 According to Henry, Kandinsky is the first artist to theorize a new conception of art and to root art in transcendental life. But how could art, and painting in particular, “intensify” invisible and affective life since it is made of visible elements such as form and color? For Kandinsky, color is first and foremost a “radically subjective impression”, “an inner resonance” (AP 290). In the terminology of Henry’s phenomenology, such an apparent paradox is accounted for by the duplicity of appearing: on the one hand, there is a noematic color, the color red as a moment of a particular object, which is only made possible by a primal impression of red that is, on the other hand, purely immanent and subjective. Or, as Henry writes: 