TEMA DO DILÚVIO
Composição III, 1910
Leitura a partir de DAMBROVSKI
" Motivos de cavaleiros, ondas e elementos de paisagem" P.29.
Há a possibilidade de uma figura reclinada na esquerda em baixo, reminescência da figura vestida de verde em Composição II,
There is possibly a reclining figure at lower left, reminiscent of the green-clad figure in Composition II, who is either drowned or, to adopt Weiss's interpretation of Composition II, might represent the Zyrian water spirit Vasa. T
he motif at lower right recalls the rider with outstretched arms found in the drawing for Composition I (pi. 1) and in the watercolor study for Composition II (pi. 9), although here his position is reversed. It could be the World-Watching Man or Yanukh-Torem from Zyrian beliefs.
Então temos as áreas da esquerda e da direita em relação. Ambas ligadas à mitologia, uma divindade das águas, Vasa, e um deus montado no cavalo.
Cores
that indicate an expanse of violet in the right section; a large looming form in upper right — possibly a cloud — in black; three white sections at the top; different forms, possibly waves, in blue in the center; and a red shape in the lower right corner.
Cores
Três seções brancas no alto.
Canto direito em cima, uma grande forma em negro, uma nuvem
Direita/Violeta
Diferentes formas,
possivelmente ondas,
em azul no cento
uma forma vermelha no canto direito baixo.
Centro ocupado por uma rocha gigante articulada em pequenos blocos, sendo o do meio azul. Mas as formas azuis podem representar ondas tambem. Na base, brilhantes formas rochosas que de baixo irrompem como figuras.
Esboço para Improvisação XV ( Um estudo para composição III)
Two other unlocated studies are related to Compo sition III ; one is Sketch for Improvisation XV (pi. 19), which incorporates almost identical pictorial motifs as
Composition III, yet reverses the overall compositional arrangement. Judging from the existing photographs of Sketch for Improvisation XV and Composition III (pi. 20), the mood conveyed by the picture was indeed that of impending doom or tragedy. Composition III, ex ecuted in 19 10, must be viewed in the context of the pre ceding two Compositions, although stylistically, as far as one can judge from the black-and-white reproductions,
it differs markedly from the first two. It incorporates fewer compositional elements; its forms are broader and rendered in larger expanses of color. In this work, linear definitions of forms create tensions and counterpoint the color structure. Kandinsky is moving in a more in dependent direction, decisively relying less on associat ing pictorial shapes with visible reality. The riders in a landscape become secondary, and the primary expressive force is conveyed through the arrangement of colored forms, creating a mood or an inner soul of the picture.
