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Kandinsky would go to the symphony and paint or sketch the music. He used universal shapes and colors that anyone in the world would understand or feel the meaning. For example the colorful grids are the sound of the piano, the circles and triangles are the different brass instruments and the slash marks are the srokes of the strings and the curvy lines are the wind instruments like the flute. The warmer colors in the yellow to red range are louder nioses and the color tones of greans blues and purples are lower sounds. And he uses composition to draw your eye around the painting so that you can imagine how the whole piece would sound. Kandinsky has moved from color to form as the dominating compositional element. Contrasting forms now provide the dynamic balance of the work; the large circle in the upper left plays against the network of precise lines in the right portion of the canvas. Note also how Kandinsky uses different colors within the forms to energize their geometry: a yellow circle with blue halo versus blue circle with yellow halo; a right angle filled with blue and an acute angle colored pink. The background also works to enhance the dynamism of the composition. The design does not appear as a geometrical exercise on a flat plane, but seems to be taking place in an undefined space. The layered background colors - light blue at bottom, light yellow at top and white in the middle - define this depth. The forms tend to recede and advance within this depth, creating a dynamic, push-pull effect. - a bold Synthetic Cubist style of overlapping and contiguous forms, - the rounded, organic shapes
 * 1 Artist: Kandinsky**
 * 2 Painting:**
 * 3 Information:**
 * http://www.wassilykandinsky.net/work-50.php**
 * http://www.glyphs.com/art/kandinsky/**
 * 1 Artist: Picasso**
 * 2 Painting: Mandolina y Guitarra, 1924**
 * 3 Information:**
 * http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?object=53.1358&search=&page=&f=Title**

Influenced by the introduction of bold and simple collage shapes, Synthetic Cubism moved away from the unified monochrome surfaces of Analytic Cubism to a more direct, colourful and decorative style. Although synthetic cubist images appear more abstract in their use of simplified forms, the other elements of their composition are applied quite traditionally. Interchanging lines, colours, patterns and textures, that switch from geometric to freehand, dark to light, positive to negative and plain to patterned, advance and recede in rhythms across the picture plain.
 * http://www.artyfactory.com/art_appreciation/art_movements/cubism.htm**