作為抽象藝術最重要的創始人，康定斯基通過對抽象畫的具體技法，尤其是點線面、色彩和筆法的細緻刻畫，重新區分了內在和外在，在此基礎上提出了新的抽象形式和內容的觀念。蜜雪兒．亨利在生命現象學的語境中深刻地回應了康定斯基的理論探索。他通過揭示點線面等具體技法與現象學還原和構造關係之間的隱秘關係，將康定斯基的「內在」詮釋為了生命的絕對內在性和主體性，色彩和筆法等技法作為生命的內在情調的外在顯示，恰恰表明可見的畫作無非是不可見的神聖生命的情動和自行感發。藝術本質上都是抽象的，它們最終都建基於絕對生命對自身的體驗以及它的自行增長之中。

Kandinsky is one of the most important founders of abstract art. He distinguishes the internal and the external through the detailed description of the specific techniques of abstract painting, especially of points, lines, planes, colors and brushwork, and on this basis, he proposes the new ideas of abstract form and content. Michel Henry responds to Kandinsky’s theoretical exploration in depth in the context of his phenomenology of life. He interprets Kandinsky’s “the internal” as the absolute immanence and subjectivity of life by revealing the hidden relation between the specific techniques of points, lines and planes and the phenomenological reduction and constitution. The techniques of colors and brushwork are the external appearance of the immanent emotion of life, and they indicate that the visible paintings are nothing more than the invisible pathos and self-affection of the divine life. Art is essentially abstract, and it is ultimately based on the self-experience and self-growth of the absolute life.