2017514 AbstractartWikipedia

Abstractart
FromWikipedia,thefreeencyclopedia

Abstractartusesavisuallanguageofshape,form,colorand
linetocreateacompositionwhichmayexistwithadegreeof
independencefromvisualreferencesintheworld.[1]Western
arthadbeen,fromtheRenaissanceuptothemiddleofthe19th
century,underpinnedbythelogicofperspectiveandan
attempttoreproduceanillusionofvisiblereality.Theartsof
culturesotherthantheEuropeanhadbecomeaccessibleand
showedalternativewaysofdescribingvisualexperiencetothe
artist.Bytheendofthe19thcenturymanyartistsfeltaneedto
createanewkindofartwhichwouldencompassthe
fundamentalchangestakingplaceintechnology,scienceand
philosophy.Thesourcesfromwhichindividualartistsdrew
theirtheoreticalargumentswerediverse,andreflectedthe
socialandintellectualpreoccupationsinallareasofWestern WassilyKandinsky,Kandinsky'sfirstabstract
cultureatthattime.[2] watercolor,1910.

Abstractart,nonfigurativeart,nonobjectiveart,and
nonrepresentationalartarelooselyrelatedterms.Theyare
similar,butperhapsnotofidenticalmeaning.

Abstractionindicatesadeparturefromrealityindepictionof
imageryinart.Thisdeparturefromaccuraterepresentationcan
beslight,partial,orcomplete.Abstractionexistsalonga
continuum.Evenartthataimsforverisimilitudeofthehighest
degreecanbesaidtobeabstract,atleasttheoretically,since
perfectrepresentationislikelytobeexceedinglyelusive.
Artworkwhichtakesliberties,alteringforinstancecolorand
forminwaysthatareconspicuous,canbesaidtobepartially
abstract.Totalabstractionbearsnotraceofanyreferenceto
anythingrecognizable.Ingeometricabstraction,forinstance,
oneisunlikelytofindreferencestonaturalisticentities.
Figurativeartandtotalabstractionarealmostmutually
exclusive.Butfigurativeandrepresentational(orrealistic)art
oftencontainspartialabstraction. RobertDelaunay,191213,LePremierDisque,134
cm(52.7in.),Privatecollection.
Bothgeometricabstractionandlyricalabstractionareoften
totallyabstract.Amongtheverynumerousartmovementsthat
embodypartialabstractionwouldbeforinstancefauvisminwhichcolorisconspicuouslyanddeliberatelyaltered
visavisreality,andcubism,whichblatantlyalterstheformsofthereallifeentitiesdepicted.[3][4]

Contents
1 History
1.1 Abstractioninearlyartandmanycultures
1.2 19thcentury

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1.3 20thcentury
1.4 Music
1.5 Russianavantgarde
1.6 TheBauhaus
1.7 AbstractioninParisandLondon
1.8 America:midcentury
2 Abstractioninthe21stcentury
3 Causation
4 Gallery
5 Seealso
6 References
7 Sources
8 Externallinks

History
Abstractioninearlyartandmanycultures

Muchoftheartofearlierculturessignsandmarksonpottery,textiles,andinscriptionsandpaintingsonrock
wassimple,geometricandlinearformswhichmighthavehadasymbolicordecorativepurpose.[5]Itisatthislevel
ofvisualmeaningthatabstractartcommunicates.OnecanenjoythebeautyofChinesecalligraphyorIslamic
calligraphywithoutbeingabletoreadit.[6]

InChinesepainting,abstractioncanbetracedtotheTangdynastypainter
WangMo(),whoiscreditedtohaveinventedthesplashedink
paintingstyle.[7]Whilenoneofhispaintingsremain,thisstyleisclearly
seeninsomeSongDynastyPaintings.TheChanbuddhistpainterLiang
Kai(,c.11401210)appliedthestyletofigurepaintinginhis
"Immortalinsplashedink"inwhichaccuraterepresentationissacrificedto
enhancespontaneitylinkedtothenonrationalmindoftheenlightened.A
lateSongpainternamedYuJian,adepttoTiantaibuddhism,createda
seriesofsplashedinklandscapesthateventuallyinspiredmanyJapanese
zenpainters.Hispaintingsshowheavilymistymountainsinwhichthe
shapesoftheobjectsarebarelyvisibleandextremelysimplified.Thistype
ofpaintingwascontinuedbySesshuToyoinhislateryears.

Anotherinstanceofabstractionin
ChinesepaintingisseeninZhu
Derun's"CosmicCircle"(https://co
mmons.wikimedia.org/wiki/File:Zh
u_Derun__Primordial_Chaos_(pai
nting_only).jpeg).Ontheleftside
ofthispaintingisapinetreein
rockysoil,itsbrancheslacedwith "Mountainmarket,clearingMist",
vinesthatextendinadisorderly YuJian,China
"Immortalinsplashedink",Liang
mannertotherightsideofthe
Kai,China,XIICentury
paintinginwhichaperfectcircle(probablymadewithhelpofa
compass[8])floatsinthevoid.ThepaintingisareflectionoftheDaoist
metaphysicsinwhichchaosandrealityarecomplementarystagesoftheregularcourseofnature.InTokugawa

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JapansomezenmonkpainterscreatedEnso,acirclewhorepresentstheabsoluteenlightenment.Usuallymadein
onespontaneousbrushstroke,itbecametheparadigmoftheminimalistaestheticthatguidedpartofthezen
painting.

19thcentury

ThreeartmovementswhichcontributedtothedevelopmentofabstractartwereRomanticism,Impressionismand
Expressionism.Artisticindependenceforartistswasadvancedduringthe19thcentury.Patronagefromthechurch
diminishedandprivatepatronagefromthepublicbecamemorecapableofprovidingalivelihoodforartists.

EarlyintimationsofanewarthadbeenmadebyJamesMcNeillWhistler
who,inhispaintingNocturneinBlackandGold:ThefallingRocket,
(1872),placedgreateremphasisonvisualsensationthanthedepictionof
objects.Anobjectiveinterestinwhatisseen,canbediscernedfromthe
paintingsofJohnConstable,JMWTurner,CamilleCorotandfromthem
totheImpressionistswhocontinuedthepleinairpaintingoftheBarbizon
school.PaulCzannehadbegunasanImpressionistbuthisaimtomake
alogicalconstructionofrealitybasedonaviewfromasinglepoint,[11]
withmodulatedcolourinflatareasbecamethebasisofanewvisualart,
latertobedevelopedintoCubismbyGeorgesBraqueandPabloPicasso.

JamesMcNeillWhistler,Nocturnein
BlackandGold:TheFallingRocket
(1874),DetroitInstituteofArts.A
nearabstraction,in1877Whistler
suedtheartcriticJohnRuskinfor
libelafterthecriticcondemnedthis
painting.RuskinaccusedWhistlerof
"ask[ing]twohundredguineasfor
throwingapotofpaintinthepublic's
face."[9][10]
colleaguesintheearly20thcentury.[12]
Expressionistpaintersexploredthebolduseofpaintsurface,drawing
distortionsandexaggerations,andintensecolor.Expressionistsproduced
emotionallychargedpaintingsthatwerereactionstoandperceptionsof
contemporaryexperienceandreactionstoImpressionismandothermore
conservativedirectionsoflate19thcenturypainting.TheExpressionists
drasticallychangedtheemphasisonsubjectmatterinfavoroftheportrayal
ofpsychologicalstatesofbeing.AlthoughartistslikeEdvardMunchand
JamesEnsordrewinfluencesprincipallyfromtheworkofthePost
Impressioniststheywereinstrumentaltotheadventofabstractioninthe
20thcentury.
Additionallyinthelate19thcenturyinEasternEuropemysticismandearly
modernistreligiousphilosophyasexpressedbytheosophistMme.
BlavatskyhadaprofoundimpactonpioneergeometricartistslikeHilmaaf
KlintandWassilyKandinsky.ThemysticalteachingofGeorgesGurdjieff
andP.D.Ouspenskyalsohadanimportantinfluenceontheearly
formationsofthegeometricabstractstylesofPietMondrianandhis

20thcentury

PostImpressionismaspracticedbyPaulGauguin,GeorgesSeurat,VincentvanGoghandPaulCzannehadan
enormousimpacton20thcenturyartandledtotheadventof20thcenturyabstraction.Theheritageofpainters
likeVanGogh,Czanne,Gauguin,andSeuratwasessentialforthedevelopmentofmodernart.Atthebeginning
ofthe20thcenturyHenriMatisseandseveralotheryoungartistsincludingtheprecubistGeorgesBraque,Andr
Derain,RaoulDufyandMauricedeVlaminckrevolutionizedtheParisartworldwith"wild",multicolored,
expressivelandscapesandfigurepaintingsthatthecriticscalledFauvism.Withhisexpressiveuseofcolorandhis
freeandimaginativedrawingHenriMatissecomesveryclosetopureabstractioninFrenchWindowatCollioure
(1914),ViewofNotreDame(1914),andTheYellowCurtainfrom1915.Therawlanguageofcolorasdeveloped
bytheFauvesdirectlyinfluencedanotherpioneerofabstraction,WassilyKandinsky(seeillustration).
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AlthoughCubismultimatelydependsuponsubjectmatter,itbecame,along
withFauvism,theartmovementthatdirectlyopenedthedoorto
abstractioninthe20thcentury.PabloPicassomadehisfirstcubist
paintingsbasedonCzanne'sideathatalldepictionofnaturecanbe
reducedtothreesolids:cube,sphereandcone.WiththepaintingLes
Demoisellesd'Avignon(1907),Picassodramaticallycreatedanewand
radicalpicturedepictingarawandprimitivebrothelscenewithfive
prostitutes,violentlypaintedwomen,reminiscentofAfricantribalmasks
andhisownnewCubistinventions.Analyticcubismwasjointlydeveloped
byPabloPicassoandGeorgesBraque,fromabout1908through1912.
Analyticcubism,thefirstclearmanifestationofcubism,wasfollowedby
Syntheticcubism,practicedbyBraque,Picasso,FernandLger,JuanGris,
AlbertGleizes,MarcelDuchampandothersintothe1920s.Synthetic
cubismischaracterizedbytheintroductionofdifferenttextures,surfaces,
collageelements,papiercollandalargevarietyofmergedsubjectmatter.
ThecollageartistslikeKurtSchwittersandManRayandotherstakingthe
cluefromCubismwereinstrumentaltothedevelopmentofthemovement
calledDada.

TheItalianpoetMarinettipublished HenriMatisse,TheYellowCurtain,
'TheFoundingandManifestoof 1915.WithhisFauvistcolorand
Futurism'in1909,whichinspired drawingMatissecomesverycloseto
artistssuchasCarloCarrain pureabstraction.
PaintingofSounds,Noisesand
SmellsandUmbertoBoccioniTrain
inMotion,1911,toafurtherstage
ofabstractionandprofoundly
influencedartmovements
throughoutEurope.[13]

Duringthe1912SalondelaSection
FrantiekKupka,Amorpha,Fugueen d'OrthepoetGuillaumeApollinaire
deuxcouleurs(FugueinTwoColors), namedtheworkofseveralartists
1912,oiloncanvas,210x200cm, includingRobertandSonia
NarodniGalerie,Prague.Publishedin Delaunay,Orphism.[14]Hedefined
AuSalond'Automne"Les itas,theartofpaintingnew
Indpendants"1912,Exhibitedatthe structuresoutofelementsthathave
1912Salond'Automne,Paris. notbeenborrowedfromthevisual
sphere,buthadbeencreated
entirelybytheartist...itisapure RobertDelaunay,1912,Windows
OpenSimultaneously(FirstPart,
art.[15] ThirdMotif),oiloncanvas,45.7x
37.5cm,TateModern
Sincetheturnofthecentury,culturalconnectionsbetweenartistsofthe
majorEuropeanandAmericancitieshadbecomeextremelyactiveasthey
strovetocreateanartformequaltothehighaspirationsofmodernism.Ideaswereabletocrossfertilizebymeans
ofartist'sbooks,exhibitionsandmanifestossothatmanysourceswereopentoexperimentationanddiscussion,
andformedabasisforadiversityofmodesofabstraction.Thefollowingextractfrom,'TheWorldBackwards',
givessomeimpressionoftheinterconnectednessofcultureatthetime:'DavidBurliuk'sknowledgeofmodernart
movementsmusthavebeenextremelyuptodate,forthesecondKnaveofDiamondsexhibition,heldinJanuary
1912(inMoscow)includednotonlypaintingssentfromMunich,butsomemembersoftheGermanDieBrcke
group,whilefromPariscameworkbyRobertDelaunay,HenriMatisseandFernandLger,aswellasPicasso.
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DuringtheSpringDavidBurliukgavetwolecturesoncubismandplannedapolemicalpublication,whichthe
KnaveofDiamondswastofinance.HewentabroadinMayandcamebackdeterminedtorivalthealmanacDer
BlaueReiterwhichhademergedfromtheprinterswhilehewasinGermany'.

From1909to1913manyexperimentalworksinthesearchforthis'pureart'hadbeencreated:FrancisPicabia
paintedCaoutchouc,1909,[16]TheSpring,1912,[17]DancesattheSpring[18]andTheProcession,Seville,1912[19]
WassilyKandinskypaintedUntitled(FirstAbstractWatercolor),1910,[20]Improvisation21A,theImpression
series,andPicturewithaCircle(1911)[21]FrantiekKupkahadpaintedtheOrphistworks,DiscsofNewton
(StudyforFugueinTwoColors),1912[22]andAmorpha,Fugueendeuxcouleurs(FugueinTwoColors),1912
RobertDelaunaypaintedaseriesentitledSimultaneousWindowsandFormesCirculaires,Soleiln2(1912
13)[23]LopoldSurvagecreatedColoredRhythm(Studyforthefilm),1913[24]PietMondrian,paintedTableau
No.1andCompositionNo.11,1913.[25]

Andthesearchcontinued:TheRayist(Luchizm)drawingsofNatalia
GoncharovaandMikhailLarionov,usedlineslikeraysoflighttomakea
construction.KasimirMalevichcompletedhisfirstentirelyabstractwork,
theSuprematist,'BlackSquare',in1915.AnotheroftheSuprematistgroup'
LiubovPopova,createdtheArchitectonicConstructionsandSpatialForce
Constructionsbetween1916and1921.PietMondrianwasevolvinghis
abstractlanguage,ofhorizontalandverticallineswithrectanglesofcolor,
between1915and1919,NeoPlasticismwastheaestheticwhichMondrian,
TheovanDoesburgandotherinthegroupDeStijlintendedtoreshapethe
environmentofthefuture.

Music

Asvisualartbecomesmoreabstract,itdevelopssomecharacteristicsof
music:anartformwhichusestheabstractelementsofsoundanddivisions
oftime.WassilyKandinsky,himselfamusician,wasinspiredbythe WassilyKandinsky,OnWhite2,
possibilityofmarksandassociativecolorresoundinginthesoul.Theidea 1923
hadbeenputforwardbyCharlesBaudelaire,thatalloursensesrespondto
variousstimulibutthesensesareconnectedatadeeperaestheticlevel.

Closelyrelatedtothis,istheideathatarthasThespiritualdimensionandcantranscend'everyday'experience,
reachingaspiritualplane.TheTheosophicalSocietypopularizedtheancientwisdomofthesacredbooksofIndia
andChinaintheearlyyearsofthecentury.ItwasinthiscontextthatPietMondrian,WassilyKandinsky,Hilmaaf
Klintandotherartistsworkingtowardsan'objectlessstate'becameinterestedintheoccultasawayofcreatingan
'inner'object.Theuniversalandtimelessshapesfoundingeometry:thecircle,squareandtrianglebecomethe
spatialelementsinabstractarttheyare,likecolor,fundamentalsystemsunderlyingvisiblereality.

Russianavantgarde

ManyoftheabstractartistsinRussiabecameConstructivistsbelievingthatartwasnolongersomethingremote,
butlifeitself.Theartistmustbecomeatechnician,learningtousethetoolsandmaterialsofmodernproduction.
Artintolife!wasVladimirTatlin'sslogan,andthatofallthefutureConstructivists.VarvaraStepanovaand
AlexandreExterandothersabandonedeaselpaintinganddivertedtheirenergiestotheatredesignandgraphic
works.OntheothersidestoodKazimirMalevich,AntonPevsnerandNaumGabo.Theyarguedthatartwas
essentiallyaspiritualactivitytocreatetheindividual'splaceintheworld,nottoorganizelifeinapractical,
materialisticsense.ManyofthosewhowerehostiletothematerialistproductionideaofartleftRussia.Anton
PevsnerwenttoFrance,GabowentfirsttoBerlin,thentoEnglandandfinallytoAmerica.Kandinskystudiedin
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MoscowthenleftfortheBauhaus.Bythemid1920stherevolutionary
period(1917to1921)whenartistshadbeenfreetoexperimentwasover
andbythe1930sonlysocialistrealismwasallowed.[26]

TheBauhaus

TheBauhausatWeimar,Germanywasfoundedin1919byWalter
Gropius.[27]Thephilosophyunderlyingtheteachingprogramwasunityof
allthevisualandplasticartsfromarchitectureandpaintingtoweavingand
stainedglass.ThisphilosophyhadgrownfromtheideasoftheArtsand
CraftsmovementinEnglandandtheDeutscherWerkbund.Amongthe
teacherswerePaulKlee,WassilyKandinsky,JohannesItten,JosefAlbers,
KazimirMalevich,BlackSquare, AnniAlbers,TheovanDoesburgandLszlMoholyNagy.In1925the
1923,TheRussianMuseum schoolwasmovedtoDessauand,astheNazipartygainedcontrolin1932,
TheBauhauswasclosed.In1937anexhibitionofdegenerateart,'Entartete
Kunst'containedalltypesofavantgardeartdisapprovedofbytheNaziparty.Thentheexodusbegan:notjust
fromtheBauhausbutfromEuropeingeneraltoParis,LondonandAmerica.PaulKleewenttoSwitzerlandbut
manyoftheartistsattheBauhauswenttoAmerica.

AbstractioninParisandLondon

Duringthe1930sParisbecamethehosttoartistsfromRussia,Germany,
theNetherlandsandotherEuropeancountriesaffectedbytheriseof
totalitarianism.SophieTauberandJeanArpcollaboratedonpaintingsand
sculptureusingorganic/geometricforms.ThePolishKatarzynaKobro
appliedmathematicallybasedideastosculpture.Themanytypesof
abstractionnowincloseproximityledtoattemptsbyartiststoanalysethe
variousconceptualandaestheticgroupings.Anexhibitionbyfortysix
membersoftheCercleetCarrgrouporganisedbyJoaquinTorres
Garcia[28]assistedbyMichelSeuphor[29]containedworkbytheNeo
PlasticistsaswellasabstractionistsasvariedasKandinsky,AntonPevsner
andKurtSchwitters.CriticisedbyTheovanDoesburgtobetooindefinitea
collectionhepublishedthejournalArtConcretsettingoutamanifesto
defininganabstractartinwhichtheline,colorandsurfaceonly,arethe
concretereality.[30]AbstractionCrationfoundedin1931asamoreopen
group,providedapointofreferenceforabstractartists,asthepolitical
situationworsenedin1935,andartistsagainregrouped,manyinLondon. KurtSchwitters,DasUndbild,1919,
ThefirstexhibitionofBritishabstractartwasheldinEnglandin1935.The StaatsgalerieStuttgart
followingyearthemoreinternationalAbstractandConcreteexhibitionwas
organisedbyNicoleteGrayincludingworkbyPietMondrian,JoanMir,
BarbaraHepworthandBenNicholson.Hepworth,NicholsonandGabomovedtotheSt.IvesgroupinCornwallto
continuetheir'constructivist'work.[31]

America:midcentury

DuringtheNazirisetopowerinthe1930smanyartistsfledEuropetotheUnitedStates.Bytheearly1940sthe
mainmovementsinmodernart,expressionism,cubism,abstraction,surrealism,anddadawererepresentedinNew
York:MarcelDuchamp,FernandLger,PietMondrian,JacquesLipchitz,AndrMasson,MaxErnst,Andr
Breton,werejustafewoftheexiledEuropeanswhoarrivedinNewYork.[33]Therichculturalinfluencesbrought

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bytheEuropeanartistsweredistilledandbuiltuponbylocalNewYork
painters.TheclimateoffreedominNewYorkallowedallofthese
influencestoflourish.Theartgalleriesthatprimarilyhadfocusedon
Europeanartbegantonoticethelocalartcommunityandtheworkof
youngerAmericanartistswhohadbeguntomature.Certainartistsatthis
timebecamedistinctlyabstractintheirmaturework.Duringthisperiod
PietMondrian'spaintingCompositionNo.10,19391942,characterizedby
primarycolors,whitegroundandblackgridlinesclearlydefinedhis
radicalbutclassicalapproachtotherectangleandabstractartingeneral.
Someartistsoftheperioddefiedcategorization,suchasGeorgiaO'Keeffe
who,whileamodernistabstractionist,wasapuremaverickinthatshe
paintedhighlyabstractformswhilenotjoininganyspecificgroupofthe
period.

Theaboveisa193942oiloncanvas EventuallyAmericanartistswhowereworkinginagreatdiversityofstyles
paintingbyMondriantitled begantocoalesceintocohesivestylisticgroups.Thebestknowngroupof
"CompositionNo.10".Respondingto AmericanartistsbecameknownastheAbstractexpressionistsandtheNew
it,fellowDeStijlartistTheovan YorkSchool.InNewYorkCitytherewasanatmospherewhich
Doesburgsuggestedalinkbetween encourageddiscussionandtherewasnewopportunityforlearningand
nonrepresentationalworksofartand growing.ArtistsandteachersJohnD.GrahamandHansHofmannbecame
idealsofpeaceandspirituality. [32] importantbridgefiguresbetweenthenewlyarrivedEuropeanModernists
andtheyoungerAmericanartistscomingofage.MarkRothko,bornin
Russia,beganwithstronglysurrealistimagerywhichlaterdissolvedinto
hispowerfulcolorcompositionsoftheearly1950s.Theexpressionisticgestureandtheactofpaintingitself,
becameofprimaryimportancetoJacksonPollock,RobertMotherwell,andFranzKline.Whileduringthe1940s
ArshileGorky'sandWillemdeKooning'sfigurativeworkevolvedintoabstractionbytheendofthedecade.New
YorkCitybecamethecenter,andartistsworldwidegravitatedtowardsitfromotherplacesinAmericaaswell.[34]

Abstractioninthe21stcentury
Digitalart,computerart,internetart,hardedgepainting,geometricabstraction,appropriation,hyperrealism,
photorealism,expressionism,minimalism,lyricalabstraction,popart,opart,abstractexpressionism,colorfield
painting,monochromepainting,neoexpressionism,collage,decollage,intermedia,assemblage,digitalpainting,
postmodernart,neoDadapainting,shapedcanvaspainting,environmentalmuralpainting,graffiti,figurepainting,
landscapepainting,portraitpainting,areafewcontinuingandcurrentdirectionsatthebeginningofthe21st
century.

Intothe21stcenturyabstractionremainsverymuchinview,itsmainthemes:thetranscendental,the
contemplativeandthetimelessareexemplifiedbyBarnettNewman,JohnMcLaughlin,andAgnesMartinaswell
asyoungerlivingartists.ArtasObjectasseenintheMinimalistsculptureofDonaldJuddandthepaintingsof
FrankStellaarestillseentodayinnewerpermutations.Thepoetic,LyricalAbstractionandthesensuoususeof
colorseenintheworkofpaintersasdiverseasRobertMotherwell,PatrickHeron,KennethNoland,SamFrancis,
CyTwombly,RichardDiebenkorn,HelenFrankenthaler,JoanMitchell,amongothers.

Therewasaresurgenceafterthewarandintothe1950softhefigurative,asneoDada,fluxus,happening,
conceptualart,neoexpressionism,installationart,performanceart,videoartandpoparthavecometosignifythe
ageofconsumerism.Thedistinctionbetweenabstractandfigurativearthas,overthelasttwentyyears,become
lessdefinedleavingawiderrangeofideasforallartists.

Causation
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Onesociohistoricalexplanationthathasbeenofferedforthegrowingprevalenceoftheabstractinmodernartan
explanationlinkedtothenameofTheodorW.Adornoisthatsuchabstractionisaresponseto,andareflection
of,thegrowingabstractionofsocialrelationsinindustrialsociety.[35]

FredericJamesonsimilarlyseesmodernistabstractionasafunctionoftheabstractpowerofmoney,equatingall
thingsequallyasexchangevalues.[36]Thesocialcontentofabstractartisthenpreciselytheabstractnatureof
socialexistencelegalformalities,bureaucraticimpersonalization,information/powerintheworldoflate
modernity.[37]

PostJungiansbycontrastwouldseethequantumtheorieswiththeirdisintegrationofconventionalideasofform
andmatterasunderlyingthedivorceoftheconcreteandtheabstractinmodernart.[38]

Gallery

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2017514
AlbertGleizes,191012,Les
Arbres(TheTrees),oilon
canvas,41x27cm.
ReproducedinDu"Cubisme",
1912
WassilyKandinsky,1912,
Improvisation27(Gardenof
LoveII),oiloncanvas,473/8
x551/4in.(120.3x
140.3cm),TheMetropolitan
MuseumofArt,NewYork.
Exhibitedatthe1913Armory
Show
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AbstractartWikipedia
ArthurDove,191112,Based
onLeafFormsandSpaces,
pastelonunidentifiedsupport.
Nowlost
PabloPicasso,191314,Head
(Tte),cutandpastedcolored
paper,gouacheandcharcoal
onpaperboard,43.5x33cm,
ScottishNationalGalleryof
ModernArt,Edinburgh
FrancisPicabia,1912,
Tarentelle,oiloncanvas,73.6
x92.1cm,MuseumofModern
Art,NewYork.Reproducedin
Du"Cubisme"
HenriMatisse,1914,French
WindowatCollioure,Centre
GeorgesPompidou,Paris
9/13
2017514 AbstractartWikipedia

JosephCsaky,Deuxfigures, AlbertGleizes,1921, PaulKlee,FireintheEvening,

1920,relief,limestone, Compositionbleuetjaune 1929
polychrome,80cm,Krller (Compositionjaune),oilon
MllerMuseum,Otterlo canvas,200.5x110cm

PietMondrian,Composition BarnettNewman,Onement1, FernandLger1919,The

withYellow,Black,Blue,Red, 1948,MuseumofModernArt, RailwayCrossing,oilon
andGray,1921,ArtInstitute NewYork canvas,53.8x64.8cm,The
ofChicago ArtInstituteofChicago

TheovanDoesburg,Neo HilmaafKlint,Svanen(The
Plasticism:1917,Composition Swan),No.17,GroupIX,
VII(TheThreeGraces) SeriesSUW,October1914
March1915.Thisabstract
workwasneverexhibited
duringafKlint'slifetime.

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Seealso
Abstractexpressionism
Abstractioninart
Actionpainting
AmericanAbstractArtists
Arthistory
Artperiods
Asemicwriting
Concreteart
DeStijl
Geometricabstraction
Hardedge
Historyofpainting
Lyricalabstraction
OpArt
Representation(arts)
Spatialism
Westernpainting

Inothermedia

Abstractanimation
Abstractcomics
Abstractphotography
Experimentalfilm

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4."ThemesinAmericanArtAbstraction,retrievedJanuary7,2009".Nga.gov.20000727.Archivedfromtheoriginalon
8June2011.Retrieved20110611.
5.GyrgyKepes,Sign,SymbolandImage
6.Leys,Simon.2013.TheHallofUselessness:CollectedEssays(https://books.google.com/books?id=lrfqs5beRAC&pg=
PA304&lpg=PA304&dq=).NewYork:NewYorkReviewBooks.p.304.ISBN9781590176207.
7.Lippit,Y.(2012)."OfModesandMannersinJapaneseInkPainting:Sessh'sSplashedInkLandscapeof1495".TheArt
Bulletin,94(1),p.56.
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(191213)"(inFrench).Centrepompidou.fr.ArchivedfromtheoriginalonSeptember7,2012.Retrieved20130929.
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MileevaBRILL,Oct24,2013"VanDoesburgstatedthatthepurposeofartwastoimbuemanwiththosepositive
spiritualqualitiesthatwereneededinordertoovercomethedominanceofthephysicalandcreatetheconditionsfor
puttinganendtowars.InanenthusiasticessayonWassilyKandinskyhehadwrittenaboutthedialoguebetweenthe
artistandtheviewer,andtheroleofartas'theeducatorofourinnerlife,theeducatorofourheartsandminds'.Van
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describedas'purethought,whichdoesnotsignifyaconceptderivedfromnaturalphenomenabutwhichiscontainedin
numbers,measures,relationships,andabstractlines'.InhisresponsetoPietMondrian'sComposition10,Van
Doesburglinkedpeaceandthespiritualtoanonrepresentationalworkofart,assertingthat'itproducesamost
spiritualimpressiontheimpressionofrepose:thereposeofthesoul'."
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