《 黄-红-蓝》被认为是康定斯基艺术理论的最好诠释。它试图把抒情和几何抽象有机地结合起来。结合的办法就是在几何结构与造型中配上明亮的光与柔和的色彩，使抽象绘画富于激情和想象。抽象艺术本来就是捉摸不定的意念图案，所以，面对《 黄-红-蓝》时，最好的办法就是放弃无谓的猜测、揣摩与思考，在色彩、线条的舞动中，尽情体会艺术的纯粹与美丽。也许有人并不习惯这种没来由的表现，然而美丽却是不可置疑的，震撼更是不可抗拒的力量，因为它的美拥有与心灵节拍相吻合的节奏，或混乱，或激荡，或野蛮，或明快……不用在画面中费尽心力寻找什么，仅仅在视觉的纯粹享受中，你就已经感受到了。

     Yellow-Red-Blue was created by Wassily Kandinsky in 1925. The primary colors on the painting feature squares, circles and triangles and there are abstract shapes mixed in with these. There are also straight and curved black lines that go through the colors and shapes. This is to help provoke deep thought in the person viewing the piece.

     Yellow-Red-Blue can actually be divided in half with how different each of the sides are. The left side has rectangles, squares and straight lines in bright colors while the right side features darker colors in various abstract shapes. These two sides show different influences and are meant to create varied emotions in the viewer.

     In 1925, Kandinsky taught the basic design class for beginners and the course on advanced theory at the Bauhaus; he also conducted painting classes and a workshop in which he augmented his colour theory with new elements of form psychology. The development of his works on forms study, particularly on points and line forms, led to the publication of his second theoretical book (Point and Line to Plane) in 1926. Geometrical elements took on increasing importance in both his teaching and painting - particularly the circle, half-circle, the angle, straight lines and curves. This period was intensely productive. This freedom is characterised in his works by the treatment of planes rich in colours and gradations - as in Yellow-Red-Blue (1925), where Kandinsky illustrates his distance from the constructivism and suprematism movements influential at the time.

     The two-meter-wide Yellow-Red-Blue consists of several main forms: a vertical yellow rectangle, an inclined red cross and a large dark blue circle; a multitude of straight (or sinuous) black lines, circular arcs, monochromatic circles and scattered, coloured checkerboards contribute to its delicate complexity. This simple visual identification of forms and the main coloured masses present on the canvas is only a first approach to the inner reality of the work, whose appreciation necessitates deeper observation - not only of forms and colours involved in the painting but their relationship, their absolute and relative positions on the canvas and their harmony.

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