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About this work
In *Storeys*, Kandinsky orchestrates a vertical architecture of geometric forms—stacked planes, angular shards, and intersecting rectangles in ochre, black, deep blue, and white—that evoke the structure of a building seen through a prism of pure abstraction. The title's reference to levels and divisions becomes visual music: each "storey" floats and interpenetrates rather than sit solidly, as if gravity itself were negotiable. The eye travels upward through layers of form, encountering moments of stability and rupture, clarity and ambiguity. There is no perspective in the traditional sense, yet the composition breathes with spatial intention. This is architecture dematerialized, reduced to its essential emotional and spiritual skeleton.
By 1929, Kandinsky had spent years at the Bauhaus refining the vocabulary he outlined in his theoretical texts—how line, color, and plane could communicate feeling without representing the world. *Storeys* exemplifies that mission: a building is not what matters here; rather, it is the psychological experience of structure itself, the way our consciousness moves through divided space and finds meaning in proportion and relationship. This work sits at the height of his geometric period, when he synthesized his earlier Expressionism with Constructivist rigor.
Hung in natural light, *Storeys* rewards sustained looking. It belongs in a room where contemplation is invited—a study, a gallery wall, or a bedroom where you want to wake thinking about form. The work speaks to anyone drawn to the underlying geometry of the world, or to those who trust that art can move the spirit without depicting a single recognizable thing.
About Wassily Kandinsky
Few painters can claim to have invented abstraction, but the Russian-born theorist who abandoned a law career at thirty made the leap earlier and more deliberately than almost anyone. By 1910 he was producing canvases stripped of recognizable subject matter, convinced that color and form could communicate spiritual content the way music did - an idea he laid out in Concerning the Spiritual in Art in 1911.
A founding figure of Der Blaue Reiter and later a Bauhaus instructor, he moved from the lyrical chaos of his early Improvisations toward the precise geometry of his Paris years. His paintings still read as pure visual music - rhythmic, weightless, and unmistakably alive.
