Sketch for a wall panel for the Free Art Exhibition. Wall B Vasily Kandinsky (1866-1944)

The composition presents a dense arrangement of forms against a predominantly dark background. The artist has created a visual field that eschews traditional perspective and spatial depth, instead favoring a flattened plane where elements overlap and intermingle. A multitude of shapes – some resembling abstracted organic forms, others geometric – populate the space, creating a sense of dynamic movement and energetic interaction.
The color palette is restrained yet impactful. While black dominates, it’s punctuated by bursts of green, red, yellow, and touches of blue and white. These colors are not used to depict realistic hues but rather to define shapes and contribute to the overall visual rhythm. The application appears spontaneous, with visible brushstrokes adding texture and a sense of immediacy.
Several distinct motifs emerge within this complex arrangement. On the left side, a swirling, almost floral form is rendered in white and green, its edges blurred and indistinct. This contrasts with the more angular and sharply defined shapes on the right. Here we see what appears to be an assemblage of fragmented forms – a curved element reminiscent of a horn or musical instrument, alongside geometric blocks and lines that suggest architectural structures or perhaps even stylized figures.
The arrangement feels deliberately chaotic, yet there’s an underlying sense of order. The artist seems interested in exploring the interplay between opposing forces: fluidity versus rigidity, organic versus geometric, light versus dark. This visual tension generates a feeling of unresolved energy, inviting contemplation rather than offering easy answers.
Subtly embedded within this apparent disorder are hints of narrative possibility. While no recognizable figures or scenes are depicted, the arrangement of forms suggests relationships and interactions – a silent drama unfolding on the canvas. The work’s context as a sketch for a wall panel implies an intended integration with its surroundings, suggesting that it was conceived not as a self-contained object but as part of a larger visual environment designed to stimulate thought and engagement.