In 1950 Venice’s Biennale dedicated a retrospective exhibition to Kandinskij. Works mainly belonging to the painter’s wife Nina were put on display on that occasion.

White Zig Zags entered the collection owned by the International Modern Art Gallery following that exhibition. This art work was made in the years in which the painter was teaching at the Bauhaus school.

It was a very productive period which led to the publication of “Dot, Line, Surface” in 1926. The before-mentioned writing became one of the most prominent written works by the artist. The Bauhaus experience pushed Kandinskij to definitively go past the symbolist elements still hanging on in his previous works in order to knowingly head towards totally abstract art works based on grammar and property of language constituents as well as on their perception potentiality.

White zig zags provided Italian painters, who were looking for new expressive forays into the abstract, with an extraordinary example as the work had a clear plastic and geometrical structure.

The Biennale’s retrospective exhibition immediately triggered a carefully deep thinking as well as a perspective-inspired reaction in many Italian artists.