und so glaubt man an diese Drehung des an sich schwachen Fleckes. / So bringt hier der innere Fleck Harmonie, die nur innerlich zu erklären ist- keinesfalls äußerlich (es kann äußerlich conventionell disharmonisch sein , wird aber innerlich als harmonisch empfunden- und je fremder äußerlich der innere Fleck dem schwachen ist- desto mehr!! " 

A cor opaca é fraca, especialmente quando é dissolvida no ambiente. A fraqueza tende a afundar, fluir para baixo. Então se tal ponto for virado para cima (especialmente para a esquerda), torna-se não natural (dissonância interna). Mas um núcleo central (especialmente poderoso- o marrom misterioso! O que está oculto ali?) é uma força oculta (ebulição interna!) e então passa-se a acreditar na rotação do ponto fraco. Isso traz o ponto interno de harmonia, que é somente explicado internamente, não externamente ( pode ser disarmônico de um modo convencional, mas é percebido internamente como harmônico) e quanto mais exterior a fraqueza extra do ponto interior, maior será "