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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 between the artist and the viewer, and the role 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 abstract art, which he later described as 'pure thought, which does not signify a concept derived from natural phenomena but which is contained in numbers, measures, relationships, and abstract lines'. In his response to Piet Mondrian's
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1117:, were just a few of the exiled Europeans who arrived in New York. The rich cultural influences brought by the European artists were distilled and built 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 notice the local art community and the 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
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773:. They argued that art was essentially a spiritual activity; to create the individual's place in the world, not to organize life in a practical, materialistic sense. During that time, representatives of the Russian avant-garde collaborated with other Eastern European Constructivist artists, including
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Utopian
Reality: Reconstructing Culture in Revolutionary Russia and Beyond; 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 dominance of
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similarly sees modernist abstraction as a function of the abstract power of money, equating all things equally as exchange-values. The social content of abstract art is then precisely the abstract nature of social existence—legal formalities, bureaucratic impersonalization, information/power—in the
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in art. This departure from accurate representation can be slight, partial, or complete. Abstraction exists along a continuum. Even art that aims for verisimilitude of the highest degree can be said to be abstract, at least theoretically, since perfect representation is impossible. Artwork which
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founded in 1931 as a more open group, provided a point of reference for abstract artists, as the political situation worsened in 1935, and artists again regrouped, many in London. The first exhibition of
British abstract art was held in England in 1935. The following year the more international
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painters explored the bold use of paint surface, drawing distortions and exaggerations, and intense color. Expressionists produced emotionally charged paintings that were reactions to and perceptions of contemporary experience; and reactions to
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1121:, 1939–1942, characterized by primary colors, white ground and black grid lines clearly defined his radical but classical approach to the rectangle and abstract art in general. Some artists of the period defied categorization, such as
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art disapproved of by the Nazi party. Then the exodus began: not just from the
Bauhaus but from Europe in general; to Paris, London and America. Paul Klee went to Switzerland but many of the artists at the Bauhaus went to America.
530:, as well as Picasso. During the Spring 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 back determined to rival the almanac
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applied 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 forty-six members of the
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Many of those who were hostile to the materialist production idea of 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
264:
had begun as an
Impressionist but his aim – to make a logical construction of reality based on a view from a single point, with modulated color in flat areas – became the basis of a new visual art, later to be developed into
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and other more conservative directions of late 19th-century painting. The
Expressionists drastically changed the emphasis on subject matter in favor of the portrayal of psychological states of being. Although artists like
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and an attempt to reproduce an illusion of visible reality. By the end of the 19th century many artists felt a need to create a new kind of art which would encompass the fundamental changes taking place in
856:. The philosophy underlying the teaching program was unity of all the visual and plastic arts from architecture and painting to weaving and stained glass. This philosophy had grown from the ideas of the
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Since the turn of the century, cultural connections between artists of the major
European cities had become extremely active as they strove to create an art form equal to the high aspirations of
2707:, Van Doesburg linked peace and the spiritual to a non-representational work of art, asserting that 'it produces a most spiritual impression...the impression of repose: the repose of the soul'."
79:. 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.
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takes liberties, e.g. altering color or form in ways that are conspicuous, can be said to be partially abstract. Total abstraction bears no trace of any reference to anything recognizable. In
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491:. He defined it as, "the 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...it is a pure art."
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Eventually
American artists who were working in a great diversity of styles began to coalesce into cohesive stylistic groups. The best-known group of American artists became known as the
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1172:'s figurative work evolved into abstraction by the end of the decade. New York City became the center, and artists worldwide gravitated towards it; from other places in America as well.
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During the Nazi rise to power in the 1930s many artists fled Europe to the United States. By the early 1940s the main movements in modern art, expressionism, cubism, abstraction,
236:'s choice to work with abstract shapes correlate with the unnatural nature of her subject, in a time when abstraction" isn't yet a concept (she organized an exhibit in 1871).
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would see the quantum theories with their disintegration of conventional ideas of form and matter as underlying the divorce of the concrete and the abstract in modern art.
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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
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Abstract art, non-figurative art, non-objective art, and non-representational art are all closely related terms. They have similar, but perhaps not identical, meanings.
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believing that art was no longer something remote, but life itself. The artist must become a technician, learning to use the tools and materials of modern production.
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As visual art becomes more abstract, it develops some characteristics of music: an art form which uses the abstract elements of sound and divisions of time.
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who, while a modernist abstractionist, was a pure maverick in that she painted highly abstract forms while not joining any specific group of the period.
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so that many sources were open to experimentation and discussion, and formed a basis for a diversity of modes of abstraction. The following extract from
200:. Artistic independence for artists was advanced during the 19th century. An objective interest in what is seen can be discerned from the paintings of
1136:. In New York City there was an atmosphere which encouraged discussion and there was a new opportunity for learning and growing. Artists and teachers
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One socio-historical explanation that has been offered for the growing prevalence of the abstract in modern art—an explanation linked to the name of
840:: the circle, square and triangle become the spatial elements in abstract art; they are, like color, fundamental systems underlying visible reality.
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and
Alexandre Exter and others abandoned easel painting and diverted their energies to theatre design and graphic works. On the other side stood
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During the 1930s Paris became the host to artists from Russia, Germany, the Netherlands and other European countries affected by the rise of
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1148:, born in Russia, began with strongly surrealist imagery which later dissolved into his powerful color compositions of the early 1950s. The
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Patronage from the church diminished and private patronage from the public became more capable of providing a livelihood for artists. Three
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of shape, form, color and line to create a composition which may exist with a degree of independence from visual references in the world.
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232:, (1872), placed greater emphasis on visual sensation than the depiction of objects. Even earlier than that, with her 'spirit' drawings,
2625:
Watercolors by Kandinsky at the Guggenheim Museum: a selection from the Solomon R. Guggenheim Museum and the Hilla von Rebay Foundation
2627:, 1991. In 1871 the family moved to Odessa, where the young Kandinsky attended the Gymnasium and learned to play the cello and piano.
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popularized the ancient wisdom of the sacred books of India and China in the early years of the century. It was in this context that
793:. By the mid-1920s the revolutionary period (1917 to 1921) when artists had been free to experiment was over; and by the 1930s only
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revolutionized the Paris art world with "wild", multi-colored, expressive landscapes and figure paintings that the critics called
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30:
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2242:, Cécile Debray, Françoise Lucbert, Musées de Châteauroux, Musée Fabre, exhibition catalogue, Éditions Cercle d'art, Paris, 2000
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became important bridge figures between the newly arrived European Modernists and the younger American artists coming of age.
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1545:), October 1914-March 1915, No. 17, Group IX, Series SUW (this abstract work was never exhibited during af Klint's lifetime)
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With his expressive use of color and his free and imaginative drawing Henri Matisse comes very close to pure abstraction in
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was evolving his abstract language, of horizontal and vertical lines with rectangles of color, between 1915 and 1919,
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2019:
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setting out a manifesto defining an abstract art in which the line, color and surface only are the concrete reality.
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From 1909 to 1913 many experimental works in the search for this 'pure art' had been created by a number of artists:
17:
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1343:—is that such abstraction is a response to (and a reflection of) the growing abstraction of social relations in
514:, held in January 1912 (in Moscow) included not only paintings sent from Munich, but some members of the German
3113:
2428:"The Fiftieth Anniversary of the Guggenheim Museum, Kandinsky Retrospective, Guggenheim Museum, New York, 2009"
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contained work by the Neo-Plasticists as well as abstractionists as varied as Kandinsky, Anton Pevsner and
817:, that all our senses respond to various stimuli but the senses are connected at a deeper aesthetic level.
406:. The raw language of color as developed by the Fauves directly influenced another pioneer of abstraction,
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The term "Abstraction" spoken about at Museum of Modern Art by Nelson Goodman of Grove Art Online
1519:
1495:), 1913-14, cut and pasted colored paper, gouache and charcoal on paperboard, 43.5 Ă— 33 cm,
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687:, created the Architectonic Constructions and Spatial Force Constructions between 1916 and 1921.
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suggested a link between non-representational works of art and ideals of peace and spirituality.
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painting, are a few directions relating to abstraction in the second half of the 20th century.
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809:, himself an amateur musician, was inspired by the possibility of marks and associative color
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1956:
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also had an important influence on the early formations of the geometric abstract styles of
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2513:"Museum of Modern Art, New York, LĂ©opold Survage, Colored Rhythm (Study for the film) 1913"
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432:, the art movement that directly opened the door to abstraction in the early 20th century.
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2373:"National Gallery of Art, Washington, DC., Francis Picabia, The Procession, Seville, 1912"
8:
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510:'s knowledge of modern art movements must have been extremely up-to-date, for the second
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1976:
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2049:"Abstract Art – What Is Abstract Art or Abstract Painting, retrieved January 7, 2009"
2015:
1961:
1951:
1936:
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2459:"Philadelphia Museum of Art, Disks of Newton (Study for "Fugue in Two Colors") 1912"
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collaborated on paintings and sculpture using organic/geometric forms. The Polish
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498:. Ideas were able to cross-fertilize by means of artist's books, exhibitions and
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371:
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2484:"Musée National d'Art Moderne, Centre Georges Pompidou, Paris, Robert Delaunay,
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in which color is conspicuously and deliberately altered vis-a-vis reality, and
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Susan B. Hirschfeld, Solomon R. Guggenheim Museum, Hilla von Rebay Foundation,
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1941:
1911:
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Herbert Bayer ed., Museum of Modern Art, publ. Charles T Banford, Boston,1959
1981:
1966:
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94:, for instance, one is unlikely to find references to naturalistic entities.
515:
455:), 1912, oil on canvas, 210 Ă— 200 cm, Narodni Galerie, Prague. Published in
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2955:
2607:, Twentieth Century masters series, Random House Incorporated, 1987, p. 7,
1991:
1971:
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was the aesthetic which Mondrian, Theo van Doesburg and other in the group
249:
185:
996:
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and can transcend 'every-day' experience, reaching a spiritual plane. The
506:
gives some impression of the inter-connectedness of culture at the time: "
3172:
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2970:
1986:
1888:
1878:
1778:
1763:
1758:
1738:
1470:
1407:
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and the sensuous use of color seen in the work of painters as diverse as
1249:
1206:
1201:
1185:
1161:
1145:
910:
897:
892:
gained control in 1932, The Bauhaus was closed. In 1937 an exhibition of
881:
720:
674:
416:, based on CĂ©zanne's idea that all depiction of nature can be reduced to
260:
they were instrumental to the advent of abstraction in the 20th century.
253:
189:
143:
59:
55:
3105:
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1308:
2538:"Rijksmuseum Kröller-Müller, Otterlo, Netherlands, Piet Mondrian, 1913"
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76:
68:
1931:
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277:
273:
214:
27:
Art with a degree of independence from visual references in the world
2181:"Hilton Kramer, "Mondrian & mysticism: My long search is over",
3157:
3071:
3045:
3035:
2965:
1818:
1803:
1070:
946:
837:
696:
658:
62:
up to the middle of the 19th century, underpinned by the logic of
3066:
2074:"Themes in American Art – Abstraction, retrieved January 7, 2009"
1773:
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790:
429:
403:
336:
122:
72:
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and the act of painting itself, became of primary importance to
3182:
3167:
3061:
2985:
2901:
1863:
1853:
1793:
725:
421:
413:
340:
266:
126:
85:
Abstraction indicates a departure from reality in depiction of
536:
which had emerged from the printers while he was in Germany".
1256:
are seen today as newer permutations. Other examples include
919:
129:, which alters the forms of the real-life entities depicted.
86:
1798:
1086:
974:
to be too indefinite a collection he published the journal
417:
2155:
Paying the Piper: Causes and Consequences of Art Patronage
188:
which contributed to the development of abstract art were
1389:, 1910-12, oil on canvas, 41 Ă— 27 cm. Reproduced in
386:
and several other young artists including the pre-cubist
1225:, op art, abstract expressionism, color field painting,
669:, used lines like rays of light to make a construction.
272:
Additionally in the late 19th century in Eastern Europe
757:'s slogan, and that of all the future Constructivists.
212:
and from them to the Impressionists who continued the
121:
that embody partial abstraction would be for instance
2870:
1465:
II), 1912, oil on canvas, 120.3 Ă— 140.3 cm, The
888:. In 1925 the school was moved to Dessau and, as the
1414:, 1911-12, pastel on unidentified support (now lost)
117:
are often totally abstract. Among the very numerous
2852:. Movements in Modern Art series. Tate Publishing.
2804:
The World Backwards: Russian Futurist Books 1912–16
2290:"Francis Picabia, Caoutchouc, c. 1909, MNAM, Paris"
1656:
Composition with Yellow, Black, Blue, Red, and Gray
1612:, 1920, relief, limestone, polychrome, 80 cm,
699:intended to reshape the environment of the future.
459:
1912, Exhibited at the 1912 Salon d'Automne, Paris.
2745:David Cunningham, 'Asceticism Against Colour', in
2315:"Museum of Modern Art, New York, Francis Picabia,
2211:"Art View; How the Spiritual Infused the Abstract"
904:
820:Closely related to this, is the idea that art has
311:and his colleagues in the early 20th century. The
222:. Early intimations of a new art had been made by
256:drew influences principally from the work of the
3194:
2820:
673:completed his first entirely abstract work, the
2801:
2490:(in French). Centrepompidou.fr. Archived from
745:Many of the abstract artists in Russia became
229:Nocturne in Black and Gold: The falling Rocket
174:Nocturne in Black and Gold: The Falling Rocket
3121:
2917:
683:, in 1915. Another of the Suprematist group'
2847:
1590:, 1919, oil on canvas, 53.8 Ă— 64.8 cm,
1433:, 1912, oil on canvas, 73.6 Ă— 92.1 cm,
1007:. Hepworth, Nicholson and Gabo moved to the
483:named the work of several artists including
2396:
2279:, British museum Publications, London, 1978
1639:), 1921, oil on canvas, 200.5 Ă— 110 cm
896:, 'Entartete Kunst' contained all types of
3128:
3114:
2924:
2910:
2734:New York Painting and Sculpture: 1940–1970
2138:, "The Early Medici as Patrons of Art" in
852:at Weimar, Germany was founded in 1919 by
3135:
2736:, Metropolitan Museum of Modern Art, 1969
137:
110:) art often contain partial abstraction.
2563:The Russian Experiment in Art, 1863–1922
2014:, University of California Press, 1969,
1056:
918:
724:
439:
349:
163:
29:
2824:
2649:
2208:
1497:Scottish National Gallery of Modern Art
41:, 134 cm (52.7 in.), private collection
14:
3195:
2209:Brenson, Michael (December 21, 1986).
2098:Whistler versus Ruskin, Princeton edu.
1061:A 1939–1942 oil on canvas painting by
702:
3109:
2905:
2076:. Nga.gov. 2000-07-27. Archived from
518:group, while from Paris came work by
457:Au Salon d'Automne "Les Indépendants"
435:
382:At the beginning of the 20th century
345:
326:
280:religious philosophy as expressed by
2843:
2797:
1303:
1018:
569:Untitled (First Abstract Watercolor)
2873:How to look at an abstract painting
2587:. Harvard University Press. p. 62.
2405:. Faculty.txwes.edu. Archived from
24:
2403:(First Abstract Watercolor), 1910"
2344:"MoMA, New York, Francis Picabia,
2221:from the original on July 23, 2020
2051:. Painting.about.com. 2011-06-07.
1469:, New York. Exhibited at the 1913
315:also inspired the abstract art of
25:
3234:
2880:
2866:
2780:Aniela Jaffé, in C. G. Jung ed.,
2680:, p. 104, Thames and Hudson, 1990
2255:, Wiley-Blackwell, 2003, p. 189.
813:The idea had been put forward by
287:had a profound impact on pioneer
98:and total abstraction are almost
3181:
3090:
3089:
2931:
2055:from the original on 7 July 2011
1708:
1685:
1666:
1644:
1621:
1598:
1576:
1550:
1527:
1504:
1477:
1447:
1419:
1400:
1375:
1307:
471:exhibited his abstract painting
3223:Paintings by movement or period
2774:
2765:
2752:
2739:
2723:
2710:
2696:
2683:
2670:
2658:
2652:Geometric Abstraccion 1926-1949
2643:
2630:
2617:
2597:
2568:
2555:
2530:
2519:from the original on 2010-12-22
2505:
2476:
2465:from the original on 2013-10-02
2451:
2420:
2390:
2365:
2354:from the original on 2013-09-11
2336:
2325:from the original on 2013-09-11
2307:
2296:from the original on 2015-04-02
2282:
2269:
2245:
2240:La Section d'or, 1912–1920–1925
2233:
2202:
2191:from the original on 2012-03-09
2173:
2168:A Concise History of Modern Art
1175:
905:Abstraction in Paris and London
597:Amorpha, Fugue en deux couleurs
587:had painted the Orphist works,
473:Amorpha, Fugue en deux couleurs
449:Amorpha, Fugue en deux couleurs
113:Both geometric abstraction and
2871:Rump, Gerhard Charles (1985).
2486:Formes Circulaires, Soleil n°2
2160:
2147:
2129:
2110:
2091:
2066:
2041:
2024:
2004:
1412:Based on Leaf Forms and Spaces
1089:were represented in New York:
1011:in Cornwall to continue their
843:
657:And the search continued: The
613:Formes Circulaires, Soleil n°2
13:
1:
2654:. Dallas Museum of Fine Arts.
1997:
358:
2892:Tate UK "Abstract art is..."
2825:Stangos, Nikos, ed. (1981).
1592:The Art Institute of Chicago
987:exhibition was organized by
623:(Study for the film), 1913;
512:Knave of Diamonds exhibition
463:During the 1912 Salon de la
376:Musée national d'art moderne
7:
2577:Arnold Schoenberg's Journey
1731:
1703:restaurant mural, Stockholm
1299:
1069:. Responding to it, fellow
299:. The mystical teaching of
10:
3239:
2791:
2397:Stan Rummel (2007-12-13).
2126:, retrieved April 12, 2009
1516:French Window at Collioure
1467:Metropolitan Museum of Art
1437:, New York. Reproduced in
1368:
1194:Post-painterly abstraction
1179:
1022:
908:
864:. Among the teachers were
706:
640:French Window at Collioure
607:painted a series entitled
330:
141:
132:
3179:
3143:
3085:
3054:
2999:
2939:
2693:, Thames and Hudson, 1990
2565:, Thames and Hudson, 1962
2375:. Nga.gov. Archived from
2157:, Univ. of Illinois Press
2144:, pp. 35–57, London, 1966
1754:American Abstract Artists
1633:Composition bleu et jaune
1164:. While during the 1940s
179:Detroit Institute of Arts
2897:Abstract Art Demystified
2758:M. Hardt/K. Weeks eds.,
2650:Seuphor, Michel (1972).
2540:. Kmm.nl. Archived from
2515:. Moma.org. 1914-07-15.
2253:Art in theory, 1900–2000
1660:Art Institute of Chicago
1294:Veronica Ruiz de Velasco
858:Arts and Crafts movement
800:
2806:. The British Library.
2802:Compton, Susan (1978).
2636:Walter Gropius et al.,
2107:Retrieved June 13, 2010
1520:Centre Georges Pompidou
1150:expressionistic gesture
1130:Abstract expressionists
1041:British Constructivists
932:Staatsgalerie Stuttgart
822:The spiritual dimension
811:resounding in the soul.
561:The Procession, Seville
3011:Abstract expressionism
2827:Concepts of Modern Art
2784:(1978) pp. 288–89, 303
2292:. Francispicabia.org.
2103:June 16, 2010, at the
1744:Abstract expressionism
1387:Les Arbres (The Trees)
1240:In the United States,
1182:Abstract expressionism
1078:
934:
742:
661:(Luchizm) drawings of
460:
379:
224:James McNeill Whistler
181:
169:James McNeill Whistler
138:19th century in Europe
42:
3137:Geometric abstraction
2848:Gooding, Mel (2001).
2829:. Thames and Hudson.
1869:Representation (arts)
1824:Geometric abstraction
1614:Kröller-Müller Museum
1252:and the paintings of
1215:geometric abstraction
1060:
985:Abstract and Concrete
960:JoaquĂn Torres-GarcĂa
922:
832:, Wassily Kandinsky,
775:Władysław Strzemiński
728:
581:Picture with a Circle
481:Guillaume Apollinaire
443:
353:
226:who, in his painting
167:
102:. But figurative and
92:geometric abstraction
33:
2951:Abstract photography
2720:, Studio Vista, 1968
2603:François Le Targat,
2574:Shawn, Allen. 2003.
2494:on September 7, 2012
2399:"Wassily Kandinsky,
2346:Dances at the Spring
2187:. Newcriterion.com.
1927:Abstract photography
1724:Museum of Modern Art
1693:Otto Gustaf Carlsund
1588:The Railway Crossing
1435:Museum of Modern Art
1053:Abstraction-Création
980:Abstraction-Création
826:Theosophical Society
717:Constructivism (art)
609:Simultaneous Windows
557:Dances at the Spring
3041:Organic abstraction
2782:Man and his Symbols
2461:. Philamuseum.org.
2277:The World Backwards
2251:Harrison and Wood,
2170:, Thames and Hudson
1839:Lyrical abstraction
1834:History of painting
1678:Fire in the Evening
1286:Helen Frankenthaler
1258:Lyrical Abstraction
1227:monochrome painting
1223:lyrical abstraction
1190:Lyrical abstraction
958:group organized by
860:in England and the
709:Russian avant-garde
703:Russian avant-garde
601:Fugue in Two Colors
593:Fugue in Two Colors
504:The World Backwards
479:) (1912), the poet
477:Fugue in Two Colors
453:Fugue in Two Colors
428:became, along with
258:Post-Impressionists
115:lyrical abstraction
58:had been, from the
2976:Hard-edge painting
2771:Cunningham, p. 114
2760:The Jameson Reader
2582:2023-01-15 at the
2544:on October 2, 2013
2215:The New York Times
2153:Judith Balfe, ed.
2122:2012-01-12 at the
1917:Abstract animation
1345:industrial society
1319:. You can help by
1282:Richard Diebenkorn
1211:hard-edge painting
1119:Composition No. 10
1079:
1067:Composition No. 10
1033:American Modernism
991:including work by
935:
886:László Moholy-Nagy
862:Deutscher Werkbund
815:Charles Baudelaire
743:
740:The Russian Museum
663:Natalia Goncharova
651:The Yellow Curtain
645:View of Notre-Dame
633:Composition No. 11
461:
436:Early abstract art
380:
346:Fauvism and Cubism
327:Early 20th century
234:Georgiana Houghton
182:
152:Post-Impressionism
100:mutually exclusive
43:
3190:
3189:
3103:
3102:
3021:All-over painting
2875:. Inter Nationes.
2859:978-1-85437-302-1
2836:978-0-500-20186-2
2813:978-0-7141-0396-9
2666:Abstract Painting
2638:Bauhaus 1919–1928
2275:Susan P Compton,
2265:books.google.com"
2261:978-0-631-22708-3
2185:, September 1995"
2010:Rudolph Arnheim,
1962:Literary nonsense
1952:Experimental film
1937:Avant-garde music
1637:Composition jaune
1558:Theo van Doesburg
1455:Wassily Kandinsky
1341:Theodor W. Adorno
1337:
1336:
1262:Robert Motherwell
1170:Willem de Kooning
1158:Robert Motherwell
1075:Theo van Doesburg
1019:Late 20th century
972:Theo van Doesburg
870:Wassily Kandinsky
807:Wassily Kandinsky
795:socialist realism
759:Varvara Stepanova
573:Improvisation 21A
565:Wassily Kandinsky
408:Wassily Kandinsky
301:Georges Gurdjieff
297:Wassily Kandinsky
39:Le Premier Disque
18:Abstract painting
16:(Redirected from
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2750:
2749:55 (2005) p. 110
2743:
2737:
2730:Henry Geldzahler
2727:
2721:
2716:Gillian Naylor,
2714:
2708:
2700:
2694:
2689:Anna Moszynska,
2687:
2681:
2676:Anna Moszynska,
2674:
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1977:Musique concréte
1899:Western painting
1712:
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1566:The Three Graces
1554:
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1481:
1459:Improvisation 27
1451:
1423:
1404:
1379:
1351:Frederic Jameson
1332:
1329:
1311:
1304:
1123:Georgia O'Keeffe
1103:Jacques Lipchitz
1001:Barbara Hepworth
970:. Criticized by
783:Henryk StaĹĽewski
763:Kazimir Malevich
730:Kazimir Malevich
671:Kasimir Malevich
667:Mikhail Larionov
533:Der Blaue Reiter
363:
360:
333:Western painting
317:Kasimir Malevich
218:painting of the
160:Spiritualist art
104:representational
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2012:Visual Thinking
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1947:Concrete poetry
1922:Abstract comics
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1427:Francis Picabia
1424:
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1396:
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1333:
1327:
1324:
1317:needs expansion
1302:
1244:as seen in the
1204:
1180:Main articles:
1178:
1154:Jackson Pollock
1134:New York School
1055:
1023:Main articles:
1021:
968:Kurt Schwitters
956:Cercle et Carré
951:Katarzyna Kobro
939:totalitarianism
924:Kurt Schwitters
917:
909:Main articles:
907:
846:
803:
779:Katarzyna Kobro
755:Vladimir Tatlin
747:Constructivists
723:
707:Main articles:
705:
617:LĂ©opold Survage
605:Robert Delaunay
589:Discs of Newton
585:František Kupka
541:Francis Picabia
520:Robert Delaunay
485:Robert Delaunay
469:František Kupka
445:František Kupka
438:
372:Centre Pompidou
361:
355:Francis Picabia
348:
343:
331:Main articles:
329:
321:František Kupka
220:Barbizon school
206:J. M. W. Turner
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142:Main articles:
140:
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50:visual language
35:Robert Delaunay
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3153:Constructivism
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2961:Constructivism
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2881:External links
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2705:Composition 10
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2080:on 8 June 2011
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1091:Marcel Duchamp
1029:Late modernism
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1013:constructivist
964:Michel Seuphor
915:St Ives School
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903:
894:degenerate art
874:Johannes Itten
854:Walter Gropius
845:
842:
834:Hilma af Klint
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799:
751:Art into life!
713:Futurism (art)
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693:Neo-Plasticism
621:Colored Rhythm
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400:Jean Metzinger
388:Georges Braque
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293:Hilma af Klint
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2440:on 2012-07-18
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2409:on 2012-07-19
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1570:neoplasticism
1567:
1563:
1559:
1553:
1548:
1544:
1540:
1536:
1530:
1525:
1521:
1517:
1513:
1512:Henri Matisse
1507:
1502:
1498:
1494:
1490:
1486:
1485:Pablo Picasso
1480:
1475:
1472:
1468:
1464:
1460:
1456:
1450:
1445:
1442:
1441:
1436:
1432:
1428:
1422:
1417:
1413:
1409:
1403:
1398:
1394:
1393:
1388:
1384:
1378:
1373:
1372:
1366:
1364:
1363:Post-Jungians
1361:By contrast,
1359:
1357:
1352:
1348:
1346:
1342:
1331:
1322:
1318:
1315:This section
1313:
1310:
1306:
1305:
1297:
1295:
1291:
1290:Joan Mitchell
1287:
1283:
1279:
1275:
1271:
1267:
1266:Patrick Heron
1263:
1259:
1255:
1251:
1248:sculpture of
1247:
1243:
1242:Art as Object
1238:
1236:
1235:shaped canvas
1232:
1228:
1224:
1220:
1216:
1212:
1208:
1203:
1199:
1195:
1191:
1187:
1183:
1173:
1171:
1167:
1166:Arshile Gorky
1163:
1159:
1155:
1151:
1147:
1143:
1139:
1135:
1131:
1126:
1124:
1120:
1116:
1112:
1108:
1104:
1100:
1099:Piet Mondrian
1096:
1095:Fernand LĂ©ger
1092:
1088:
1084:
1076:
1072:
1068:
1064:
1063:Piet Mondrian
1059:
1054:
1050:
1049:Groupe Espace
1046:
1045:Systems Group
1042:
1038:
1034:
1030:
1026:
1016:
1014:
1010:
1006:
1005:Ben Nicholson
1002:
998:
994:
993:Piet Mondrian
990:
989:Nicolete Gray
986:
981:
977:
973:
969:
965:
961:
957:
952:
948:
944:
943:Sophie Tauber
940:
933:
929:
925:
921:
916:
912:
902:
899:
895:
891:
887:
883:
879:
875:
871:
867:
863:
859:
855:
851:
841:
839:
835:
831:
830:Piet Mondrian
827:
823:
818:
816:
812:
808:
798:
797:was allowed.
796:
792:
786:
784:
780:
776:
772:
768:
767:Anton Pevsner
764:
760:
756:
752:
748:
741:
737:
736:
731:
727:
722:
718:
714:
710:
700:
698:
694:
690:
689:Piet Mondrian
686:
685:Liubov Popova
682:
681:
676:
672:
668:
664:
660:
655:
653:
652:
647:
646:
641:
636:
634:
630:
629:Tableau No. 1
626:
625:Piet Mondrian
622:
618:
614:
610:
606:
602:
598:
594:
590:
586:
582:
578:
574:
570:
566:
562:
558:
554:
553:
548:
547:
542:
537:
535:
534:
529:
528:Fernand LĂ©ger
525:
524:Henri Matisse
521:
517:
513:
509:
508:David Burliuk
505:
501:
497:
492:
490:
486:
482:
478:
474:
470:
466:
458:
454:
450:
446:
442:
433:
431:
427:
423:
419:
415:
411:
409:
405:
401:
397:
393:
389:
385:
384:Henri Matisse
377:
373:
369:
368:
356:
352:
342:
338:
334:
324:
322:
318:
314:
310:
309:Piet Mondrian
306:
302:
298:
294:
291:artists like
290:
286:
283:
279:
275:
270:
268:
263:
259:
255:
251:
246:
245:Impressionism
241:
240:Expressionist
237:
235:
231:
230:
225:
221:
217:
216:
211:
210:Camille Corot
207:
203:
199:
198:Expressionism
195:
194:Impressionism
191:
187:
186:art movements
180:
176:
175:
170:
166:
161:
157:
156:Expressionism
153:
149:
148:Impressionism
145:
130:
128:
124:
120:
119:art movements
116:
111:
109:
105:
101:
97:
93:
88:
83:
80:
78:
74:
70:
65:
61:
57:
53:
51:
47:
40:
36:
32:
19:
3203:Abstract art
3148:Concrete art
3055:Predecessors
2956:Concrete art
2933:Abstract art
2932:
2872:
2867:
2850:Abstract Art
2849:
2844:
2826:
2821:
2803:
2798:
2781:
2776:
2767:
2759:
2754:
2746:
2741:
2733:
2725:
2717:
2712:
2704:
2698:
2691:Abstract Art
2690:
2685:
2678:Abstract Art
2677:
2672:
2665:
2660:
2651:
2645:
2637:
2632:
2624:
2619:
2604:
2599:
2575:
2570:
2562:
2557:
2546:. Retrieved
2542:the original
2532:
2521:. Retrieved
2507:
2496:. Retrieved
2492:the original
2485:
2478:
2467:. Retrieved
2453:
2442:. Retrieved
2435:the original
2422:
2411:. Retrieved
2407:the original
2400:
2392:
2381:. Retrieved
2377:the original
2367:
2356:. Retrieved
2350:. Moma.org.
2345:
2338:
2327:. Retrieved
2321:. Moma.org.
2316:
2309:
2298:. Retrieved
2284:
2276:
2271:
2252:
2247:
2239:
2235:
2223:. Retrieved
2214:
2204:
2193:. Retrieved
2182:
2175:
2167:
2162:
2154:
2149:
2139:
2131:
2112:
2093:
2082:. Retrieved
2078:the original
2068:
2057:. Retrieved
2043:
2032:Abstract Art
2031:
2026:
2011:
2006:
1992:Sound poetry
1972:Modern dance
1784:Concrete art
1719:
1701:concrete art
1696:
1677:
1655:
1636:
1632:
1610:Deux figures
1609:
1606:Joseph Csaky
1587:
1565:
1561:
1542:
1538:
1515:
1492:
1488:
1462:
1458:
1440:Du "Cubisme"
1438:
1430:
1411:
1392:Du "Cubisme"
1390:
1386:
1360:
1349:
1338:
1325:
1321:adding to it
1316:
1254:Frank Stella
1241:
1239:
1233:, neo-Dada,
1205:
1176:21st century
1142:Hans Hofmann
1127:
1118:
1115:André Breton
1107:André Masson
1080:
1066:
984:
975:
962:assisted by
936:
927:
878:Josef Albers
847:
821:
819:
810:
804:
787:
750:
744:
735:Black Square
733:
680:Black Square
678:
656:
649:
648:(1914), and
643:
639:
637:
632:
628:
620:
612:
608:
600:
596:
595:), 1912 and
592:
588:
580:
579:series, and
576:
572:
568:
560:
556:
550:
544:
538:
531:
503:
493:
476:
472:
465:Section d'Or
462:
456:
452:
448:
412:
392:André Derain
381:
365:
313:spiritualism
271:
262:Paul CĂ©zanne
250:Edvard Munch
238:
227:
213:
183:
172:
112:
84:
81:
54:
46:Abstract art
45:
44:
38:
3173:Suprematism
3026:Color Field
3003:abstraction
2991:Suprematism
2971:Fractal art
2943:abstraction
2718:The Bauhaus
1987:Noise music
1889:Synchromism
1879:Suprematism
1779:Color field
1764:Art periods
1759:Art history
1739:Abstraction
1499:, Edinburgh
1471:Armory Show
1408:Arthur Dove
1274:Sam Francis
1250:Donald Judd
1207:Digital art
1202:Minimal art
1186:Color field
1162:Franz Kline
1146:Mark Rothko
976:Art Concret
928:Das Undbild
911:Marlow Moss
898:avant-garde
882:Anni Albers
844:The Bauhaus
721:Marlow Moss
675:Suprematist
654:from 1915.
615:(1912–13);
591:(Study for
549:, c. 1909,
362: 1909
282:theosophist
254:James Ensor
190:Romanticism
144:Romanticism
64:perspective
60:Renaissance
56:Western art
37:, 1912–13,
3218:Modern art
3197:Categories
3163:Minimalism
2981:Minimalism
2941:Geometric
2548:2013-09-29
2523:2013-09-29
2498:2013-09-29
2488:(1912–13)"
2469:2013-09-29
2444:2013-09-29
2413:2013-09-29
2383:2013-09-29
2358:2013-09-29
2329:2013-09-29
2317:The Spring
2300:2013-09-29
2195:2012-02-26
2084:2011-06-11
2059:2011-06-11
1998:References
1884:Surrealism
1874:Spatialism
1844:Minimalism
1726:, New York
1699:, 1930, a
1431:Tarentelle
1328:April 2023
1278:Cy Twombly
1246:Minimalist
1231:assemblage
1219:minimalism
1083:surrealism
1037:Surrealism
890:Nazi party
627:, painted
577:Impression
552:The Spring
546:Caoutchouc
516:Die BrĂĽcke
500:manifestos
396:Raoul Dufy
367:Caoutchouc
276:and early
77:philosophy
69:technology
2605:Kandinsky
1932:Atonality
1894:Vorticism
1829:Hard-edge
1814:Formalism
1720:Onement 1
1674:Paul Klee
1616:, Otterlo
1568:), 1917,
1354:world of
1198:Sculpture
1111:Max Ernst
1025:Modernism
997:Joan MirĂł
866:Paul Klee
771:Naum Gabo
603:), 1912;
496:modernism
289:geometric
278:modernist
274:mysticism
215:plein air
108:realistic
3158:De Stijl
3095:Category
3072:Futurism
3046:Tachisme
3036:Nuagisme
3001:Lyrical
2966:De Stijl
2580:Archived
2517:Archived
2463:Archived
2401:Untitled
2352:Archived
2323:Archived
2294:Archived
2219:Archived
2189:Archived
2120:Archived
2101:Archived
2053:Archived
1819:Futurism
1804:De Stijl
1732:See also
1722:, 1948,
1658:, 1921,
1543:The Swan
1518:, 1914,
1300:Analysis
1132:and the
1071:De Stijl
1009:St. Ives
947:Jean Arp
930:, 1919,
838:geometry
738:, 1923,
697:De Stijl
642:(1914),
635:, 1913.
619:created
583:(1911);
571:, 1913,
567:painted
563:, 1912;
555:, 1912,
543:painted
467:, where
177:(1874),
3067:Fauvism
2792:Sources
2348:, 1912"
2319:, 1912"
2225:May 18,
1859:Orphism
1774:Bauhaus
1522:, Paris
1369:Gallery
1168:'s and
1073:artist
1065:titled
850:Bauhaus
791:Bauhaus
489:Orphism
430:Fauvism
404:Fauvism
378:, Paris
337:Fauvism
133:History
123:fauvism
87:imagery
73:science
3168:Op art
3062:Cubism
2986:Op art
2856:
2833:
2810:
2611:
2591:
2259:
2018:
1864:Rayism
1854:Op Art
1794:Cubism
1680:, 1929
1539:Svanen
1395:, 1912
1292:, and
1200:, and
1160:, and
1113:, and
1085:, and
1051:, and
1015:work.
884:, and
781:, and
719:, and
659:Rayist
575:, the
422:sphere
414:Cubism
341:Cubism
339:, and
267:Cubism
158:, and
127:cubism
2438:(PDF)
2431:(PDF)
1697:Rapid
801:Music
48:uses
3213:Dada
2854:ISBN
2831:ISBN
2808:ISBN
2609:ISBN
2589:ISBN
2257:ISBN
2227:2020
2016:ISBN
1799:Dada
1493:TĂŞte
1489:Head
1140:and
1087:dada
1003:and
945:and
913:and
848:The
769:and
753:was
665:and
631:and
611:and
559:and
526:and
426:cone
424:and
418:cube
398:and
319:and
303:and
295:and
252:and
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106:(or
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