The rational geometric order of Composition VIII is a polar opposite of Composition VII (1913). Painted while teaching at the Bauhaus, this work illustrates how Kandinsky synthesised elements of suprematism, constructivism and the school's own style. By combining aspects of all three movements, he arrived at the planes of colour and the clear, linear quality seen in this work. The form, as opposed to colour, structured the painting in a dynamic balance that pulses across the canvas. This work is an expression of Kandinsky's ideas about modern and non-objective art, especially the meaning of shapes such as triangles, circles and squares. Kandinsky relied on a rigid style to communicate the deeper content of his work for the rest of his career.