Kandinsky analysed, in his writings, the geometrical elements which compose every painting, namely the point and the line, as well as the physical support and the material surface on which the artist draws or paints and which he called the basic plane or BP. He didn’t analyze them on an objective, exterior point of view, but on the point of view of their inner effect on the living subjectivity of the observer who looks at them and lets them act on his sensibility.
The point is, in practice, a small stain of colour put by the artist on the canvas. So the point used by the painter is not a geometric point, it is not a mathematical abstraction, it possesses a certain extension, a form and a colour. This form can be a square, a triangle, a circle, like a star or even more complex. The point is the most concise form, but according to its placement on the basic plane it will take a different tonality. It can be isolated or put in resonance with other points or lines.
The line is the product of a force. It is a point on which a living force has been applied in a given direction, the force applied on the pencil or on the paint brush by the hand of the artist. The produced linear forms can be of several types: a straight line, which results from a unique force applied in a single direction, an angular line, which results from the alternation of two forces with different directions, or a curved or wave-like line produced by the effect of two forces acting simultaneously. A plane can be obtained by condensation, from a line rotated around one of its ends.
The subjective effect produced by a line depends on its orientation: the horizontal line corresponds to the ground, on which man rests and moves; it possesses a dark and cold affective tonality similar with black or blue. The vertical line corresponds to height which offers no support; it possesses a luminous and warm tonality close to white and yellow. A diagonal possesses by consequence a more or less warm or cold tonality according to its inclination according to the horizontal and to the vertical.
A force which deploys itself without obstacle as the one which produces a straight line corresponds to lyricism, while several forces which confront or annoy each other form a drama. The angle formed by the angular line possesses as well an inner sonority which is warm and close to yellow for an acute angle (triangle), cold and similar to blue for an obtuse angle (circle) and similar to red for a right angle (square).
The basic plane is, in general, rectangular or square, thus it is composed of horizontal and vertical lines which delimit it and define it as an autonomous entity which serves as support to the painting, communicating its affective tonality. This tonality is determined by the relative importance of horizontal and vertical lines, the horizontals giving a calm and cold tonality to the basic plane, while the verticals give it a calm and warm tonality. The artist possesses the intuition of this inner effect of the canvas format and dimensions, which he chooses according to the tonality he wants to give to his work. Kandinsky even considers the basic plane as a living being that the artist "fertilizes" and of which he feels the "breathing".
Every part of the basic plane possesses a proper affective colouration which influences the tonality of the pictorial elements that will be drawn on it, and which contributes to the richness of the composition which results from their juxtaposition on the canvas. The above of the basic plane corresponds to the looseness and to lightness, while the below evokes the condensation and heaviness. The work of the painter is to listen and to know these effects in order to produce paintings which are not just the effect of a random process, but the fruit of an authentic work and the result of an effort towards the inner beauty.
And finally here are the scans of what I have done similar to Kandinsky.
