Kandinsky studied law and economics before pursuing art as a career.

Composition VII, created in 1913, marked a significant shift towards abstraction in Kandinsky's art.

Kandinsky coined the term 'Abstract Expressionism' to describe his artistic style, which emphasized the expression of inner emotions and experiences through abstract forms and colors.

In his book 'Concerning the Spiritual in Art,' Kandinsky explored the idea that colors and forms can evoke specific emotions and spiritual experiences.

Kandinsky was one of the founding members of the Bauhaus school and taught there from 1922 to 1933.

Composition VIII, created in 1923, features a series of concentric circles in various colors, representing Kandinsky's exploration of geometric abstraction.

During his time at the Bauhaus, Kandinsky's art became increasingly geometric and abstract, influenced by the school's emphasis on functionalism and rational design.

Improvisation 31, created in 1913, is characterized by its organic, biomorphic forms, representing Kandinsky's exploration of the subconscious and the inner world.

In his later years, Kandinsky continued to refine his geometric abstraction style, creating works with precise lines, shapes, and colors.

Black Lines, created in 1923, features a grid-like composition of black lines and geometric shapes, representing Kandinsky's exploration of the relationship between form and space.

During his time in Russia, Kandinsky began experimenting with abstraction, influenced by the avant-garde art movements of the early 20th century.

Improvisation 31, created in 1913, is characterized by its vibrant use of primary colors, representing Kandinsky's exploration of the emotional and spiritual impact of color.

During his time in Germany, Kandinsky's art became increasingly geometric and abstract, influenced by the Bauhaus school's emphasis on functionalism and rational design.

White on White, created in 1919, features a series of white lines and shapes on a white background, representing Kandinsky's exploration of the limits of visual perception and the concept of 'nothingness.'