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Abstract Art Not Based on Real Objects Studies in Lines Colors or Other Elements

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Art with a degree of independence from visual references in the world

Robert Delaunay, 1912–13, Le Premier Disque, 134 cm (52.7 in.), private collection

Abstract art uses visual language of shape, grade, color and line to create a composition which may exist with a caste of independence from visual references in the world.[1] Western art had been, from the Renaissance upwards to the middle of the 19th century, underpinned by the logic of perspective and an attempt to reproduce an illusion of visible reality. Past the stop of the 19th century many artists felt a demand to create a new kind of art which would cover the primal changes taking identify in applied science, science and philosophy. The sources from which individual artists drew their theoretical arguments were diverse, and reflected the social and intellectual preoccupations in all areas of Western culture at that time.[2]

Abstract fine art, non-figurative art, non-objective art, and non-representational art, are closely related terms. They are like, but perhaps non of identical meaning.

Abstraction indicates a deviation from reality in depiction of imagery in art. This departure from accurate representation can exist slight, partial, or complete. Abstraction exists along a continuum. Fifty-fifty fine art that aims for verisimilitude of the highest degree tin be said to be abstruse, at to the lowest degree theoretically, since perfect representation is incommunicable. Artwork which takes liberties, altering for instance colour and class in ways that are conspicuous, can exist said to be partially abstract. Total abstraction bears no trace of any reference to anything recognizable. In geometric abstraction, for instance, one is unlikely to discover references to naturalistic entities. Figurative fine art and full abstraction are almost mutually sectional. Merely figurative and representational (or realistic) art often contain fractional brainchild.

Both geometric abstraction and lyrical abstraction are often totally abstract. Among the very numerous art movements that embody partial brainchild would be for instance fauvism in which colour is conspicuously and deliberately contradistinct vis-a-vis reality, and cubism, which alters the forms of the existent life entities depicted.[3] [4]

Abstraction in early on art and many cultures [edit]

Much of the art of earlier cultures – signs and marks on pottery, textiles, and inscriptions and paintings on rock – used uncomplicated, geometric and linear forms which might have had a symbolic or decorative purpose.[5] It is at this level of visual pregnant that abstract art communicates.[6] Ane tin enjoy the beauty of Chinese calligraphy or Islamic calligraphy without existence able to read it.[7]

Islamic world [edit]

A hilya, a decorated description of Muhammad's physical appearance, dating to the 19th century.

Islam's sometimes negative view of figurative art has led to the proliferation of complex non-figurative artistic expression across the Islamic world. Non-figurative Islamic art is virtually every bit quondam equally Islam itself, and some of the oldest examples of it tin be found on such early buildings equally the Dome of the Rock. While Islamic art may accept reservations about painting humans and animals, it does non, nevertheless, experience the same virtually plants and inanimate objects.

Islamic fine art traditionally revolves around calligraphy, tessellating geometric patterns, and vegetal motifs chosen arabesques. These elements can exist institute in all Islamic applied arts, including architecture, rugmaking, pottery, glassmaking, and metalwork, besides as decorating the borders of otherwise figurative paintings.

Equally a result of the extensive dialogue between the Christian and Islamic world brought most by the Crusades, Islamic patterns and techniques would also come to be applied to European decorative arts, specially in Italian republic and Espana. Prominent examples include Spanish Mudéjar fine art and Venetian Gothic architecture.

E Asia [edit]

Immortal in splashed ink, Liang Kai, Cathay, 12th century

In Chinese painting, abstraction can be traced to the Tang dynasty painter Wang Mo (王墨), who is credited to accept invented the splashed-ink painting mode.[viii] While none of his paintings remain, this style is conspicuously seen in some Song Dynasty Paintings. The Chan buddhist painter Liang Kai (梁楷, c. 1140–1210) applied the fashion to effigy painting in his "Immortal in splashed ink" in which accurate representation is sacrificed to enhance spontaneity linked to the non-rational heed of the aware. A late Song painter named Yu Jian, adept to Tiantai buddhism, created a series of splashed ink landscapes that eventually inspired many Japanese Zen painters. His paintings show heavily misty mountains in which the shapes of the objects are barely visible and extremely simplified. This type of painting was continued by Sesshu Toyo in his later years.

Mountain market place, immigration Mist, Yu Jian, Red china

Another instance of brainchild in Chinese painting is seen in Zhu Derun's Cosmic Circle. On the left side of this painting is a pine tree in rocky soil, its branches laced with vines that extend in a hell-raising manner to the right side of the painting in which a perfect circle (probably fabricated with help of a compass[9]) floats in the void. The painting is a reflection of the Daoist metaphysics in which chaos and reality are complementary stages of the regular course of nature.

In Tokugawa Japan, some Zen monk-painters created Enso, a circumvolve who represents the absolute enlightenment. Usually made in one spontaneous castor stroke, information technology became the paradigm of the minimalist aesthetic that guided function of the Zen painting.

19th century [edit]

Patronage from the church diminished and private patronage from the public became more capable of providing a livelihood for artists.[ten] [eleven] Three art movements which contributed to the development of abstract art were Romanticism, Impressionism and Expressionism. Creative independence for artists was advanced during the 19th century. An objective involvement in what is seen, tin be discerned from the paintings of John Lawman, J M W Turner, Camille Corot and from them to the Impressionists who continued the plein air painting of the Barbizon school.

Early intimations of a new art had been fabricated by James McNeill Whistler who, in his painting Nocturne in Blackness and Gold: The falling Rocket, (1872), placed greater accent on visual sensation than the depiction of objects. Fifty-fifty before than that, with her 'spirit' drawings, Georgiana Houghton's option to work with abstract shapes correlate with the unnatural nature of her discipline, in a time when abstraction" isn't nonetheless a concept (she organized an exhibit in 1871).

Expressionist painters explored the bold use of paint surface, cartoon distortions and exaggerations, and intense color. Expressionists produced emotionally charged paintings that were reactions to and perceptions of contemporary feel; and reactions to Impressionism and other more bourgeois directions of late 19th-century painting. The Expressionists drastically changed the accent on subject field matter in favor of the portrayal of psychological states of being. Although artists similar Edvard Munch and James Ensor drew influences principally from the work of the Postal service-Impressionists they were instrumental to the appearance of brainchild in the 20th century. Paul Cézanne had begun every bit an Impressionist but his aim – to make a logical construction of reality based on a view from a single point,[14] with modulated color in apartment areas – became the basis of a new visual art, afterward to be developed into Cubism by Georges Braque and Pablo Picasso.

Additionally in the late 19th century in Eastern Europe mysticism and early modernist religious philosophy as expressed by theosophist Mme. Blavatsky had a profound bear on on pioneer geometric artists similar Hilma af Klint and Wassily Kandinsky. The mystical teaching of Georges Gurdjieff and P.D. Ouspensky also had an of import influence on the early formations of the geometric abstract styles of Piet Mondrian and his colleagues in the early 20th century.[15] The spiritualism too inspired the abstract art of Kasimir Malevich and František Kupka.[xvi]

20th century [edit]

Mail service-Impressionism as practiced by Paul Gauguin, Georges Seurat, Vincent van Gogh and Paul Cézanne had an enormous bear on on 20th-century art and led to the appearance of 20th-century abstraction. The heritage of painters like Van Gogh, Cézanne, Gauguin, and Seurat was essential for the development of modern art. At the kickoff of the 20th century Henri Matisse and several other young artists including the pre-cubist Georges Braque, André Derain, Raoul Dufy and Maurice de Vlaminck revolutionized the Paris art world with "wild", multi-colored, expressive landscapes and figure paintings that the critics called Fauvism. With his expressive apply of colour and his free and imaginative drawing Henri Matisse comes very shut to pure brainchild in French Window at Collioure (1914), View of Notre-Dame (1914), and The Yellowish Curtain from 1915. The raw language of color as adult by the Fauves directly influenced another pioneer of abstraction, Wassily Kandinsky.

Although Cubism ultimately depends upon subject matter, it became, along with Fauvism, the art movement that directly opened the door to brainchild in the 20th century. Pablo Picasso made his starting time cubist paintings based on Cézanne's thought that all depiction of nature tin can be reduced to three solids: cube, sphere and cone. With the painting Les Demoiselles d'Avignon (1907), Picasso dramatically created a new and radical picture depicting a raw and primitive brothel scene with five prostitutes, violently painted women, reminiscent of African tribal masks and his own new Cubist inventions. Analytic cubism was jointly developed by Pablo Picasso and Georges Braque, from well-nigh 1908 through 1912. Analytic cubism, the first clear manifestation of cubism, was followed by Synthetic cubism, skilful by Braque, Picasso, Fernand Léger, Juan Gris, Albert Gleizes, Marcel Duchamp and others into the 1920s. Synthetic cubism is characterized past the introduction of different textures, surfaces, collage elements, papier collé and a large variety of merged subject matter. The collage artists similar Kurt Schwitters and Human being Ray and others taking the inkling from Cubism were instrumental to the development of the motility called Dada.

František Kupka, Amorpha, Fugue en deux couleurs (Fugue in Ii Colors), 1912, oil on sail, 210 x 200 cm, Narodni Galerie, Prague. Published in Au Salon d'Automne "Les Indépendants" 1912, Exhibited at the 1912 Salon d'Automne, Paris.

Robert Delaunay, 1912, Windows Open Simultaneously (First Part, Third Motif), oil on sheet, 45.7 × 37.5 cm, Tate Modern

The Italian poet Filippo Tommaso Marinetti published the Manifesto of Futurism in 1909, which afterward inspired artists such equally Carlo Carra in Painting of Sounds, Noises and Smells and Umberto Boccioni Railroad train in Motion, 1911, to a further stage of abstraction that would, along with Cubism, profoundly influenced fine art movements throughout Europe.[17]

During the 1912 Salon de la Section d'Or, where František Kupka exhibited the abstract painting Amorpha, Fugue en deux couleurs (Fugue in Two Colors) (1912), the poet Guillaume Apollinaire named the work of several artists including Robert Delaunay, Orphism.[eighteen] He defined it as, "the fine art of painting new structures out of elements that have not been borrowed from the visual sphere, but had been created entirely by the artist...information technology is a pure fine art."[nineteen]

Since the turn of the century, cultural connections betwixt artists of the major European cities had become extremely active as they strove to create an art form equal to the high aspirations of modernism. Ideas were able to cantankerous-fertilize by means of artist's books, exhibitions and manifestos and then that many sources were open to experimentation and discussion, and formed a basis for a diverseness of modes of abstraction. The following extract from The World Backwards gives some impression of the inter-connectedness of civilization at the time: "David Burliuk's knowledge of modern art movements must take been extremely up-to-date, for the second Knave of Diamonds exhibition, held in Jan 1912 (in Moscow) included non only paintings sent from Munich, only some members of the German Dice Brücke group, while from Paris came piece of work by Robert Delaunay, Henri Matisse and Fernand Léger, every bit well equally Picasso. During the Jump David Burliuk gave two lectures on cubism and planned a polemical publication, which the Knave of Diamonds was to finance. He went abroad in May and came dorsum determined to rival the almanac Der Blaue Reiter which had emerged from the printers while he was in Deutschland".[20]

From 1909 to 1913 many experimental works in the search for this 'pure art' had been created by a number of artists: Francis Picabia painted Caoutchouc, c. 1909,[21] The Spring, 1912,[22] Dances at the Spring [23] and The Procession, Seville, 1912;[24] Wassily Kandinsky painted Untitled (Starting time Abstract Watercolor), 1913,[25] Improvisation 21A, the Impression series, and Picture with a Circle (1911);[26] František Kupka had painted the Orphist works, Discs of Newton (Study for Fugue in Two Colors), 1912[27] and Amorpha, Fugue en deux couleurs (Fugue in Ii Colors), 1912; Robert Delaunay painted a serial entitled Simultaneous Windows and Formes Circulaires, Soleil n°two (1912–13);[28] Léopold Survage created Colored Rhythm (Study for the film), 1913;[29] Piet Mondrian, painted Tableau No. one and Composition No. xi, 1913.[30]

Wassily Kandinsky, untitled (study for Composition VII, Première brainchild), watercolor, 1913[31]

And the search continued: The Rayist (Luchizm) drawings of Natalia Goncharova and Mikhail Larionov, used lines like rays of light to make a construction. Kasimir Malevich completed his first entirely abstract piece of work, the Suprematist, Black Square, in 1915. Another of the Suprematist grouping' Liubov Popova, created the Architectonic Constructions and Spatial Force Constructions betwixt 1916 and 1921. Piet Mondrian was evolving his abstract linguistic communication, of horizontal and vertical lines with rectangles of color, between 1915 and 1919, Neo-Plasticism was the aesthetic which Mondrian, Theo van Doesburg and other in the group De Stijl intended to reshape the surround of the futurity.

Music [edit]

Every bit visual art becomes more abstruse, it develops some characteristics of music[ citation needed ]: an art course which uses the abstruse elements of sound and divisions of time. Wassily Kandinsky, himself an amateur musician,[32] [33] [34] was inspired by the possibility of marks and associative color resounding in the soul. The idea had been put forward by Charles Baudelaire, that all our senses respond to various stimuli but the senses are continued at a deeper artful level.

Closely related to this, is the thought that fine art has The spiritual dimension and tin transcend 'every-day' experience, reaching a spiritual plane. The Theosophical Society popularized the aboriginal wisdom of the sacred books of Republic of india and China in the early years of the century. It was in this context that Piet Mondrian, Wassily Kandinsky, Hilma af Klint and other artists working towards an 'objectless state' became interested in the occult as a way of creating an 'inner' object. The universal and timeless shapes found in geometry: the circle, square and triangle become the spatial elements in abstruse fine art; they are, like color, key systems underlying visible reality.

Russian avant-garde [edit]

Many of the abstract artists in Russia became Constructivists assertive that art was no longer something remote, but life itself. The artist must become a technician, learning to use the tools and materials of mod product. Art into life! was Vladimir Tatlin'southward slogan, and that of all the time to come Constructivists. Varvara Stepanova and Alexandre Exter and others abased easel painting and diverted their energies to theatre design and graphic works. On the other side stood Kazimir Malevich, Anton Pevsner and Naum Gabo. They argued that fine art was essentially a spiritual activity; to create the individual's identify in the earth, not to organize life in a practical, materialistic sense. Many of those who were hostile to the materialist product idea of fine art left Russia. Anton Pevsner went to France, Gabo went first to Berlin, then to England and finally to America. Kandinsky studied in Moscow then left for the Bauhaus. By the mid-1920s the revolutionary period (1917 to 1921) when artists had been free to experiment was over; and by the 1930s only socialist realism was immune.[35]

The Bauhaus [edit]

The Bauhaus at Weimar, Germany was founded in 1919 by Walter Gropius.[36] The philosophy underlying the teaching program was unity of all the visual and plastic arts from compages and painting to weaving and stained drinking glass. This philosophy had grown from the ideas of the Arts and crafts movement in England and the Deutscher Werkbund. Among the teachers were Paul Klee, Wassily Kandinsky, Johannes Itten, Josef Albers, Anni Albers, and László Moholy-Nagy. In 1925 the schoolhouse was moved to Dessau and, as the Nazi party gained control in 1932, The Bauhaus was closed. In 1937 an exhibition of degenerate art, 'Entartete Kunst' independent all types of avant-garde art disapproved of by the Nazi political party. Then the exodus began: not just from the Bauhaus but from Europe in full general; to Paris, London and America. Paul Klee went to Switzerland but many of the artists at the Bauhaus went to America.

Brainchild in Paris and London [edit]

During the 1930s Paris became the host to artists from Russia, Germany, the Netherlands and other European countries afflicted by the ascent of totalitarianism. Sophie Tauber and Jean Arp collaborated on paintings and sculpture using organic/geometric forms. The Polish Katarzyna Kobro practical mathematically based ideas to sculpture. The many types of abstraction now in close proximity led to attempts by artists to analyse the various conceptual and aesthetic groupings. An exhibition by 40-vi members of the Cercle et Carré grouping organized by Joaquín Torres-García[37] assisted past Michel Seuphor[38] independent piece of work past the Neo-Plasticists equally well as abstractionists as varied every bit Kandinsky, Anton Pevsner and Kurt Schwitters. Criticized by Theo van Doesburg to be too indefinite a drove he published the journal Art Concret setting out a manifesto defining an abstract art in which the line, color and surface only, are the physical reality.[39] Abstraction-Création founded in 1931 equally a more open group, provided a betoken of reference for abstract artists, as the political state of affairs worsened in 1935, and artists once again regrouped, many in London. The first exhibition of British abstract art was held in England in 1935. The following year the more international Abstract and Physical exhibition was organized by Nicolete Gray including work by Piet Mondrian, Joan Miró, Barbara Hepworth and Ben Nicholson. Hepworth, Nicholson and Gabo moved to the St. Ives grouping in Cornwall to go on their 'constructivist' work.[40]

America: mid-century [edit]

A 1939–1942 oil on canvas painting by Piet Mondrian titled Composition No. 10. Responding to it, young man De Stijl artist Theo van Doesburg suggested a link between non-representational works of art and ideals of peace and spirituality.[41]

During the Nazi rise to power in the 1930s many artists fled Europe to the United states. By the early 1940s the principal movements in modern fine art, expressionism, cubism, abstraction, surrealism, and dada were represented in New York: Marcel Duchamp, Fernand Léger, Piet Mondrian, Jacques Lipchitz, André Masson, Max Ernst, André Breton, were just a few of the exiled Europeans who arrived in New York.[42] The rich cultural influences brought by the European artists were distilled and congenital upon by local New York painters. The climate of freedom in New York allowed all of these influences to flourish. The art galleries that primarily had focused on European art began to discover the local art customs and the piece of work of younger American artists who had begun to mature. Certain artists at this time became distinctly abstract in their mature work. During this period Piet Mondrian's painting Composition No. 10, 1939–1942, characterized by primary colors, white ground and blackness grid lines clearly defined his radical only classical approach to the rectangle and abstruse art in general. Some artists of the period defied categorization, such equally Georgia O'Keeffe who, while a modernist abstractionist, was a pure bohemian in that she painted highly abstract forms while not joining whatever specific grouping of the period.

Eventually American artists who were working in a great diversity of styles began to coalesce into cohesive stylistic groups. The best-known grouping of American artists became known every bit the Abstract expressionists and the New York School. In New York Metropolis there was an atmosphere which encouraged give-and-take and there was a new opportunity for learning and growing. Artists and teachers John D. Graham and Hans Hofmann became important bridge figures between the newly arrived European Modernists and the younger American artists coming of age. Mark Rothko, born in Russia, began with strongly surrealist imagery which later dissolved into his powerful colour compositions of the early 1950s. The expressionistic gesture and the deed of painting itself, became of principal importance to Jackson Pollock, Robert Motherwell, and Franz Kline. While during the 1940s Arshile Gorky'south and Willem de Kooning'south figurative work evolved into brainchild by the end of the decade. New York City became the middle, and artists worldwide gravitated towards it; from other places in America too.[43]

After developments [edit]

Digital art, hard-edge painting, geometric brainchild, minimalism, lyrical abstraction, op art, abstract expressionism, colour field painting, monochrome painting, assemblage, neo-Dada, shaped sail painting, are a few directions relating to abstraction in the second one-half of the 20th century.

In the Usa, Art equally Object as seen in the Minimalist sculpture of Donald Judd and the paintings of Frank Stella are seen today as newer permutations. Other examples include Lyrical Brainchild and the sensuous use of colour seen in the work of painters as diverse equally Robert Motherwell, Patrick Heron, Kenneth Noland, Sam Francis, Cy Twombly, Richard Diebenkorn, Helen Frankenthaler, Joan Mitchell.

Causation [edit]

I socio-historical explanation that has been offered for the growing prevalence of the abstract in mod art – an explanation linked to the name of Theodor W. Adorno – is that such abstraction is a response to, and a reflection of, the growing abstraction of social relations in industrial gild.[44]

Frederic Jameson similarly sees modernist abstraction every bit a office of the abstruse power of money, equating all things equally as exchange-values.[45] The social content of abstract art is then precisely the abstruse nature of social being – legal formalities, bureaucratic impersonalization, information/power – in the earth of tardily modernity.[46]

Mail-Jungians by contrast would encounter the quantum theories with their disintegration of conventional ideas of course and matter equally underlying the divorce of the concrete and the abstract in modernistic art.[47]

Gallery [edit]

  • Arthur Pigeon, 1911–12, Based on Foliage Forms and Spaces, pastel on unidentified support. At present lost

  • Hilma af Klint, Svanen (The Swan), No. 17, Group Ix, Series SUW, October 1914–March 1915. This abstract piece of work was never exhibited during af Klint's lifetime.

  • Albert Gleizes, 1921, Composition bleu et jaune (Composition jaune), oil on canvas, 200.v × 110 cm

Run into also [edit]

  • Abstract fine art and Theosophy
  • Abstruse expressionism
  • Abstraction in art
  • Action painting
  • American Abstract Artists
  • Art history
  • Art periods
  • Asemic writing
  • Color field
  • Concrete art
  • De Stijl
  • Geometric abstraction
  • Hard-border
  • History of painting
  • Lyrical brainchild
  • Op Fine art
  • Representation (arts)
  • Spatialism
  • Surrealism
  • Western painting
In other media
  • Abstract blitheness
  • Abstract comics
  • Abstruse photography
  • Experimental film
  • Literary nonsense
  • Musique concréte
  • Noise music

References [edit]

  1. ^ Rudolph Arnheim, Visual Thinking, University of California Press, 1969, ISBN 0-520-01871-0
  2. ^ Mel Gooding, Abstract Fine art, Tate Publishing, London, 2000
  3. ^ "Abstract Fine art – What Is Abstract Fine art or Abstract Painting, retrieved January seven, 2009". Painting.well-nigh.com. 2011-06-07. Archived from the original on 7 July 2011. Retrieved 2011-06-11 .
  4. ^ "Themes in American Art – Abstraction, retrieved January 7, 2009". Nga.gov. 2000-07-27. Archived from the original on 8 June 2011. Retrieved 2011-06-11 .
  5. ^ György Kepes, Sign, Image and Symbol, Studio Vista, London, 1966
  6. ^ Derek Hyatt,"Meeting on the Moor", Modern Painters, Fall 1995
  7. ^ Simon Leys, 2013. The Hall of Uselessness: Collected Essays. New York: New York Review Books. p. 304. ISBN 978-1-59017-620-seven.
  8. ^ Lippit, Y. (2012). "Of Modes and Manners in Japanese Ink Painting: Sesshū's Splashed Ink Mural of 1495". The Art Bulletin, 94(i), p. 56.
  9. ^ Watt, J. C. (2010). The Earth of Khubilai Khan: Chinese Fine art in the Yuan Dynasty. Metropolitan Museum of Art, p. 224
  10. ^ Ernst Gombrich, "The Early Medici as Patrons of Art" in Norm and Form, pp. 35–57, London, 1966
  11. ^ Judith Balfe, ed. Paying the Piper: Causes and Consequences of Art Patronage, Univ. of Illinois Press
  12. ^ Whistler versus Ruskin, Princeton edu. Archived June 16, 2010, at the Wayback Machine Retrieved June 13, 2010
  13. ^ From the Tate Archived 2012-01-12 at the Wayback Machine, retrieved Apr 12, 2009
  14. ^ Herbert Read, A Concise History of Mod Fine art, Thames and Hudson
  15. ^ "Hilton Kramer, "Mondrian & mysticism: My long search is over", New Criterion, September 1995". Newcriterion.com. Retrieved 2012-02-26 .
  16. ^ Brenson, Michael (December 21, 1986). "Art View; How the Spiritual Infused the Abstruse". The New York Times.
  17. ^ Caroline Tisdall and Angelo Bozzolla, Futurism, Thames and Hudson, 1977
  18. ^ La Section d'or, 1912–1920–1925, Cécile Debray, Françoise Lucbert, Musées de Châteauroux, Musée Fabre, exhibition catalogue, Éditions Cercle d'fine art, Paris, 2000
  19. ^ Harrison and Forest, Fine art in theory, 1900–2000, Wiley-Blackwell, 2003, p. 189. ISBN 978-0-631-22708-3.books.google.com"
  20. ^ Susan P Compton, The World Backwards, British museum Publications, London, 1978
  21. ^ "Francis Picabia, Caoutchouc, c. 1909, MNAM, Paris". Francispicabia.org. Retrieved 2013-09-29 .
  22. ^ "Museum of Modernistic Art, New York, Francis Picabia, The Spring, 1912". Moma.org. Retrieved 2013-09-29 .
  23. ^ "MoMA, New York, Francis Picabia, Dances at the Jump, 1912". Moma.org. Retrieved 2013-09-29 .
  24. ^ "National Gallery of Art, Washington, DC., Francis Picabia, The Procession, Seville, 1912". Nga.gov. Archived from the original on 2012-08-05. Retrieved 2013-09-29 .
  25. ^ Stan Rummel (2007-12-thirteen). "Wassily Kandinsky, Untitled (Beginning Abstruse Watercolor), 1910". Faculty.txwes.edu. Archived from the original on 2012-07-19. Retrieved 2013-09-29 .
  26. ^ "The Fiftieth Anniversary of the Guggenheim Museum, Kandinsky Retrospective, Guggenheim Museum, New York, 2009" (PDF). Archived from the original (PDF) on 2012-07-xviii. Retrieved 2013-09-29 .
  27. ^ "Philadelphia Museum of Art, Disks of Newton (Study for "Fugue in Two Colors") 1912". Philamuseum.org. Retrieved 2013-09-29 .
  28. ^ "Musée National d'Art Moderne, Heart Georges Pompidou, Paris, Robert Delaunay, Formes Circulaires, Soleil due north°two (1912–13)" (in French). Centrepompidou.fr. Archived from the original on September 7, 2012. Retrieved 2013-09-29 .
  29. ^ "Museum of Modern Art, New York, Léopold Survage, Colored Rhythm (Study for the pic) 1913". Moma.org. 1914-07-15. Retrieved 2013-09-29 .
  30. ^ "Rijksmuseum Kröller-Müller, Otterlo, Netherlands, Piet Mondrian, 1913". Kmm.nl. Archived from the original on October two, 2013. Retrieved 2013-09-29 .
  31. ^ Wassily Kandinsky, Untitled (study for Composition Vii, Première brainchild), watercolor, 1913 Archived 2018-07-22 at the Wayback Machine, MNAM, Middle Pompidou
  32. ^ Shawn, Allen. 2003. Arnold Schoenberg's Journeying. Harvard University Printing. p. 62. ISBN 0-674-01101-5
  33. ^ François Le Targat, Kandinsky, Twentieth Century masters series, Random Business firm Incorporated, 1987, p. 7, ISBN 0-8478-0810-6
  34. ^ Susan B. Hirschfeld, Solomon R. Guggenheim Museum, Hilla von Rebay Foundation, Watercolors past Kandinsky at the Guggenheim Museum: a selection from the Solomon R. Guggenheim Museum and the Hilla von Rebay Foundation, 1991. In 1871 the family moved to Odessa, where the young Kandinsky attended the Gymnasium and learned to play the cello and pianoforte.
  35. ^ Camilla Grayness, The Russian Experiment in Art, 1863–1922, Thames and Hudson, 1962
  36. ^ Walter Gropius et al., Bauhaus 1919–1928 Herbert Bayer ed., Museum of Mod Fine art, publ. Charles T Banford, Boston,1959
  37. ^ Seuphor, Michel (1972). Geometric Abstraccion 1926-1949. Dallas Museum of Fine Arts.
  38. ^ Michel Seuphor, Abstract Painting
  39. ^ Anna Moszynska, Abstract Art, p. 104, Thames and Hudson, 1990
  40. ^ Anna Moszynska, Abstract Fine art, Thames and Hudson, 1990
  41. ^ Utopian Reality: Reconstructing Civilisation in Revolutionary Russian federation and Across; Christina Lodder, Maria Kokkori, Maria Mileeva; BRILL, Oct 24, 2013 "Van Doesburg stated that the purpose of art was to imbue man with those positive spiritual qualities that were needed in order to overcome the authorization of the physical and create the conditions for putting an end to wars. In an enthusiastic essay on Wassily Kandinsky he had written about the dialogue betwixt the creative person and the viewer, and the function of art as 'the educator of our inner life, the educator of our hearts and minds'. Van Doesburg subsequently adopted the view that the spiritual in man is nurtured specifically by abstruse art, which he subsequently described as 'pure idea, which does not signify a concept derived from natural phenomena simply which is contained in numbers, measures, relationships, and abstract lines'. In his response to Piet Mondrian'south Limerick 10, Van Doesburg linked peace and the spiritual to a non-representational piece of work of art, asserting that 'it produces a nigh spiritual impression...the impression of repose: the quiet of the soul'."
  42. ^ Gillian Naylor, The Bauhaus, Studio Vista, 1968
  43. ^ Henry Geldzahler, New York Painting and Sculpture: 1940–1970, Metropolitan Museum of Modern Fine art, 1969
  44. ^ David Cunningham, 'Asceticism Against Colour', in New Formations 55 (2005) p. 110
  45. ^ Thousand. Hardt/K. Weeks eds., The Jameson Reader (2000) p. 272
  46. ^ Cunningham, p. 114
  47. ^ Aniela Jaffé, in C. G. Jung ed., Human and his Symbols (1978) pp. 288–89, 303

Sources [edit]

  • ^ Compton, Susan (1978). The World Backwards: Russian Futurist Books 1912–xvi. The British Library. ISBN978-0-7141-0396-9.
  • ^ Stangos, Nikos, ed. (1981). Concepts of Modern Art. Thames and Hudson. ISBN978-0-500-20186-2.
  • ^ Gooding, Mel (2001). Abstract Art. Movements in Modern Art serial. Tate Publishing. ISBN978-1-85437-302-1.
  • ^ Rump, Gerhard Charles (1985). How to look at an abstruse painting. Inter Nationes.

External links [edit]

  • The term "Brainchild" spoken virtually at Museum of Modernistic Art by Nelson Goodman of Grove Art Online
  • Tate UK "Abstract art is..."

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