Abstractionism: definition, types and artists. Abstract composition (principles of display of human sensations) Abstractionism examples of paintings
In the last century, the abstract direction has become a real breakthrough in the history of art, but quite natural - a person has always been searching for new forms, properties and ideas. But in our century, this art style causes a lot of questions. What is abstractionism? Let's talk about this further.
Abstractionism in painting and art
In style abstractionism The artist uses a visual language of forms, contours, lines and colors to interpret the subject. This contrasts with traditional art forms, which receive a more literary interpretation of the subject - transmit "reality". Abstractionism leaves as far as possible from classic visual art as possible; Represents the subject world not at all as in real life.
Abstractionism in art challenges the mind of the observer, just like his emotions - to fully assess the work of art, the observer must get rid of the need to understand that the artist is trying to say, and he must feel the response emotion himself. All aspects of life are amenable to interpretation through abstractionism - faith, fears, passions, a reaction to music or nature, scientific and mathematical calculations, and so on.
This direction in art originated in the 20th century, along with Cubism, surrealism, Dadaism and others, although the exact time is unknown. The main representatives of the style abstractionism in painting, it is customary to consider such artists as Vasily Kandinsky, Robert Delone, Kazimir Malevich, Frantios Kupka and Pete Mondrian. We are talking about their creativity and important paintings.
Pictures of famous artists: abstractionism
Vasily Kandinsky
Kandinsky was one of the pioneers of abstract art. He started his searches in impressionism, and already an abstractionism came to style. In his work, he exploited the relationship between the color and the form for creating aesthetic experience, which would cover both the vision and emotions of the audience. He believed that the complete abstraction gives space for a deep, transcendental expression, and the copying of reality only prevents this process.
Painting was deep spiritual for Kandinsky. He sought to convey the depth of human emotions through the universal visual language of abstract forms and colors, which would exceed physical and cultural boundaries. He saw abstractionism As an ideal visual regime, which can express the "internal necessity" of the artist and convey human ideas and emotions. He considered himself a prophet whose mission is to share these ideals with the world, for the benefit of society.
"Composition IV" (1911)
Hidden in bright colors and clear black lines depict several Cossacks with spears, as well as boats, numbers and castle on the top of the hill. As in many paintings of this period, it represents an apocalyptic battle that will lead to the eternal world.
In order to facilitate the development of the free-free style of painting, as described in his work "On spiritual in art" (1912), Kandinsky reduces objects to pictographic symbols. Thanks to the removal of most references to the outside world, Kandinsky expressed its vision to a more versatile manner, translating the spiritual essence of the subject through all these forms in the visual language. Many of these symbolic figures were repeated and refined in its later work, becoming even more abstract.
Kazimir Malevich
Malevich's ideas about form and meaning in art, one way or another, lead to concentration on the theory of style abstractionism. Malevich worked with different styles in painting, but most of all was focused on the study of pure geometric forms (squares, triangles, circles) and their attitude towards each other in the visual space.
Thanks to its contacts in the West, Malevich was able to convey his ideas about painting to artists in Europe and the United States, and thus deeply affect the evolution of contemporary art.
"Black Square" (1915)
The cult picture "Black Square" was first shown by Malevich at the exhibition in Petrograd in 1915. This work embodies the theoretical principles of Suprematism developed by Malevich in his essay "from cubism and futurism to suprematism: new realism in painting."
On the web in front of the viewer is an abstract form in the form of a black square - it is the only element of the composition. Despite the fact that the picture seems simple, it presents such elements as fingerprints, brush strokes, peeling through black paint layers.
For Malevich, the square refers to feelings, and the white is emptiness, nothing. He saw a black square as a god-like presence, an icon, as if she could become a new sacred way for impressive art. Even at the exhibition, this picture was placed on the place where the icon usually has in a Russian house.
Pete Mondrian
Pita Mondrian, which is one of the founders of the Dutch Movement "de Style", recognize the purity of its abstractions and methodical practice. He pretty radically simplified the elements of his paintings to display what he saw, not directly, and figuratively, and create a clear and universal aesthetic language in his canvases.
In its most famous paintings since the 1920s, Mondrian reduces the shapes to lines and rectangles, and the palette is to the simplest. The use of an asymmetric balance has become a fundamental in the development of contemporary art, and its cult abstract works retain their influence in design and familiar to popular culture and today.
"Gray Tree" (1912)
"Gray Tree" is an example of the early transition of Mondrian to style abstractionism. The three-dimensional tree is reduced to the simplest lines and planes, using just gray and black shades.
This picture is one of the works of Mondrian's works created with a more realistic approach, where, for example, trees are presented naturalistically. While the later works became increasingly abstract, for example, tree lines are reduced until the tree shape is barely noticeable and secondary with respect to the overall composition of vertical and horizontal lines.
Here you can still see the interest of Mondrian to the abandonment of a structured organization of lines. This step was significant for the development of a pure abstraction of Mondriana.
Robert Delone
Delone was one of the earliest artists of abstractionism. His creativity influenced the development of this direction, based on the compositional voltage, which was due to the opposition of colors. He quickly fell under neo-impressionistic colorful effect and very closely followed the color system of work in the style of abstractionism. He considered the color and light to be the main tools, with the help of which you can influence the object object.
By 1910, Delon made his own contribution to cubism in the form of two series of paintings depicting cathedrals and Eiffel Tower, which joined cubic forms, movement dynamics and bright colors. This new way to use color harmony helped to separate this style from orthodox cubism, having received the name of Orphism, and immediately influenced European artists. In the same style, the paintings continued to write the paintings by the wife of Delone, the artist Sonya Terk-Delone.
Eiffel Tower (1911)
The main work of Delone is dedicated to the Eiffel Tower - the famous symbol of France. This is one of the most impressive from a series of eleven paintings dedicated to the Eiffel Tower between 1909 and 1911. It is painted in a bright red color that immediately distinguishes her from the surrounding city. The impressive canvas size additionally enhances the greatness of this building. As a ghost, the tower towers over the surrounding houses, in a figurative sense shaking the foundations of the old order themselves.
The picture of Delone conveys this feeling of limitless optimism, innocence and freshness of time, which has not yet witnessed the two world wars.
Frantishek Kupka
Frantishek Cup - Czechoslovak artist drawing in style abstractionismwho graduated from the Prague Academy of Arts. As a student, he, first of all, painted on patriotic topics and wrote historical compositions. His early works were more academic, however, his style developed over the years and eventually moved to abstractionism. Written in a very realistic manner, even his early works, contained mystical surreal topics and symbols that preserved and when writing abstractions.
The coup believed that the artist and his work take part in long creative activities, the nature of which is not limited as absolute.
"Amorph. Fugue in two colors "(1907-1908)
Starting from 1907-1908, the checkout began to draw a series of portraits of a girl holding a bowl in his hand, as if she was going to play or dance with him. Then he developed more and more schematic images, and ultimately, received a series of fully abstract drawings. They were completed in a limited palette of red, blue, black and white colors.
In 1912, in the autumn salon, one of these abstract works was first publicly exhibited in Paris.
Style Abstractionism does not lose its popularity and in painting of the XXI century - lovers of modern art do not mind to decorate their home as masterpiece, and work in this style is flying away from the hammer on all sorts of auctions for the fabulous amounts.
Learn more about abstraction in art will help you the following video:
Abstractionism (lat. abstractio. - removal, distraction) or non-pigurative art - Direction of art, refused by the image of forms in painting and sculpture. One of the objectives of abstractionism is the achievement of "harmonization", using the image of certain color combinations and geometric forms, causing a sense of completeness and completion of the composition at the contemporant. Outstanding figures: Vasily Kandinsky, Kazimir Malevich, Natalia Goncharov and Mikhail Larionov, Pete Mondrian.
History
Abstractionism (Art under the zero forms sign, unlimited art) is an artistic direction that has formed in the art of the first half of the 20th century, fully refused to reproduce the forms of the real visible world. The founders of abstractionism is considered to be V. Kandinsky , P. Mondriana andK. Malevich.
V. Kandinsky created its own type of abstract painting, freeing from all signs of substitution of the stains of impressionists and "wild". Pete Mondrian came to his freeness through the geometric stylization of nature, started by Cezanne and Kubistami. The modernist flows of the 20th century, focused on abstractionism, completely depart from traditional principles, denying realism, but remain within the framework of art. The history of art with the advent of abstractionism survived the revolution. But this revolution arose not by chance, but quite naturally, and was predicted by Plato! In his late work, Phyleb wrote about the beauty of the lines, surfaces and spatial forms, independent of all imitation of visible subjects, from all monesesis. This kind of geometric beauty, in contrast to the beauty of natural "incorrect" forms, according to Plato, has not relative, but unconditional, absolute character.
20 century and modernity
After the 1st World War, 1914-18 the trends of abstract art were often manifested in certain works by representatives of Dadaism and surrealism; At the same time, the desire to find the use of inactive forms in architecture, decorrugated art, design (experiments of a group of style "and" Bauhaus ") was determined. Several abstract art groups ("concrete art", 1930; "Circle and square", 1930; "Abstraction and creativity", 1931), uniting artists of various nationalities and trends, originated at the beginning of the 30s., Main in France. However, abstract art has not received wide distribution, and by the mid-30s. Groups broke up. In the years of the 2nd World War, 1939-45 in the United States emerged a school of the so-called abstract expressionism (painters J. Pollock, M. Toby et al.), which developed after the war in many countries (called Tashism or "Formal Art") and proclaimed by its "pure mental automatism" and a subjective subconscious impulsiveness of creativity, the cult of unexpected color and textural combinations.
In the second half of the 50s, the art of installation, pop art was originated in the United States, somewhat later famous Andy Warhol with his endless replication of portraits Marilyn Monroe and cans of dog food - Collage abstractionism. In the pictorial art of the 60s, the least aggressive, static form of abstraction - minimalism became popular. At the same time Barnet Newman, founder of American geometric abstraction, together with A. Lieberman, A. Held.and K. Noland Successfully engaged in the further development of the ideas of Dutch neoplasticism and Russian suprematism.
Another course of American painting was called "chromatic" or "post-siblish" abstractionism. Representatives to some extent pushed out from Fovisma and postminglyism. Hard style, emphasized sharp outlines E. Celly, J. Yungherman, F. Sustla Gradually inferior to the painting of a contemplative melancholic warehouse. In the 70s - 80s, American painting returned to figurativeness. Moreover, the broadest spread received such an extreme manifestation as photorealism. Most art historians converge on the fact that the 70s is the moment of truth for American art, because during this period it was finally freed from European influence and was purely American. However, despite the return of traditional forms and genres, from portrait to historical painting, not disappeared and abstractionism.
Paintings, the works of "disadvantaged" art were still created, since the return to realism in the United States was not overcomed by abstractionism as such, but its canonization, a ban on figurative art, which was identified primarily with our social realism, and therefore could not not be considered odious In the "free democratic" society, a ban on "low" genres, on social functions of art. At the same time, the stylistics of abstract painting acquired some softness, which she did not take before, - streamlining volumes, blurring of contours, the richness of halftone, thin color solutions ( E. Murray, St. Hephon, L. Rivers, Mr. L. Huese, A. Ballod).
All these trends laid the foundation for the development of modern abstractionism. There can be nothing frozen in creativity, since it would be death for him. But whatever the paths are abstractionism, no matter how it is transformed, the essence of it always remains unchanged. It is that abstractionism in visual art is the most affordable and noble way to capture personal being, and in the form, that neither is adequate - like facsimile impression. At the same time, abstractionism is a direct realization of freedom.
Directions
In abstractionism, two clear directions can be distinguished: geometric abstraction, based mainly on well-defined configurations (Malevich, Mondrian), and lyrical abstraction in which the composition is organized from free forms (Kandinsky). Also in abstractionism there are several other major spending.
Cubism
The avant-garde direction in the visual arts originated at the beginning of the 20th century and characterized by the use of the conditioned forms of the geometric shape, the desire to "crush" real objects for stereometer primitives.
Regionism (raysism)
Direction in abstract art of the 1910s, based on the replacement of light spectra and light relevant. It is characterized by the idea of \u200b\u200bthe emergence of forms from the "intersection of the reflected rays of various objects," since the person is in fact not the subject perceived, but "the amount of rays coming from the light source reflected from the subject."
Neolasticism
Designation of the direction of abstract art, which existed in 1917-1928. In Holland and united artists who were grouping around the magazine "De Stijl" ("Style"). Characterized clear rectangular forms in architecture and abstract painting in the layout of large rectangular planes, painted in the main colors of the spectrum.
Orphism
Direction in French painting of the 1910s. ORFER artists sought to express the dynamics of movement and musicality of rhythms using the "patterns" of the interpenetration of the basic colors of the spectrum and interconnecting of curvilinear surfaces.
Suprematism
The direction in the avant-garde art, founded in the 1910s. Malevich. He was expressed in combinations of multicolored planes of the simplest geometric outlines. The combination of multi-colored geometrical figures forms a balanced asymmetric suprematic compositions penetrated by internal movement.
Tashism
The flow of 1950-60s in Western European abstractionism, which received the greatest distribution in the United States. It is painting spots that do not recreate the images of reality, but express the unconscious activity of the artist. The smears, lines and stains in Tashizm are applied to the canvas quick movements of the hand without a predetermined plan.
Abstract expressionism
The movement of artists, drawing quickly and on large canvases, using non-geomeometric strokes, large brushes, sometimes dripping with paints to canvas, for the utmost identification of emotions. The expressive method of painting here often has the same value as the drawing itself.
Abstricionalism in the interior
Recently, abstractionism began to move with paintings by artists in a cozy home interior, renewing it. Minimalistic style using clear forms, sometimes quite unusual, makes the room unusual and interesting. But it is very simple to overdo it with color. Consider a combination of orange color in such a stylist of the interior.
White best dilutes saturated orange, and how cool it. The color of the orange makes the room become hotter, so a little; not prevent. The focus must be on furniture or design it, for example, orange bedspread. In this case, the white walls will muffle the brightness of the color, but will leave the room colorful. In this case, the paintings of the same gamma will serve as an excellent addition - the main thing is not to overdo it, otherwise there will be problems with sleep.
The combination of orange and blue colors is indulged for any room, if it does not concern the nursery. If you choose not bright shades, they will successfully harmonize each other, add moods, and will not adversely affect even hyperactive children.
Orange is perfectly combined with green, creating a mandarine tree effect and a chocolate tint. Brown - color, which varies from warm to cold, so perfectly normalizes the total temperature of the room. In addition, such a combination of colors is suitable for the kitchen and living room, where you need to create an atmosphere, but do not overload the interior. Placing the walls in white and chocolate colors, you can safely put an orange chair or hang a bright picture with a rich tangerine. While you are in such a room, you will have a wonderful mood and the desire to make as much cases as possible.
Pictures of famous abstraction artists
Kandinsky was one of the pioneers of abstract art. He started his searches in impressionism, and already an abstractionism came to style. In his work, he exploited the relationship between the color and the form for creating aesthetic experience, which would cover both the vision and emotions of the audience. He believed that the complete abstraction gives space for a deep, transcendental expression, and the copying of reality only prevents this process.
Painting was deep spiritual for Kandinsky. He sought to convey the depth of human emotions through the universal visual language of abstract forms and colors, which would exceed physical and cultural boundaries. He saw abstractionism As an ideal visual regime, which can express the "internal necessity" of the artist and convey human ideas and emotions. He considered himself a prophet whose mission is to share these ideals with the world, for the benefit of society.
Hidden in bright colors and clear black lines depict several Cossacks with spears, as well as boats, numbers and castle on the top of the hill. As in many paintings of this period, it represents an apocalyptic battle that will lead to the eternal world.
In order to facilitate the development of the free-free style of painting, as described in his work "On spiritual in art" (1912), Kandinsky reduces objects to pictographic symbols. Thanks to the removal of most references to the outside world, Kandinsky expressed its vision to a more versatile manner, translating the spiritual essence of the subject through all these forms in the visual language. Many of these symbolic figures were repeated and refined in its later work, becoming even more abstract.
Kazimir Malevich
Malevich's ideas about form and meaning in art, one way or another, lead to concentration on the theory of style abstractionism. Malevich worked with different styles in painting, but most of all was focused on the study of pure geometric forms (squares, triangles, circles) and their attitude towards each other in the visual space. Thanks to its contacts in the West, Malevich was able to convey his ideas about painting to artists in Europe and the United States, and thus deeply affect the evolution of contemporary art.
"Black Square" (1915)
The cult picture "Black Square" was first shown by Malevich at the exhibition in Petrograd in 1915. This work embodies the theoretical principles of Suprematism developed by Malevich in his essay "from cubism and futurism to suprematism: new realism in painting."
On the web in front of the viewer is an abstract form in the form of a black square - it is the only element of the composition. Despite the fact that the picture seems simple, it presents such elements as fingerprints, brush strokes, peeling through black paint layers.
For Malevich, the square refers to feelings, and the white is emptiness, nothing. He saw a black square as a god-like presence, an icon, as if she could become a new sacred way for impressive art. Even at the exhibition, this picture was placed on the place where the icon usually has in a Russian house.
Pete Mondrian
Pita Mondrian, which is one of the founders of the Dutch Movement "de Style", recognize the purity of its abstractions and methodical practice. He pretty radically simplified the elements of his paintings to display what he saw, not directly, and figuratively, and create a clear and universal aesthetic language in his canvases. In its most famous paintings since the 1920s, Mondrian reduces the shapes to lines and rectangles, and the palette is to the simplest. The use of an asymmetric balance has become a fundamental in the development of contemporary art, and its cult abstract works retain their influence in design and familiar to popular culture and today.
"Gray Tree" is an example of the early transition of Mondrian to style abstractionism. The three-dimensional tree is reduced to the simplest lines and planes, using just gray and black shades.
This picture is one of the works of Mondrian's works created with a more realistic approach, where, for example, trees are presented naturalistically. While the later works became increasingly abstract, for example, tree lines are reduced until the tree shape is barely noticeable and secondary with respect to the overall composition of vertical and horizontal lines. Here you can still see the interest of Mondrian to the abandonment of a structured organization of lines. This step was significant for the development of a pure abstraction of Mondriana.
Robert Delone
Delone was one of the earliest artists of abstractionism. His creativity influenced the development of this direction, based on the compositional voltage, which was due to the opposition of colors. He quickly fell under neo-impressionistic colorful effect and very closely followed the color system of work in the style of abstractionism. He considered the color and light to be the main tools, with the help of which you can influence the object object.
By 1910, Delon made his own contribution to cubism in the form of two series of paintings depicting cathedrals and Eiffel Tower, which joined cubic forms, movement dynamics and bright colors. This new way to use color harmony helped to separate this style from orthodox cubism, having received the name of Orphism, and immediately influenced European artists. In the same style, the paintings continued to write the paintings by the wife of Delone, the artist Sonya Terk-Delone.
The main work of Delone is dedicated to the Eiffel Tower - the famous symbol of France. This is one of the most impressive from a series of eleven paintings dedicated to the Eiffel Tower between 1909 and 1911. It is painted in a bright red color that immediately distinguishes her from the surrounding city. The impressive canvas size additionally enhances the greatness of this building. As a ghost, the tower towers over the surrounding houses, in a figurative sense shaking the foundations of the old order themselves. The picture of Delone conveys this feeling of limitless optimism, innocence and freshness of time, which has not yet witnessed the two world wars.
Frantishek Kupka
Frantishek Cup - Czechoslovak artist drawing in style abstractionismwho graduated from the Prague Academy of Arts. As a student, he, first of all, painted on patriotic topics and wrote historical compositions. His early works were more academic, however, his style developed over the years and eventually moved to abstractionism. Written in a very realistic manner, even his early works, contained mystical surreal topics and symbols that preserved and when writing abstractions. The coup believed that the artist and his work take part in long creative activities, the nature of which is not limited as absolute.
"Amorph. Fugue in two colors "(1907-1908)
Starting from 1907-1908, the checkout began to draw a series of portraits of a girl holding a bowl in his hand, as if she was going to play or dance with him. Then he developed more and more schematic images, and ultimately, received a series of fully abstract drawings. They were completed in a limited palette of red, blue, black and white colors. In 1912, in the autumn salon, one of these abstract works was first publicly exhibited in Paris.
Modern abstrasts
Since the beginning of the twentieth century, artists, including Pablo Picasso, Salvador Dali, Casemir Malevich, Vasily Kandinsky - experiment with the forms of objects and their perception, and also questioned the existing canons in the art. We have prepared a selection of the well-known modern abstation artists themselves who decided to push their borders of knowledge and create their own reality.
German artist David Schnel (David Schnell) likes to wander around the places, in which nature reigned, and now they are rigorous to the buildings of people - from playgrounds to factories and factories. Memories of these walks and give birth to his bright abstract landscapes. Giving the will to his imagination and memory, not photographs and videos, David Schnele creates pictures that resemble computer virtual reality or illustrations for fiction books.
Creating their large-scale abstract paintings, an American artist Kristin Baker (Kristin Baker) draws inspiration from the history of the Arts and Racing of Nascar and Formula 1. Salt she gives its work volume, overlapping several layers of acrylic paint and shook silhouettes with scotch. Then Christine neatly squints it, which allows you to see the lower layers of paint and makes the surface of its paintings similar to a multilayer multicolored collage. At the recent stage of work, she scraps all irregularities, making their paintings like sensations on the X-ray.
In their works, an artist of Greek origin from Brooklyn, New York, Eleanna Anagnes (Eleanna Anagnos) explores aspects of everyday life, which often escape from the view of people. In the course of her "dialogue with canvas", ordinary concepts acquire new meanings and edges: the negative space becomes positive and small forms increase in size. Trying to inhale "life in our pictures", I tried to awaken the human mind that stopped asking questions and be open to something new.
Giving birth to bright splashes and lodges of paint, an American artist Sara Spitler(Sarah Spitler) seeks to display in his work chaos, catastrophe, imbalance and mess. It is attracted by these concepts, as they are not amenable to control from human. Therefore, their destroying force makes abstract works of Sarah Spitler powerful, energetic and exciting. Moreover. The resulting image of ink, acrylic paints, graphite pencils and enamel emphasizes Etherism and the relativity of what is happening around the canvas.
Drawing inspiration from the field of architecture, artist from Vancouver, Canada, Jeff Dapner. (Jeff DEPNER) creates multi-layered abstract patterns consisting of geometric shapes. In the artistic "chaos" created by him, Jeff is looking for harmony in color, shape and composition. Each of the elements in his paintings is associated with each other and leads to the subsequent: "My work is investigating the compositional structure [Pictures] through the relationship between colors in the selected palette ...". According to the artist, his paintings are "abstract signs", which should postpone the audience for a new, unconscious level.
Single-tier pattern, William Morris
"Abstractionism", also called "impregnable art", "non-fugitive", "non-resident", "geometric abstraction" or "specific art", is a rather blurry umbrella term for any object of painting or sculpture that does not displays recognizable objects or scenes. However, as we see, there is no clear consensus with respect to the definition, types or aesthetic value of abstract art. Picasso thought that such a concept does not exist at all, while some art historians believe that all art is abstract - because, for example, no painting can count on to be something big than a gross resume that he sees artist. In addition, there is a sliding scale of abstraction: from semi-abstract to fully abstract. Therefore, although the theory is relatively clear - abstract art is removed from reality - the practical task of separating abstract from non-abstract works can be much more problematic.
What is the idea of \u200b\u200babstract art?
Let's start with a very simple example. Take bad (unprofitable) drawing of something. Execution The image leaves much to be desired, but if its colors are beautiful, the drawing can hit us. This shows how the formal quality (color) can override the representative (drawing).
On the other hand, a photorealistic picture, say, at home can demonstrate excellent graphics, but the subject itself, the color scheme and the total composition can be absolutely boring.
The philosophical substantiation of the valuation of artistic formal qualities result from the approval of Plato that: "Straight lines and circles ... not only beautiful ... but eternal and absolutely beautiful."
Convergence, Jackson Pollock, 1952
In essence, the reveament of Plato means that non-naturalistic images (circles, squares, triangles, etc.) have absolute, unchanged beauty. Thus, painting can only be estimated at its line and color, she does not need to portray the natural object or scene. French artist, lithographer and theoretics of art Maurice Denis (1870-1943) meant the same thing when wrote: "Remember that the picture is before becoming a military horse or a naked woman ... Essentially a flat surface covered with color collected by color in a certain order. "
Frank Stella
Types of abstractionism
So that everything is simple, we can divide abstract art for six main types:
- Curvilinear
- Founding on color or light
- Geometric
- Emotional or intuitive
- Gestural
- Minimalist
Some of these types are less abstract than others, but they are all connected with the branch of art from reality.
Curvilinear abstractionism
Honeysuckle, William Morris, 1876
This type is strongly associated with Celtic art, which uses a number of abstract motifs, including nodes (eight main types), interlaced patterns and spirals (including triskel or triscelion). These motives were not invented by the Celts, many other early cultures used these Celtic ornaments over the centuries. However, it is right to say that Celtic designers breathed a new life into these patterns, making them more intricate and complex. Later, they returned during the 19th century and especially manifested themselves in book covers, fabrics, wallpapering and sortshots, similar to William Morris (1834-96) and Arthur McSuzurdo (1851-1942). The curvilinear abstraction is also characterized by such a concept as a "endless picture" - a widespread feature of Islamic art.
Abstractionism based on color or light
Water Lily, Claude Monet
This type is illustrated in the works of Turner and Monet, which use the color (or light) in such a way as to separate the work of art from reality, since the object dissolves in the pigment vortex. Examples can serve as a water lily of Claude Monet (1840-1926), Talisman (1888, Musee D'Orsay, Paris), Paul Seruzier (1864-1927). Several of the Expressionist paintings of Kandinsky written in their time with Der Blaue Reiter are very close to abstraction. Color abstraction appeared again in the late 1940s and 50s in the form of colored painting developed by Mark Rotko (1903-70) and Barnett Newman (1905-70). In the 1950s, in France, a parallel variety of abstract painting related to color, known as lyric abstraction appeared.
Talisman, Floor Seru
Geometric abstraction
Bougie-WGOs on Broadway, Pete Mondriana, 1942
This type of intellectual abstract art appeared from about 1908. An early rudimentary form was cubism, in particular analytical cubism, which rejected the linear perspective and the illusion of spatial depth in painting to focus on its two-dimensional aspects. Geometric abstraction is also known as specific art and undertaking art. As it should be expected, it is characterized by non-naturalistic images, as a rule, geometric shapes, such as circles, squares, triangles, rectangles, etc. In a sense, do not contain absolutely no reference to the natural world and not being connected with it, Geometric abstractionism is the cleanest form of abstraction. It can be said that concrete art for abstract art is the same as veganness for vegetarianism. Geometric abstraction is represented by a black circle (1913, the State Russian Museum, St. Petersburg), written by Casimir Malevich (1878-1935) (the founder of Suprematism); Bogi-Vui on Broadway (1942, MOMA, New York) Pete Mondriana (1872-1944) (founder of neoplastic); and Composition VIII (The Cow) (1918, Moma, New York) Teo Van Lebourg (1883-1931) (Founder de Style and Elementism). Other examples include jobs appeal to Josef Albers Square (1888-1976) and Op-Art created by Viktor Vazareli (1906-1997).
Black Circle, Kazimir Malevich, 1920
Composition VIII, Teo Van Brick
Emotional or intuitive abstract art
This type of art covers a combination of styles, the total topic of which is a naturalistic trend. This naturalism is manifested in the form of forms and colors used. In contrast to the geometric abstraction, which is almost anti-nature, intuitive abstraction often depicts nature, but less representative. Two important sources for this type of abstract art are: organic abstraction (also called biomorphic abstraction) and surrealism. Perhaps the most famous artist specializing in this form of art was born in Russia Mark Rotko (1938-70). Other examples include Kandinsky's canvases, such as Composition No. 4 (1911, Kunstsammlung Nordrhein-Westfalen) and Composition VII (1913, Tretyakov Gallery); Woman (1934, private collection) Joan Miro (1893-1983) and an indefinite division (1942, an art gallery Allbright-Knox, Buffalo) Yves Tangi (1900-55).
Uncertain Dividitude, Yves Tangi
Gesturing (gesture) abstract art
Untitled, D. Pollock, 1949
This is the form of abstract expressionism, when the picture creation process becomes more important than usual. For example, paint is applied in an unusual way, smears are often very loose and fast. Famous American exponents of gesturing painting include Jackson Pollock (1912-56), the inventor of Action-Painting and his wife Lee Krasner (1908-84), which inspired it for the invention of own technology, the so-called "drip painting"; Villem de Cuning (1904-97), known for its work in a series of a woman; And Robert Motherwell (1912-56). In Europe, this form is represented by the Cobra group, in particular Karel Appel (1921-2006).
Minimalistic abstract art
Training drawing, Ed Reinhardt, 1939
This type of abstraction was a kind of avant-garde art, devoid of all external references and associations. This is what you see - and nothing else. It often takes a geometric shape. In this direction, sculptors are dominated, although it also includes some great artists, such as Ed Reinhardt (1913-67), Frank Stella (1936), whose paintings of a large scale and include clusters of form and colors; Sean Scully (1945) Irish-American artist, whose rectangular shapes, seem to imitate the monumental forms of prehistoric structures. As well as Joe Baer (1929 R.), Elsuworth Kelly (1923-2015), Robert Mangold (1937), Brys Marden (born in 1938), Agnes Martin (1912-2004) and Robert Raiman (1930). 
Elsuworth Kelly
Frank Stella
By definition, agreed with Wikipedia, abstractionism (lat. butbSTRACTIO.n - removal, distraction) or non-pigurativeor Freelessdirection of art, refused by an image of the form in painting, graphics and sculpture.
The aspect of the aesthetic concept of the first abstractionists was a refusal of a real form, which requires the audience of erudition and logical understanding, in favor of an expression at least a net emotional send. As the maximum was assumed that artistic creativity reflects the patterns of the universe, hidden behind the external, apparent phenomena of reality. These patterns, intuitively comprehended by the artist, were expressed through the ratio of abstract forms (color spots, lines, volumes, geometric shapes).
Fig. 1. V. V. Kandinsky. First abstract watercolor. 1910
A widely used term abstract composition grows from the scope of education, where it defines the wording of the learning exercise. The word "composition" is not used in the meaning of the preparation, but in the aspect of the completed work. Rather, of course, talk about the composition in abstract art. As the art of a "personal experience", abstractionism in different periods of existence shocked the viewer, was an avant-garde of art, then ridiculous, was subjected to condemnation and censorship, as an art that does not make any sense and degenerative. However, now abstractism exists on a par with all other forms of art and, moreover, it comes to the special positions of the tasks of introductory tests upon admission to educational institutions for architectural and design specialties. As an inspection of creative capabilities of applicant, the abstraction test is very productive. Brightly identifies creative thinking, composite knowledge and ability to express the subject in the complicated prohibition conditions for recognizable forms of the surrounding world. After all, historically, working with the primary elements of the language of art (those geometrical forms of which can be obtained by the slicing of excess in figurative art, the objects of the visual world can be obtained), the abstractionists appealed to the composite principles common. It is not surprising that the abstrasts have been used by their inactive forms in industrial aesthetics (design), artistic design, architecture (activity of the Style Group in the Netherlands and School Bauhauses in Germany; the work of Kandinsky Vagamutemia; Architectons and design projects Malevich; "Mobile" Alexander Kolder; The designs of Vladimir Tatlin, the work of Nauma Gabo and Antoine Pevzner). The activities of abstractionists contributed to the formation of modern architecture, decorative and applied art, design.
Personally, the author is interesting to the abstract composition only by the fact that on the example of the conditioned abstract forms it is easier to understand the psycho-physiological laws of perception of the viewer's image and put them in armament when the author's thought is in the work. After all, in order to make their ideas with interspersible for the viewer, it is logical to communicate on the visual language that is clear for the viewer and the artist, which I wrote a doctor of art historian to Stepanov G.P. (Composition problems of art synthesis, 1984). In the language of universal gestalts of the psyche R. Arnheim (art and visual perception. 1974), taking into account the physiology of viewing and processing seen by the brain, which summarized for artists in his book G.I. Panksenov (painting. Form, color, image, 2007). This topic is described in detail by the author in the articles "" and "", which will increase the understanding of this article. Even when the first ideas of the subject (genre or scene, associative-surrealistic, decorative, etc.) composition are based on the compositions *, all objects in it are planned with conditional spots or masses, which then the "cut-off" method is adjusted to recognizable forms . The theory of the composition uniquely dictates that it was in the conditional masses of a large and small, dark and light at the stage of the first implicit sketches, interaction, harmony, a composite center, a means of expressiveness, and gently preserved to the end of work on the work should be found.
Fig. 2. Sketches of paintings. a) I.I. Levitan. Platform. Approaching train. Sketch. 1879. GTG. b) Spiridonov V.M. Multifigure composition. Sketch of 1941 Chuvash State. Museum. in)
Kiparisov P. G. Marichi go. Sketches for the picture "When lilac flowers." Chuvash State. Museum.
This approach relates all the hypostasis of the composition (genre, abstract associative, decorative, etc.). Of course, in abstraction, we can closer the viewer only to any psychological experience, mood, feeling, but it is not very small for a piece of work and a substantive nature. Therefore, the understanding of the composition in abstraction will expand horizons and artists of figurative directions in art. It is from these positions that put forward a hypothesis that the understanding of the communication of psychological with the visual should be the basic principle of expressing certain sensations in composite knowledge. This will allow the artist to more accurately express his idea and create a more powerful emotional impact on the viewer in the work of both figurative nature and not figurative.
However, whether all drawing officers understand the principles of displaying certain sensations, a particular association, mood in a free-free composition, with which coded language the author and the viewer should be disconted through an image?
* All visual art can be divided into substantive and free. Both and the other section can be represented as a set of areas in art, for example, in abstract art, two large directions are geometric abstraction, based mainly on well-defined configurations (Malevich, Mondrian) and lyrical abstraction, in which the composition is organized from free forms (Kandinsky). In their framework, more narrow flows can be distinguished, for example, Tashism (painting by stains, which express the unconscious activity of the artist), Suprematism (combinations of multi-colored planes of the simplest geometric outlines), neoplastic (painting in the layout of large rectangular planes, painted in the main colors of the spectrum) and T .. In the subject painting, various approaches to the image of the most realistic shape, actions, time, space are interferd. For example, genre realistic composition, i.e. Reflecting a specific genre of art (portrait, still life, landscape, animalistic, historical, battle, household or the like.) Clearly adheres to Aristotle unity - time, places, actions. In such art, certain actors at a certain point in the real space are combined with one action. However, in subject art historically developed such areas as surrealism, cubism, futurism and other "subject" avant-garde currents, where the objects of the world with a significant degree of stylization (deformation, simplification, complications, etc.) or without it are not depicted in Terms of real physical world, and as if in the stream of associative reflexes of the author. In other words, there are real objects, but the times, spaces can be mixed, the color is interpreted conditionally, and the form is strongly deformed. "Already a period of protoanant chart of the 19th century of the XIX-XX centuries is characterized as a layer, the transition from the classical aesthetics of Aristotle, Mimesisis to the non-classical, antiaristylene tradition." But, with everything, the laws, rules, principles, the means of expressiveness are united for all manifestations and produce an impact on any versions of the substantive or unprecedented image.
The purpose of this article is an attempt to describe adequate principles for which human sensations are detected in the abstract composition, and at the same time explain the method of reflection on the expression in the composition of life sensations on the example of standard for learning tasks on the composition and formation of tactile, taste, vestibular, etc. sensations. For which we analyze the features of the composition in abstract art and give a few examples with illustrations.
To express statics in the composition characteristic:
Heavy bottom and lightweight is a psychological anticipation (waiting) of the alignment of forces in a sheet, which is due to the physical realities of life. In other words, the habit of feeling a reliable support under the feet, and above the head light sky. Therefore, the composition center is better to lay a little lower than the geometric center of the sheet in order to strengthen the bottom, attract the composition to the implied platform. Associatively felt at the lower edge of the sheet The support area is needed large due to the physical law that the large plane gives a greater force of friction. In connection with the life experience of finding equilibrium stable states, it is necessary to underline vertical and horizontally as a composite key or the dominant principle in the composition. Do not put anything at the angle. Even the triangles in the compositions that bring diagonally to their parties should be put on a wide base, tends to an equally chagrined and rectangular triangles. The color on the vestibular sensations in the opinion of the author does not affect.
To express the speakers in the composition characteristic:
In connection with the established "Arnheim" gestal of the psyche feel over the head of a light light sky, often when viewed by the visual plane, the objects placed at the top of the sheet seem to be flying or falling. Therefore, the composite center in dynamic compositions is better to lay a little higher than the geometric center of the sheet in order to move accent for the viewer as it were, as it were, "in the sky". We will risk assumed that dark objects and large, which are associatively associated with weights seem to fall, and light and bright, by analogy with octoch, snow, ferry, etc., seem flying. Support Square in the lower edge of the sheet is absolutely not needed. Unlike the statistics, the structure of the dynamic composition is most often a diagonal. It may be a spiral, but with a spiral impression of constant removal and flight it is necessary to "live" with a rhythm and scale. Please note that under the dynamics it is implied not a chaotic movement, but a vector directed, as if with a given acceleration. In other words, the objects depicted should seem flying (abandoned with force) to a particular purpose. Such static forms as various rectangles should be put on the angle, diagonally. The main means of expressiveness - rhythm. By changing the distance from one drawn object to another, the artist can create a feeling of overclocking or slowing down, depending on how far you need to jump out the view from one object to another. At the same time, the effect of promising reduction of flying facilities will be a good help. The color on the vestibular sensations, according to the author, does not affect.
Fig. 3. Examples of images of statics and speakers in a geometric abstract composition. a) Yuldasheva E. b) Lazareva V. c) Lazareva V.
To express the massive in the composition characteristic:
To express gravity on a sheet, the composite center is better to lay just below the geometric. The format is lucky to choose horizontal, as if "landed". In particular cases, for massiveness, the support area should be, and the more, the better (including the total of several severe objects) due to the fact that the heavy mass is stronger attracts to the ground. You must press the image to the lower edge of the sheet. However, various artistic tasks may be found, in which the massive should not be associated with the Earth, then it is worth limited to the latter scale in the sheet and dark tone. The pronounced structure for the creation of massive compositions is probably not, but it is interesting to increase the feeling of gravity, stuffiness and pressure due to the fact that you can graphically clamp or press the small object with large, by analogy with the rods. Try to depict objects tight, without visible between them. For weight sensations, a much greater value is affected by the tone: light or dark, - rather than color. So to identify the sensation of massiveness to help should come dark tones. This is due to the life experience, which associatively connects heavy tones with the severity expected to experience (a priori). Including figuratively darkness binds to the severe emotional states of the person. And so from the course of flower science, it is known that each color you can choose the appropriate tone strength, then naturally for massive fit dark colors brown, blue, purple, dark green, dark bordees and other dark shades of colors. The main means of expressiveness is the scale. This is due to again with life experience, which associatively binds a huge size with the expected weight of the object.
To create a feeling of lightness in the composition characteristic:
For a light composition, the composition center is better to design a little higher than the geometric center of the sheet to associate the most important thing in the composition with something soaring, sublime. Even the format is most likely to choose vertical. In particular cases associated with static or stability, the points of the support will be needed, but for greater expression of light structures, they must be point (not solid), visually thin supports, regardless of the support area. However, various artistic tasks may be found, dynamic. Then it is worth limited to the expression of ideas using the scale and light tone. The pronounced structure of the composition to allocate here is meaningless, but it is interesting to strengthen the feeling of lightness by an abundance of "air" between objects in the image. At the same time, the so-called "drawing through" or "through the subject" will become an excellent artistic technique for emphasising, creating the impression of transparency of the depicted objects. Also well depict objects with hollow, associatively facilitating their mass. To identify the feeling of ease by analogy with the vitality, light tones are suitable, by analogy with the foam, snow, ferry, etc. And so from the course of flower science, it is known that each color can choose the appropriate tone, it is naturally light connected with light shades of colors: yellow, pink, orange, blue, light green. The main means of expressiveness is the scale. This is due to the life experience, which associatively connects a small size with the obviously known lightness of the object.
Fig. 4. Examples of the image of solid and light in the geometric abstract composition. a) Belyaeva E., B) Lazareva V., c) Yuldasheva E.
To create a sense of stability and instability in the composition, it is important:
These two topics are inextricably linked with the human idea of \u200b\u200bthe plane of the Earth, Paul, Podium, Supports. Of course, these planes should not be drawn, but they can imply and emphasize the concentration of lines. Sustainable will differ from the statics only with the feeling that static weighty century, and the resistance of the phenomenon is mumbling. If the statics, as we understand, are difficult to task, then the steady collapses with a slight effort. In order to preliminarily attended the feeling of stability in the graphics design, the support area (including the total several objects) may not be large, but the total projection of the composite center of the entire design on the plane of the alleged "floor" should fall into the support area. On the contrary, if the projection of the center of gravity goes beyond the support area, then there is a feeling of collapse, falling, destruction. The format is recommended to choose vertical. TOthe lamp is above geometric.
Fig. 5. Examples of the image of the resistant and unstable in the abstract geometric composition. a) Lazareva V., b) Yuldasheva E.
To express the taste sensations of sour for the composition, it is important:
In the view of the author to express the taste sensations, the color plays a huge role. The bright colors of lemon, lime, pineapple, grapefruit, etc. are associated with sour live from life. Therefore, we are suitable for all cold-blooded shades of yellow, green, emerald, blue, blue, purple. Naturally, the listed colors may not be enough for the idea of \u200b\u200bthe author-composer. At the same time, one should not delete its composition with listed colors. Only one rule should be remembered - 75% of cold acidic colors and 25% otherwise. It should be clearly understood, the more you put into the composition of elements from opposite sensations, the more extraneous associations appear, which contradicts the integrity principles of the composition, when each element should work on the expression of the author's general idea. Forming in the composition occurs again due to images of real life. INsink your feelings from the eating lemon. The oral cavity seems to be cut, rolling, pinlet, therefore, the shapes in the composition should be used by stroke, needle, sharp, brushy.
For the expression of the taste sensations of sweet for the composition, it is important:
Associatives from life with sweet tones of yellow, green, at the same time orange, red, brown. Other colors are valid exactly the same rule: 75% of the percent of the sweet taste associated with a sweet taste and 25% of other colors. To form the form of objects in the composition, remember your feelings from eating sweet, right up to the bottom-sweet. Soft lectured curves, drums, drop-like forms come to mind immediately, associations with squeezing jams, with flowing cream layers between multi-layer korzhs, can occur. Just need to start analyzing and converting your own memories into the distracted line and color.
Fig. 6. Examples of expressions in an abstract lyrical composition of acidic and sweet sensations a) in black and white graphics, b) in color. Iconnikova E.
How to express joy and sadness in the composition
Sadness In the figure - these are dark, thick achromatic or striving for achromatic paint, some discomposition or boredom pronounced by monotonous forms and the same distances between them, vertical rhythms, lectured curves, the creation of the effects of "hassle", nebulae with special techniques, such as the pointel. Joy - This is a dynamic composition, asymmetric, rhythms are constantly changing, like a scale. All items perform their work: the average forms relative to the format, as a rule, carry the basic semantic load and create a basic action, in large elements in the composition there is a property to combine the average to the system, to coenm the scattered elements, small are "raisins" of each composition. Thoughtful plastic phrases they decorate the composition, like a small decoration in the wardrobe. Again, remember the attributes of the holiday and include a point lines similar to fireworks, rain, confetti, ribbons, cotton, flashes, etc. Colors, respectively, should be open bright.
Fig. 7. Examples of the image in the abstract composition a) tactile, b) tactile, c) auditory and other sensations. Iconnikova E.
We have done a huge work that it is almost impossible to be done perfectly in connection with individual perception. We did not concern the cultural, religious and social associations of people, only physical and physiological - general, perhaps, for the entire population of the globe. Here it was more important to even submit a method of reasoning, which in the future can be applied to such tasks, how to express heat and cold, belling and deafness, aggression or peacefulness, excitation and calmness, etc. The article affects the important points of composite knowledge, since . In training the professions of the architectural and artistic cycle of the tasks for the expression of sensations in abstraction, there is a fact that the author does not know the fact of the presence of a clear reference theory. Therefore, an attempt was made to give a basis from the author's personal developments for individual reflection, to search for copyrights of novice artists. Pay attention to the reader to the fact that the article presents the basic principles that are certainly understood by professionals with experience and analytical thinking. And since one of the principles of the composition of the novelty (not in the sense that any author's development, which previously did not exist in itself, new, and in the sense that it should dramatically stand out by individual findings from the monotonous mass), then to this basis Each author needs to look for its individual work. It remains to say that the represented author's concept is not truth in the last instance, learn from your own experience, analyze, synthesize. Listen to the inner voice, oddly enough, it is very important how important and analyze this answer and try to understand how to fix what I don't like, or how not to spoil what I like. So the receptions and finds associated with a positive response over the years to track into a huge professional baggage, which is also clear from unsuccessful samples related to negative personal experiences and teachers' feedback.
A.S. Chuvashov
Bibliography:
1. Kryuchkova V. A. Abstractionism // Large Russian Encyclopedia / S. L. Kravets. Moscow: Large Russian Encyclopedia, 2005. T. 1. P. 42-43. 768 p.
2. Sarukhanyan A. P. To the ratio of the concepts of "modernism" and "avant-garde" // Avangard in the culture of the twentieth century (1900-1930): Theory. History. Poetics: in 2 kN. / Ed. Yu. N. Girin. - M.: I had RAS, 2010. - T. 1. - P. 23.
One of the main directions in the art of avant-garde. The main principle of abstract art is to refuse to imitate the visible reality and operating it with elements in the process of creating a work. The object of art instead of the realities of the world becomes the toolkit of artistic creativity - color, line, shape. The plot is replaced with a plastic idea. The role of an associative start in the artistic process increases many times, and the possibility of expressing the feelings and moods of the Creator in abstracted, purified images, which can concentrate the spiritual start of phenomena and be its carriers (theoretical works of V.V. Kadinsky).
Random elements of abstraction can be revealed in world art throughout its development, starting with shaking paints. But the birth of this style should be sought in the painting of impressionists who tried to decompose the color on individual elements. Formism consciously developed this tendency, "detecting" color, emphasizing its independence and making an image object. Franz Mark and Henri Matisss (symptomatic His words: "Every art abstract") approached the abstraction (symptomatic: "Everything is abstract"), French Cubists were also moving along this path (especially Alber Glez and Jean Metsenznaya) and Italian futurists (Gino Severini Gino) . But none of them to overcome the border of figurativeness could not or did not wish. "We recognize, however, that some reminder of existing forms should not be expelled completely, at least at the present time" (AGLEZ, J.Metzenge. About cubism. SPb., 1913. p.14).
The first abstract works appeared at the end of the 1900s - early 1910s in the creativity of Kandinsky during work on the text "On the spiritual in art", and his "picture with a circle" (1911. NMG) is considered the first abstract picture. By this time his reasoning belongs: "<...> Only that form is correct, which<...> Maintains respectively content. Any side considerations, and among them compliance with the shape of the so-called "nature", i.e. Nature is external, insignificant and harmful, as they are distracted from the only problem of form - incarnation of content. The form is the material expression of abstract content "(content and form. 1910 // Kandinsky 2001. T. 1. p.84).
At an early stage, abstract art in the face of Kandinsky absolisted color. In the study of color, practical and theoretical, Kandinsky developed the teachings about the color of Johann Wolfgang Goethe and laid the foundations of the color theory in painting (among Russian artists, MV Matushin, G. Klutsis, I.V.Plutin and others were engaged in the color of the color .
In Russia in 1912-1915, abstract picturesque raysism systems were created (M. F. Marionov, 1912) and Suprematism (K.S. Malevich, 1915), in many respects identifying the further evolution of abstract art. Rappation with abstract art can be found in the cubaceuturism and an alogombism. The breakthrough to the abstraction was the picture of N.S. Thrusharova "Emptiness" (1914. GTG), but this topic did not find further development in the art of artist. Another unconvinced aspect of the Russian abstraction is a coloring O.V. Rosanova (see: Unlimited Art).
With its own ways to picturesque abstraction for the same years, Czech Czech Frantios Cup, French Robert Delone and Jacques Viyon, Dutchman Pete Mondrian, Americans Stanton McDonald Right and Morgan Russell. The first abstract spatial structures were counter-reliefs V.E. Tatlin (1914).
Refusal from isomorphism and appeal to the spiritual start gave reason to bind abstract art with theosophy, anthroposophy and even with occult. But the artists themselves at the first stages of the development of abstract art of such ideas did not express.
After World War I, abstract painting gradually conquers dominant positions in Europe and becomes a universal artistic ideology. This is a powerful artistic movement, which in their aspirations goes far beyond picturesque-plastic problems and demonstrates the ability to create aesthetic-philosophical systems and solve social tasks (for example, based on the principles of resolution "Suprematic City" Malevich). In the 1920s, on the basis of his ideology, such research institutes arise as Bauhauses or Gingukhuk. The abstraction also grew constructivism.
The Russian version of the abstraction got the name of without free art.
Many of the principles and techniques of abstract art, who became a classic in the twentieth century, are widely used in design, in theatrical and decorative art, in cinema, television and computer graphics.
The concept of abstract art has changed over time. Until the 1910s, this term was used with respect to painting, where the forms were depicted generalized and simplified, i.e. "Abstract", compared with a more detailed or naturalistic image. In this sense, the term was mainly applied to decorative art or to composite compositions.
But already with the 1910s "abstract" call works, where the form or composition is depicted at an angle that the initial item changes almost to unrecognizability. Most often, this term denotes the style of art that is based solely on the arrangement of visual elements - forms, colors, structures, and it is not at all necessary that they have an initiating image in the material world.
The concept of meaning in abstract art (in both of its values \u200b\u200b- early and later) is a difficult question that is constantly discussed. Abstract forms can also relate to non-physical phenomena, such as love, speed or laws of physics, associated with a derivative of the essence ("essentialism"), with an imaginary or other way of separating from a detailed, detailed and insignificant, random. Despite the lack of a representative subject, huge expression can accumulate in abstract work, and semantically filled elements, such as rhythm, multipleness and color symbolics, indicate involvement in specific ideas or events outside the image itself.
Literature:
- M.seuphor. L'Art Abstrait, Ses Origins, Ses Premiers Maîtres. Paris, 1949;
- M.VriOn. L'Art Abstrait. Paris, 1956; D.Vallier. L'Art Abstrait. Paris, 1967;
- R.Capon. Introducing Abstract Painting. London, 1973;
- C.Blok. GESCHICHTE DER ABSTRAKTEN KUNST. 1900-1960. Köln, 1975;
- M.schapiro. Nature of Abstract Art (1937) // M.schapiro. Modern Art. Selected papers. NEW YORK, 1978;
- Towards a New Art: Essays on the background to abstract painting 1910-1920. ED. M.compton. London, 1980;
- The Spiritual In Art. Abstract Painting 1890-1985. Los Angeles County Museum of Arts. 1986/1987;
- Text by M.Tuchman; B.altshuler. The Avant-Garde in Exhibition. New Art in the 20th Century. NEW YORK, 1994;
- Abstraction in Russia. XX century. T. 1-2. Timing [directory] SPb., 2001;
- Bottominess and abstraction. Sat Articles. Ot. ed. P. Kovlenko. M., 2011.;