"It was preceded by over thirty drawings, watercolors, and oil studies" 40
exact chronology is difficult to establish. It seems that for Kandinsky the process of creation was never linear; there is no certainty that one study results from another and leads to the next. His investigations might extend over a long period of time, and he seems to go back and forth between several motifs at the same time " 40
"The preparatory drawings and watercolors in Munich fall into three distinct groups, although their
he three oval forms of reclining figures at the lower right of Composition VII (pis. 50, 51). 40
Parte centro baixa, direita baixa, centro.
Oval forma
"It essentially includes all the elements, such
as the oval form intersected by an irregular rectangle in the center; the oval boat-like shape in lower right; an other triangular boat-like form at left in the middle sec tion; and a heavily delineated S-shaped form, possibly a mountain, shaded by cross-hatching, surrounding the central motif. "21
" Formally, Composition VII is focused around the motif of an oval outlined in green and black and criss-crossed by two horizontal black lines and an irregular black rectangle. This central motif is placed more toward center left in all of the preliminary sketches, thus creating a diagonal motion from lower left to upper right. It is closely surrounded by the vestiges of the blue mountain, a boat with three oars outlined in black at the lower left, a smaller triangular hull of a boat at middle left, and another boat shape with a figure and two oars below the central motif at the bottom of the canvas. The elongated blue shapes at upper right bring to mind the trumpets and their resounding music as in depictions from the Russian folk Loubki (fig. 3) or German fifteenth-century bibles, where the sound is symbolized by straight lines spilling out of a trumpet and crossing the pictorial field. Here it is represented as the outer edges of an extended blue conical form. Another source of this motif could have been the fresco by the Nazarene painter Peter von Cornelius above the main altar of Saint Lud- wig's Church in Munich (fig. 16), which was certainly familiar to Kandinsky. Vestiges of other trumpets are visible in the top register, defined in yellow, and an extended orange arm of a blue angel appears to hold one of the yellow trumpets. The shapes of a horse and rider initially placed in the right section, are now barely evident. At the right mid-section, two purple oval shapes are placed diagonally, close to each other. This is Kandinsky's abstracted, universalized form of a couple, formerly seen in a similar configuration in Composition IV (pi. 31) and easily recognizable from Kandinsky's Garden of Love paintings and watercolors. These shapes lead the spectator to discover a comprehensive apocalyptic iconography that symbolizes Kandinsky's viewpoint of the world's condition and its future, as well as his conviction that art leads to a spiritual renewal. (...) Kandinsky introduced the motif of an Eden or the Garden of Love, represented in Composition VII in the lower right corner of the pictorial field, where we see the oval shapes placed diagonally as if intertwined, symbolizing the reclining couple. This device of balancing the left and right sides of the composition with contradictory events is similar to his solutions in Compositions II and IV (pis. 12, 31). The introduction of the Garden of Love motif universalizes the concept of the reclining couple, recalling the late-nineteenth-century Symbolist notion of transcendent love and the idyllic state of the world.P. 45. "
Relação com Último Julgamento (1912)
" Formally, Composition VII is focused around the motif of an oval outlined in green and black and criss-crossed by two horizontal black lines and an irregular black rectangle. This central motif is placed more toward center left in all of the preliminary sketches, thus creating a diagonal motion from lower left to upper right. It is closely surrounded by the vestiges of the blue mountain, a boat with three oars outlined in black at the lower left, a smaller triangular hull of a boat at middle left, and another boat shape with a figure and two oars below the central motif at the bottom of the canvas. The elongated blue shapes at upper right bring to mind the trumpets and their resounding music as in depictions from the Russian folk Loubki (fig. 3) or German fifteenth-century bibles, where the sound is symbolized by straight lines spilling out of a trumpet and crossing the pictorial field. Here it is represented as the outer edges of an extended blue conical form. Another source of this motif could have been the fresco by the Nazarene painter Peter von Cornelius above the main altar of Saint Lud- wig's Church in Munich (fig. 16), which was certainly familiar to Kandinsky. Vestiges of other trumpets are visible in the top register, defined in yellow, and an extended orange arm of a blue angel appears to hold one of the yellow trumpets. The shapes of a horse and rider initially placed in the right section, are now barely evident. At the right mid-section, two purple oval shapes are placed diagonally, close to each other. This is Kandinsky's abstracted, universalized form of a couple, formerly seen in a similar configuration in Composition IV (pi. 31) and easily recognizable from Kandinsky's Garden of Love paintings and watercolors. These shapes lead the spectator to discover a comprehensive apocalyptic iconography that symbolizes Kandinsky's viewpoint of the world's condition and its future, as well as his conviction that art leads to a spiritual renewal. (...) Kandinsky introduced the motif of an Eden or the Garden of Love, represented in Composition VII in the lower right corner of the pictorial field, where we see the oval shapes placed diagonally as if intertwined, symbolizing the reclining couple. This device of balancing the left and right sides of the composition with contradictory events is similar to his solutions in Compositions II and IV (pis. 12, 31). The introduction of the Garden of Love motif universalizes the concept of the reclining couple, recalling the late-nineteenth-century Symbolist notion of transcendent love and the idyllic state of the world.P. 45. "
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