Introducing this entry following the reference made at the end of the previous one to "Point and line on plane" (1926), I continue with the argument of that book.
Kadinsky, among other concepts, concluded that the point is the basic element of any pictorial work. Materially, it arises from the contact between an instrument and a surface.
The dot is at rest until the line emerges when it moves. If it moves only in one direction, a straight-line result, but if two points collide from different directions, angular lines, broken lines, etc. are produced.
Focusing on broken lines, they can be schematized into three groups
broken lines with an acute angle (45º)
broken lines with a right angle (90º)
broken lines with obtuse angle (135º)
These three types of angles are the essential transition before arriving at the basic forms: the acute angle results in a triangle, the right angle in a square and the obtuse angle in a circle.
It is at this point that Kandinsky suggests the relationship between angles and colours and, by extension, between basic shapes and colours:
- the acute angle is closer to the maximum of heat and has a yellow colour
- the obtuse angle is closer to the maximum of cold and is blue
- between these two extremes is the right angle of red colour (somewhat reflected in the last image of the previous entry).
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