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Abstract art
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Abstract art (Latin: abstraction — removal, distraction) or non figurative art is a direction of art that has abandoned the image of forms in painting and sculpture that is close to reality.
One of the goals of abstractionism is to achieve "harmonization" by depicting certain color combinations and geometric shapes, causing the viewer to feel the completeness and completeness of the composition.
Outstanding figures: Vasily Kandinsky, Kazimir Malevich, Natalia Goncharova and Mikhail Larionov, Pete Mondrian.
Modern abstract painting, Natalia Plakhta Fernandes, Edges
The first abstract painting was painted by Vasily Kandinsky in 1909.
Currently, it is located in the National Museum of Georgia.
- thus, he opened a new page in world painting abstractionism, raising painting to music[1].
In the painting of Russia of the XX century, the main representatives of abstractionism were Vasily Kandinsky (who completed the transition to his abstract compositions in Germany), Natalia Goncharova and Mikhail Larionov, who founded "Luchism" in 1910-1912, the creator of Suprematism as a new type of creativity Kazimir Malevich, the author of "Black Square" and Yevgeny Mikhnov Voitenko, whose work is distinguished, among other things, by an unprecedented wide range of abstract method directions used in his works (the artist was the first to use a number of them, including the "graffiti style", among not only domestic, but also foreign masters.
A related trend to abstractionism is cubism, which seeks to depict real objects with a set of intersecting planes that create the image of certain rectilinear figures that reproduce living nature.
One of the most striking examples of Cubism were the early works of Pablo Picasso.
Content
[remove]
1 History 2 History of Abstract Art in Russia and the USSR 2.1 1900-1949 2.2 1950-1970 2.3 Modern abstract art in Painting
3 Gallery 4 See also 5 Notes 6 References
History[edit / edit wiki text]
In 1910-1915, painters in Russia, Western Europe and the United States began to create abstract works of art; among the first abstract artists, researchers name Vasily Kandinsky, Kazimir Malevich and Piet Mondrian.
The year of the birth of non objective art is considered to be 1910, when in Germany, in Murnau, Kandinsky wrote his first abstract composition.
The aesthetic concepts of the first abstract artists assumed that artistic creativity reflects the laws of the universe hidden behind external, alluvial phenomena of reality.
These patterns, intuitively comprehended by the artist, were expressed through the ratio of abstract forms (color spots, lines, volumes, geometric shapes) in an abstract work[2].
In 1911, in Munich, Kandinsky published the famous book "On the Spiritual in Art" [3], in which he reflected on the possibility of embodying the internally necessary, spiritual as opposed to the external, accidental.
The basis of the" logical justification " of Kandinsky's abstractions was the study of the theosophical and anthroposophical works of Elena Blavatsky and Rudolf Steiner.
In the aesthetic concept of Piet Mondrian, the primary elements of form were the primary oppositions: horizontal — vertical, line plane, color — not color.
In the theory of Robert Delaunay, unlike the concepts of Kandinsky and Mondrian, idealistic metaphysics was rejected; the main task of abstractionism was to study the dynamic qualities of color and other properties of artistic language (the direction founded by Delaunay was called orphism).
The creator of "luchism" Mikhail Larionov depicted "the radiation of reflected light; color dust".
Born in the early 1910s, abstractionism developed rapidly, manifesting itself in many areas of avant garde art of the first half of the XX century.
The ideas of abstractionism are reflected in the works of expressionists (Vasily Kandinsky, Paul Klee, Franz Marc), Cubists (Fernand Leger), Dadaists (Jean Arp), Surrealists (Joan Miro), Italian Futurists (Gino Severini, Giacomo Balla, Enrico Prampolini), Orphists (Robert Delaunay, Frantisek Kupka), Russian Suprematists (Kazimir Malevich), "Luchists" (Mikhail Larionov and Natalia Goncharova) and constructivists (Lyubov Popova, Lazar Lisitsky, Alexander Rodchenko, Varvara Stepanova), Dutch neoplasticists (Piet Mondrian, Theo van Dusburg, Bart van der Lek), a number of European sculptors (Alexander Arkhipenko, Konstantin Brancusi, Umberto Boccioni, Antoine Pevsner, Nahum Gabo, Laszlo Moholy Nagy, Vladimir Tatlin).
Soon after the emergence of abstractionism, two main directions of the development of this art were identified: geometric abstraction, which tends to correct geometric forms and stable, "substantial" states (Mondrian, Malevich), and lyrical abstraction, which prefers more free forms, dynamic processes (Kandinsky, Kupka).
The first international associations of abstract artists ("Circle and Square"," Abstract Creativity") were formed in the early 1920s — early 1930s in Paris[2].
The aesthetic programs of the abstractionists were characterized by universalism; abstract art was presented in them as a universal model of the world order, including both the structure of the environment and the structure of society.
Working with the primary elements of the pictorial language, the abstractionists turned to general compositional principles, the laws of form formation.
It is not surprising that abstract artists found use for unimaginative forms in industrial art, artistic design, architecture (the activities of the Style group in the Netherlands and the Bauhaus school in Germany; the work of Kandinsky in VKhUTEMAS; Malevich's architectons and design projects; Alexander Kolder's" mobiles"; Vladimir Tatlin's designs, the works of Naum Gabo and Antoine Pevsner).
The activity of abstract artists contributed to the formation of modern architecture, decorative and applied art, and design[2].
At the end of the 1940s, abstract expressionism developed in the United States, which was formed on the basis of lyrical asbtractionism.
Representatives of abstract expressionism (Pollock, Mark Toby, Willem de Kooning, Mark Rothko, Arshil Gorki, Franz Kline) proclaimed their method of "unconsciousness" and automatism of creativity, the unpredictability of effects ("action painting").
Their aesthetic concepts no longer had idealistic metaphysics, and the non objective composition sometimes became a self sufficient object that excluded associations with reality[2].
Tashism became the European analogue of abstract expressionism, the brightest representatives of which were Hans Hartung, Pierre Soulage, Volsa, Georges Mathieu.
Artists sought to use unexpected, non standard combinations of colors and textures, sculptors (Eduardo Chilida, Seymour Lipton and others) created bizarre compositions and used unusual methods of processing materials[2].
In the 1960s, with the decline of abstract expressionism, op art, which developed the principles of geometric abstraction, using optical illusions of perception of flat and spatial objects, became a noticeable trend in abstractionism.
Another direction in the development of geometric abstraction has become kinetic art, which plays the effects of real movement of the entire work or its individual components (Alexander Calder, Jean Tangley, Nicholas Schaeffer, Jesus Soto, Taxis).
At the same time, post descriptive abstraction appeared in the United States, the principles of which were the reduction and extreme simplification of pictorial forms; inheriting regular geometric forms from geometric abstraction, post descriptive abstraction rounds them, "softens" them.
Notable representatives of this direction are Frank Stella, Elsworth Kelly, Kenneth Noland.
The ultimate expression of geometric abstraction in sculpture was minimalism, which was formed in the 1960s 1970s.
2].
The history of Abstractionism in Russia and the USSR[edit / edit wiki text]
1900-1949[edit / edit wiki text]
Russian artists Kandinsky and Malevich made a significant contribution to the development of the theory and practice of abstractionism at the beginning of the XX century.
In the 1920s, during the rapid development of all avant garde trends, abstract art included cubo futurists, non objectalists, constructivists, suprematists in its orbit: Alexandra Exter and Lyubov Popova, Alexander Rodchenko and Varvara Stepanova, George Stenberg and Mikhail Matyushin, Nikolai Suetin and Ilya Chashnik.
The language of non figurative art was the basis of the culture of a new, modern plastic form, easel, decorative applied or monumental, and had all the opportunities for further fruitful and promising development.
But the internal contradictions of the avant garde movement, reinforced by the pressure of ideological officialdom, in the early 1930s forced its leaders to look for other creative ways.
Anti popular, idealistic abstract art had no right to exist from now on.
With the coming to power of the fascists, the centers of abstractionism from Germany and Italy moved to America, since the concept of abstractionism did not find support among the ideologists of fascism.
In 1937, the Museum of non — objective painting, founded by the family of the millionaire Guggenheim, was created in New York, in 1939 the Museum of Modern Art, created at the expense of Rockefeller.
During the Second World War and after its end, all the ultra left forces of the art world gathered in America in general.
In post war America, the "New York School" was gaining strength, whose members were the creators of abstract expressionism, Jackson Pollock, Mark Rothko, Barnett Newmann, Adolf Gottlieb.
In the summer of 1959, their works were seen by young artists in Moscow at the exhibition of the national art of the United States in Sokolniki Park.
Two years before this event, contemporary world art was presented at an art exhibition within the framework of the World Festival of Youth and Students.
The information breakthrough has become a kind of symbol of spiritual and social freedom[source not specified 512 days].
Abstract art was now associated with inner liberation from totalitarian oppression, with a different perception of the world[source not specified 512 days].
The problems of the actual artistic language, the new plastic form were inextricably linked with socio political processes.
The era of the" thaw " implied a special system of relations between abstract art and power.
A new stage in the development of Soviet abstractionism began — the 1950s and 1970s.
For young Soviet artists brought up in the traditions of the academic system and the materialistic vision of the world, the discovery of abstraction meant the possibility of reproducing a personal subjective experience.
American researchers have characterized abstract expressionism as "a gesture of liberation from political, aesthetic, and moral values" [source not specified 512 days].
Similar feelings were experienced by young artists in the USSR, who comprehended the current art unfamiliar to them and at the same time built their own forms of coexistence with the authorities or opposition to them.
The underground was born, and among informal artists, the appeal to abstract art was generally accepted and widespread.
During these years, many painters felt the need for the language of non objective art.
The need to master the formal vocabulary was often associated not only with immersion in spontaneous creativity, but also with the composition of thoughtful theoretical treatises.
As at the beginning of the century, for these painters, abstraction did not mean the denial of different levels of meaning.
Modern European and American abstract art was based on such fundamental layers as the study of primitive mythological consciousness, Freudianism, the beginnings of existentialism, Eastern philosophies — Zen[source not specified 512 days].
But in the conditions of Soviet reality, abstract artists could not always fully and deeply get acquainted with the primary sources, they intuitively found answers to the problems that worried them[the source is not specified 512 days] and, rejecting reproaches for simply copying Western samples, they took their own professional reputation seriously[the source is not specified 512 days].
1950-1970[edit / edit wiki text]
The return of abstract art to the cultural space of Russia was not just a consequence of a change in the political climate or an imitation of the artistic phenomena of the West.
The laws of "self development of art "built" forms that are vitally necessary for art itself".
Occurred: "The process of repersonalization of art.
There is an opportunity to create individual pictures of the world."[source not specified 512 days]
The latter caused a powerful negative reaction at the state level, which for many years taught us to consider abstractionism as: "An extremely formalistic direction, alien to truthfulness, idealism and nationality"[source not specified 512 days], and works created by abstract artists as: "A meaningless combination of abstract geometric forms, chaotic spots and lines".[source not specified 512 days]
For almost thirty years (from the late 1950s to 1988), Yevgeny Mikhnov Voitenko, a unique master in the range of methods used, developed his own style of abstract creativity.
Different periods of his work are marked by many experiments in the field of painting and decorative and applied art; the artist's legacy includes graphics, paintings made in mixed media, nitro enamel, pastel, sauce, oil, gouache, tempera, as well as works made of wood, metal, glass, foam.
The first [source not specified 611 days] informal art association of the "thaw" period, which developed the principles of abstract art, was the studio "New Reality", which gathered around Elia Mikhailovich Belyutin.
Initially, the studio functioned as a refresher course at the City Committee of Graphic Artists.
The course of general liberalization, set by the XX Congress, opened up prospects for freedom of creativity and artistic search.
However, the 1962 exhibition in the Manege, sharp criticism from the New Reality Artists ' art party and the campaign against abstractionism forced the artists to go underground.
For the next 30 years[4] the studio continuously worked in workshops in Abramtsevo, in a house owned by Belyutin.
Developing the principles of non figurative image, the studio's artists relied on both the experience of Russian avant gardists at the beginning of the century and modern Western artists.
A feature of the "New Reality" was the attitude to collective work, which the futurists of the beginning of the XX century aspired to[5].
"New Reality" united Moscow artists who held different views on the methodology of constructing abstraction.
The artists Lucian Gribkov and Tamara Ter Gevondyan worked in a style that is closest to abstract expressionism[6].
While preserving the elements of real forms in their works, they developed the categories of expressing emotional states through visually plastic moves.
Vera Preobrazhenskaya, who was for a long time the head of the studio and fixed the theory and methodology of the school, has come a long way from expressionism through the aesthetics of op art to geometric abstraction.
Together with Eli Belyutin, Preobrazhenskaya worked on the development of modules- "psychogranules", symbols that would express concrete states and abstract concepts with the help of clear color plastic solutions[7].
Vera Preobrazhenskaya said: "In my paintings, God is almost always a black square"[source not specified 512 days].
In the process of working with the studios, Eliy Belyutin formed the theory of" universal contact", in which he expressed the principles of the development of the artist's creative potential.
Vladislav Zubarev came out of the Belyutin school, who was the first to develop the principles of expressing the categories of time in painting.
A group of artists, passionate about the idea of time, united under his leadership in the Studio "Temporal Reality".
The ability to express the third dimension in the two dimensional genre of painting has been a problem for artists since the Renaissance.
In the book "Temporal Reality" Vladislav Zubarev identifies five types of time: curved, relict, subjective, torn, flat time.
For each of the types of time, according to Zubarev's theory, there is a different way of plastic expression.
In the book "Temporal Art" and in the program cycles of the works "Images of Temporality", Zubarev brought his teaching about time to a single system[8].
The artists of the" New Reality " considered themselves the heirs, first of all, of the art of Vasily Kandinsky.
The founder of Russian abstraction focused on the image of the spiritual world through plastic art.
Their artistic search was also enriched by the achievements of the European abstract artists of the mid century, who partially returned the figurative to their works in a new quality of optical illusion or fetish.
Kandinsky said that: "Consciously or unconsciously, artists are increasingly turning to their material, testing it, weighing on spiritual scales the inner value of the elements from which art should be created"[source not specified 512 days].
What was said at the beginning of the century again became relevant for the next generations of painters.
In the second half of the 1950s, an abstract sculpture equipped with an "electronic brain" appeared — "Cysp I".
olya Schaeffer.
Alexander Calder creates his own "stable".
There is one of the separate directions of abstractionism — op art.
At the same time, the first collages using labels of mass products, photographs, reproductions and similar objects of the new pop art style appear almost simultaneously in England and the USA.
The Moscow abstraction of the turn of the 1960s, having delved into the search for a new form formation corresponding to the inner state of "creative illumination", a kind of meditation, gave convincing examples of its own understanding of the culture of the non objective.
For example, in the works of Vladimir Nemukhin, Lidia Masterkova, Mikhail Kulakov, who are certainly passionate about abstract expressionism, which they managed to fill with high spiritual tension.
Another type of abstract thinking was demonstrated by the most consistent in his analytical and practical work, Yuri Zlotnikov, the author of the extensive series "Signals", created in the late 1950s.
According to the artist: "Dynamism, rhythm, clearly expressed in geometric abstraction", led him to the analysis of: "Inamic representations embedded in art", and further: "To the study of human motor reactions"[source not specified 512 days].
In "Signals", the artist explored the" feedback " of spontaneous psychological reactions to color symbols.
The next stage in the development of Russian abstraction begins in the 1970s.
This is the time when modern artists get acquainted with Malevich's work, with suprematism and constructivism, with the traditions of the Russian avant garde, its theory and practice.
Malevich's" Primary Elements " aroused a stable interest in the geometrized form, linear signs, and plastic structures.
The "geometric" abstraction allowed us to get closer to the problems that worried the masters of the 1920s, to feel the continuity and spiritual connection with the classical avant garde.
Modern authors discovered the works of Russian philosophers and theologians, theologians and mystics, joined the inexhaustible intellectual sources, which in turn filled the works of Mikhail Shvartsman, Valery Yurlov, Eduard Steinberg with a new meaning.
Geometric abstraction formed the basis of the methods of work of artists who united in the early 1960s in the group "Movement".
Among its members were Lev Nusberg, Vyacheslav Koleychuk, Francisco Infante.
The latter was particularly keen on Suprematism.
In" Dynamic Spirals", Infante studied the model of an infinite spiral in space, carefully analyzed: "A non existent plastic situation".
American painting of the 1970s returns to figurativeness.
It is believed that the 1970s are: "The Moment of Truth for American painting, which is freed from the European tradition that fed it and becomes purely American."[source not specified 512 days]
The mid 1980s can be considered as the completion of the next stage of the development of abstraction in Russia, which by this time had accumulated not only a huge experience of creative efforts, meaningful philosophical problems, but also became convinced of the demand for abstract thinking.
The 1990s confirmed the special "Russian way" of non objective art.
From the point of view of the development of world culture, abstractionism as a style direction ended in 1958.
However, in: "The post perestroika Russian society, only now there is a need for equal communication with abstract art, there is a desire to see not meaningless spots, but the beauty of plastic play, its rhythms, to penetrate into their meaning.
To finally hear the sound of picturesque symphonies."[source not specified 512 days]
The artists were given the opportunity to express themselves not only in classical forms suprematism or abstract expressionism, but also in lyrical and geometric abstraction, minimalism, sculpture, an object, a man made author's book, in a paper mass cast by the master himself.
Modern abstractionism in painting[edit / edit wiki text]
An important component of the modern language of abstraction has become the white color.
For Marina Kastalskaya, Andrey Krasulin, Valery Orlov, Leonid Pelikh, the space of white — the highest tension of color in general is filled with endless variable possibilities that allow using both metaphysical ideas about the spiritual and optical laws of light reflection.
Space as a conceptual category has different semantic load in modern art.
For example, there is a space of a sign, a symbol that arose from the depths of archaic consciousness, sometimes transformed into a structure resembling a hieroglyph.
There is a space of ancient manuscripts, the image of which has become a kind of palimpsest in the compositions of Valentin Gerasimenko.
Gallery[edit / edit wiki text]
Kazimir Malevich The Black Square (1915)
See also[edit / edit wiki text]
Luchism Neoplasticism Orphism Suprematism Systematism Tashism Abstract expressionism Geometric abstraction
Notes[edit / edit wiki text]
Bruni L., Khlebnikova V. Andrey Sarabyanov: The avant garde was a time of incredible discoveries / / However.
- 2011.
- October 29 ↑ Go to: 1 2 3 4 5 6 Kryuchkova V. A. Abstractionism / / Great Russian Encyclopedia / S. L. Kravets.
- Moscow: The Great Russian Encyclopedia, 2005.
- Vol. 1. - pp.
42-43 — - 768 p — - 65,000 copies.
— ISBN 5-85270-329 X. Канд Vasily Kandinsky.
About the spiritual in art.
- M., 1992.
Бел Belyutin Eliy.
Abramtsevo is the island of freedom.
- M., 2012 ↑ Larisa Kashuk.
Abstract art of Moscow in the 1950s 2000s ↑ Heinrich Sapgir.
Lianozovo and others ↑ Vera Preobrazhenskaya ↑ Vladislav Zubarev
Literature[edit / edit wiki text]
There is a page on the topic in Wikicitatnik
Abstract art
Abstractionism in Wikicitatnik?
Abstractionism on Wikimedia Commons?
Andrey Nakov.
The Non objective World: Abstract and Concrete Art: Russia and Poland / Translated from the French by E. M. Titarenko.
- Moscow: Iskusstvo, 1997 — - 416 p.
Abstraction in Russia: XX Century: The State Russian Museum.
The almanac.
No. 17 / In Russian and English; ed. Yevgenia Petrova.
- State Russian Museum, Palace Editions, 2001 — - 814 p.
— ISBN 5-93332-070-6, 3-935298-50-1.
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