"It shows the design: a long oval, rising from left to right, and curves surrounding the oval like orbits of satellites. The two other drawings are free studies of details. How long Kandinsky worked on the painting can be seen from a watercolor (CC 684) which he himself dated 1911, and which already shows the central forms as well as some secondary forms of Composition VII.
The main center of the painting is situated at the left below the middle point. It is a form approximating the oval, cut by a wedge and two arrows. One might think of an egg, of a development "ab ovo," as Klee titled an abstract work of his in 1917. This form lies within an area bounded by lines and extends to a second center at the left with a triangular form which frequently recurs in the painting. This second center reaches out to the lower left corner with the "oars." All the weight is situated in the lower left quarter of the composition. The lower right is similar to Painting with the White Border: it includes sailing forms, and other forms below them. The diagonal running from the lower left to the upper right divides the whole into a nervous upper half and a calmer lower one. All the smaller forms—circles, wedges, triangles, bars, and arabesques are on the left side. Associations lead to no more tangible interpretation than a feeling of dramatic action, with energies and tensions as protagonists. What we have here is one of many possible worlds; it is the artist who introduces fate into the painting, and who uses the various formal elements and connections in order to state how he experiences the world.
The colors come closest to giving us information about the "content." The fiery quality of Sketch 1 has been preserved in Composition VII, whose over-all character suggests a blazing fire, an approaching disaster, an exaggerated tempo. The red above the diagonal, the blue under it, the yellow, all are disquieting and threatening ; the black opens up like a dangerous precipice, and there is no reassuring green. If Kandinsky had previously had war on his mind, this painting may well be a foreboding of its out- break a year later. Once we engage in such speculations, further associations become possible, not with objects and memories, but with contrasting ideas, such as those of alarm and peace, flight and immobility, sharpness and bluntness. Even then the interpretation of the painting cannot be more definite than that of a symphony, the Eroica, for example."136-137
The colors come closest to giving us information about the "content." The fiery quality of Sketch 1 has been preserved in Composition VII, whose over-all character suggests a blazing fire, an approaching disaster, an exaggerated tempo. The red above the diagonal, the blue under it, the yellow, all are disquieting and threatening ; the black opens up like a dangerous precipice, and there is no reassuring green. If Kandinsky had previously had war on his mind, this painting may well be a foreboding of its out- break a year later. Once we engage in such speculations, further associations become possible, not with objects and memories, but with contrasting ideas, such as those of alarm and peace, flight and immobility, sharpness and bluntness. Even then the interpretation of the painting cannot be more definite than that of a symphony, the Eroica, for example."136-137
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