The audience was quite shocked by the transition from the apocalyptic emotion of Composition VII to the geometric rhythm of Composition VIII. “Composition VIII” was painted ten years later in 1923. It is a logical development of the creative genius of the painter and to a certain extent it reflects the influence of Suprematism and Constructivism assimilated by Kandinsky in Russia and in the Bauhaus.
In 1926, the most important theoretical work of the painter “Point and Line to Plane” was published. Of course, most of the painter’s canvases of this period are the practical expression of his theoretical ideals. However, this is not a literal implementation, but rather intuitive and poetic interpretation. Kandinsky as a writer was consistent and methodical, but when working on the canvas with figures and colours he was becoming sensual and impulsive. And, of course, he hoped that the audience would perceive his work emotionally, too.