Text: Ksyusha Petrova
THIS WEEK AT THE JEWISH MUSEUM AND TOLERANCE CENTER The exhibition “Abstraction and Image” by Gerhard Richter ends - the first personal exhibition in Russia of one of the most influential and expensive contemporary artists. While at the recently extended exhibition of Raphael and Caravaggio and the Georgian avant-garde at the Pushkin Museum. There are queues for A.S. Pushkin; you can see Richter in the comfortable company of a couple of dozen visitors. This paradox is due not only to the fact that the Jewish Museum is much inferior in popularity to Pushkin or the Hermitage, but also to the fact that many are still skeptical about abstract art.
Even those who are familiar with Sovriska and understand well the significance of the “Black Square” for world culture are put off by the “elitism” and “inaccessibility” of abstraction. We mock the works of fashionable artists, are amazed at the auction records and fear that behind the facade of art criticism terms there will be emptiness - after all, the artistic merits of works that resemble children's scribbles sometimes raise doubts among professionals. In fact, the aura of “inaccessibility” of abstract art is easy to dispel - in this instruction we tried to explain why abstraction is called “Buddhist television” and from which side to approach it.
Gerhard Richter. November 1/54. 2012
Don't try to find out
what the artist wanted to say
In the halls where Renaissance paintings hang, even a not very prepared viewer can find his way: at least he can easily name what is depicted in the painting - people, fruits or the sea, what emotions the characters experience, whether there is a plot in this work, whether they are familiar him participants in the events. In front of the paintings of Rothko, Pollock or Malevich, we do not feel so confident - there is no object on them that we can catch our eye on and speculate about it in order, like in school, to find out “what the author wanted to say.” This is the main difference between abstract, or non-objective, painting and the more familiar figurative painting: an abstract artist does not strive to depict the world around him at all, he does not set himself such a task.
If you look closely at the last two centuries of the history of Western art, it becomes clear that the rejection of the subject in painting is not the whim of a handful of nonconformists, but a natural stage of development. In the 19th century, photography appeared, and artists were freed from the obligation to depict the world as it is: portraits of relatives and beloved dogs began to be made in a photo studio - it turned out faster and cheaper than ordering an oil painting from a master. With the invention of photography, the need to meticulously copy what we see in order to store it in memory has disappeared.
← Jackson Pollock.
Shorthand figure. 1942
By the mid-19th century, some began to suspect that realist art was a trap. Artists perfectly mastered the laws of perspective and composition, learned to depict people and animals with extraordinary accuracy, acquired suitable materials, but the result looked less and less convincing. The world began to change rapidly, cities became larger, industrialization began - against this background, realistic images of fields, battle scenes and nude models seemed outdated, divorced from the complex experiences of modern man.
The Impressionists, Post-Impressionists, Fauvists and Cubists are artists who were not afraid to re-question what is important in art: each of these movements drew on the experiences of the previous generation, experimenting with color and form. As a result, some artists came to the conclusion that contact between the author and the viewer occurs not through projections of reality, but through lines, spots and strokes of paint - so art got rid of the need to depict anything, inviting the viewer to feel the unclouded joy of interacting with color , shape, lines and texture. All this was perfectly combined with new philosophical and religious teachings - in particular, theosophy, and the locomotives of the Russian avant-garde, Wassily Kandinsky and Kazimir Malevich, developed their own philosophical systems in which the theory of art is connected with the principles of an ideal society.
In any unclear situation, use formal analysis
Here's a nightmare that every contemporary art lover can find himself in: imagine standing in front of what the guidebook says is a delightful painting by Agnes Martin and feeling absolutely nothing. Nothing but irritation and slight sadness - not because the picture gives you such feelings, but because you don’t understand at all what is drawn here and where you need to look (you’re not even sure that the curators hung the work the right way). In such a situation, formal analysis comes to the rescue, with which it is worth starting to get acquainted with any work of art. Exhale and try to answer a few children's questions: what do I see in front of me - a painting or a sculpture, graphics or painting? With what materials and when was it created? How can you describe these shapes and lines? How do they interact? Are they moving or static? Is there depth here - which elements of the image are in the foreground and which are in the background?
← Barnett Newman. Untitled. 1945
The next stage is also quite simple: listen to yourself and try to determine what emotions what you see evokes in you. Are these red triangles funny or alarming? Do I feel calm or does the picture weigh on me? Test question: Do I try to figure out what it looks like, or do I let my mind interact freely with color and shape?
Remember that it is not only the picture that is important, but also the frame - or lack thereof. In the case of the same Newman, Mondrian or the “Amazon of the avant-garde” Olga Rozanova, the rejection of the frame is a conscious choice of the artist, which invites you to discard old ideas about art and mentally expand its boundaries, literally go beyond.
To feel more confident, you can remember a simple classification of abstract works: they are usually divided into geometric (Piet Mondrian, Ellsworth Kelly, Theo van Doesburg) and lyrical (Helen Frankenthaler, Gerhard Richter, Wassily Kandinsky).
Helen Frankenthaler. Orange Hoop. 1965
Helen Frankenthaler. Solarium. 1964
Don't judge "drawing ability"
“My child/cat/monkey can do no worse” is a phrase that is said every day in every museum of modern art (perhaps somewhere they thought of installing a special counter). An easy way to respond to such a claim is to snort and roll your eyes, complaining about the spiritual poverty of those around you; a difficult and more productive way is to take the question seriously and try to explain why the skill of abstractionists should be assessed differently. The great semiologist Roland Barthes wrote a heartfelt essay about the seeming “childishness” of Cy Twombly’s scribbles, and our contemporary Susie Hodge devoted an entire book to this topic.
Many abstract artists have a classical education and excellent academic drawing skills - that is, they are able to draw a nice vase of flowers, a sunset on the sea or a portrait, but for some reason they don’t want to. They choose a visual experience that is not burdened by objectivity: the artists seem to make the task easier for the viewer, preventing him from being distracted by the objects depicted in the picture, and helping him to immediately immerse himself in an emotional experience.
← Cy Twombly. Untitled. 1954
In 2011, researchers decided to check whether paintings in the genre of abstract expressionism (this direction of abstract art raises the most questions) are indistinguishable from the drawings of small children, as well as the art of chimpanzees and elephants. The subjects were asked to look at pairs of pictures and determine which of them were made by professional artists - in 60–70% of cases, respondents chose “real” works of art. The advantage is small, but statistically significant - apparently, in the works of abstractionists there really is something that distinguishes them from the drawings of a smart chimpanzee. Another new study has shown that children themselves can distinguish the works of abstract artists from children's drawings. To test your artistic flair, you can take a similar quiz on BuzzFeed.
Remember that all art is abstract
If your brain is ready for a little overload, consider the fact that all art is inherently abstract. Figurative painting, be it the still life “Boy with a Pipe” by Picasso or “The Last Day of Pompeii” by Bryullov, is a projection of a three-dimensional world onto a flat canvas, an imitation of “reality” that we perceive through vision. There is also no need to talk about the objectivity of our perception - after all, the capabilities of human vision, hearing and other senses are very limited, and we cannot evaluate them on our own.
Marble David is not a living guy, but a piece of stone that Michelangelo gave a shape that reminds us of a man (and we got the idea of what men look like from our life experiences). If you get very close to Gioconda, you will still think that you see her delicate, almost living skin, a transparent veil and fog in the distance - but this is essentially an abstraction, it’s just that Leonardo da Vinci very painstakingly and for a long time applied layers of paint on top of each other to create a very subtle illusion. The trick of exposure works more clearly with the Fauvists and Pointillists: if you approach a Pissarro painting, you will see not Montmartre Boulevard and the sunset at Eragny, but many colorful small brushstrokes. Rene Magritte’s famous painting “The Treachery of Images” is dedicated to the illusory essence of art: of course, “this is not a pipe” - these are just strokes of paint well placed on the canvas.
← Helen Frankenthaler.
Nepenthe. 1972
The Impressionists, whose competence we do not doubt today, were the abstractionists of their time: Monet, Degas, Renoir and their friends were accused of abandoning realistic depiction in favor of conveying sensations. “Careless” strokes, visible to the naked eye, “strange” composition and other progressive techniques seemed blasphemous to the public of that time. At the end of the 19th century, the impressionists were seriously accused of “inability to draw,” vulgarity and cynicism.
The organizers of the Paris Salon had to hang Manet's Olympia almost from the ceiling - there were too many people who wanted to spit on it or pierce the canvas with an umbrella. Is this situation very different from the 1987 incident at Amsterdam's Stedelijk Museum, when a man attacked abstract artist Barnett Newman's Who's Afraid of Red, Yellow and Blue III with a knife?
Mark Rothko. Untitled. 1944-1946
Don't neglect context
The best way to experience a piece of abstract art is to stand in front of it and look and look and look. Some works can plunge the viewer into deep existential feelings or ecstatic trance - most often this happens with the paintings of Mark Rothko and the objects of Anish Kapoor, but the work of unknown artists can also have a similar effect. Although the emotional connection is most important, you should not refuse to read the labels and get acquainted with the historical context: the title will not help you understand the “meaning” of the work, but it can give you interesting ideas. Even dry titles like “Composition No. 2” and “Object No. 7” tell us something: by giving his work such a name, the author encourages us to abandon the search for “subtext” or “symbolism” and focus on spiritual experience.
← Yuri Zlotnikov. Composition No. 22. 1979
The history of the creation of the work is also important: most likely, if you find out when and under what circumstances the work was created, you will see something new in it. After reading the biography of the artist, carefully prepared for you by the museum curators, ask yourself what significance this work could have had in the country and at the time when its author worked: the same “Black Square” makes a completely different impression if you know something about philosophical movements and art of the early 20th century. Another, less well-known example is the series “Signal Systems” by the pioneer of Russian post-war abstraction Yuri Zlotnikov. Today, colored circles on a white canvas do not seem revolutionary - but in the 1950s, when official art looked something like this, Zlotnikov’s abstractions were a real breakthrough.
Slow down
It is always better to pay attention to a few works that catch your eye than to gallop through the museum, trying to take in the immensity. Professor Jennifer Roberts from Harvard forces her students to look at one painting for three hours - of course, no one requires such stamina from you, but thirty seconds is clearly not enough for a Kandinsky painting. In his manifesto - a declaration of love for abstraction, the famous art critic Jerry Saltz calls Rothko's hypnotic paintings "Buddhist television" - it is implied that you can peer at them endlessly.
Repeat this at home
The best way to test the seditious thought “I can draw just as well,” which sometimes arises among professional art critics, is to conduct an experiment at home. It will also be interesting in the opposite situation - if you are afraid to take up paints due to “inability to draw” or “lack of ability.” It is not for nothing that abstract techniques are used most often in art therapy: they help to express complex sensations for which it is difficult to find words. For many artists, suffering from internal contradictions and their own incompatibility with the outside world, abstraction has become almost the only way to come to terms with reality (except for drugs and alcohol, of course).
Abstract works can be created using any art medium - from watercolor to oak bark, so you're sure to find a technique that suits your taste and budget. Perhaps you shouldn’t start right away with dripping" - the analysis of Mondrian's painting "Composition with Red, Blue and Yellow" given in it is not a shame for the little ones to read for adults. Jewish Museum, ART4
The emergence of Abstract Art:
Abstractionism as a movement arose at the beginning of the 20th century. simultaneously in several European countries. The recognized founders and inspirers of this movement are the artists Wassily Kandinsky, Kazimir Malevich, Piet Mondrian, Frantisek Kupka and Robert Delaunay, who outlined the main principles of Abstract Art in their theoretical works and policy statements. Differing in goals and objectives, their teachings were united in one thing: Abstractionism, as the highest stage of development of visual creativity, creates forms inherent only to art. “Freed” from copying reality, it turns into a means of conveying through various pictorial images the incomprehensible spiritual principle of the universe, eternal “spiritual essences”, “cosmic forces”.
As an artistic phenomenon, Abstractionism had a huge influence on the formation and development of modern architectural style, design, industrial, applied and decorative arts.
Features of Abstract Art:
Abstract art (from the Latin Abstractus - abstract) is one of the main artistic movements in the art of the 20th century, in which the structure of the work is based exclusively on formal elements - line, color spot, abstract configuration. Works of Abstract Art are detached from the forms of life itself: non-objective compositions embody the subjective impressions and fantasies of the artist, the stream of his consciousness; they give rise to free associations, movement of thought and emotional empathy.
Since the advent of Abstract Art, two main lines have emerged in it:
- First – geometric, or logical abstraction, creating space by combining geometric shapes, colored planes, straight and broken lines. It is embodied in the Suprematism of K. Malevich, the neoplasticism of P. Mondrian, the orphism of R. Delaunay, in the work of masters of post-painterly abstraction and op art;
- The second is lyrical-emotional abstraction, in which compositions are organized from freely flowing forms and rhythms, is represented by the work of V. Kandinsky, the works of masters of abstract expressionism, tachisme, and informal art.
Masters of Abstract Art:
Wassily Kandinsky, Kazimir Malevich, Frantisek Kupka, Paul Klee, Piet Mondrian, Theo Van Doesburg, Robber Delaunay, Mikhail Larionov, Lyubov Popova, Jackson Pollock, Josef Albers and others.
Paintings by artists:
At the beginning of the twentieth century, a new movement in art appeared - modernism. The new postulates implied the abandonment of some traditions. The formulation that “the past is cramped” became fashionable and in a fairly short time gained many fans. The leading role in the ongoing changes belonged to abstractionism, which united a number of movements that arose on the basis of modernism, such as futurism, cubism, expressionism, surrealism and others. Abstractions in painting were not immediately accepted by society, but soon the new style proved its belonging to art.
Development
By the thirties of the twentieth century, the movement of abstractionism gained strength. The founder of a new direction in the art of painting was Wassily Kandinsky, one of the most progressive artists of that time. A whole galaxy of followers formed around the master, for whom the basis of creativity was the process of studying the state of the soul and internal intuitive sensations. Artists ignored the reality of the world around them and expressed their feelings in abstract art. Some paintings by the early followers of the new genre were impossible to understand. Abstractionist paintings usually did not convey any information, and unprepared visitors to exhibitions and vernissages were often at a loss. At that time, it was not customary to attach annotations to paintings, and every connoisseur of painting could rely only on his own vision.
Masters and founders
Among the most prominent followers of the new movement were famous abstractionists Wassily Kandinsky, Natalya Goncharova, Peter Mondrian, Kazimir Malevich, Mikhail Larionov. Each of them followed their own direction. Abstractionist paintings performed by famous artists gradually became recognizable, and this contributed to the promotion of a new type of art.
Kazimir Malevich worked in line with Suprematism, giving preference to a geometric basis for self-expression. The dynamics of his compositions on canvas came from a seemingly chaotic combination of rectangles, squares, and circles. The arrangement of the figures on the canvas defied any logic, and at the same time the picture gave the impression of a strictly verified order. In the art of abstraction there are enough examples that fundamentally contradict each other. The first impression when meeting a painting may leave a person indifferent, but after a while the painting will already seem interesting.
And Mikhail Larionov followed the direction of rayism, the technique of which consisted in the unexpected intersection of straight ray-like lines of different colors and shades. The colorful play in the painting was mesmerizing, fantastic combinations of intersecting rays alternated in endless combinations, and the canvas at the same time radiated a flow of energy.
Tachisme
Abstract artists Delaunay and Kupka presented their own art. They tried to achieve maximum effect by rhythmically intersecting colorful planes. Representatives of tachisme, a pictorial drawing obtained as a result of the chaotic application of large strokes in the absolute absence of a plot component, expressed their artistic credo in this way. Oil abstraction in the Tachisme style is the most complex; painting in this genre can be perceived in an infinite number of interpretations, and each will be considered correct. However, the last word still remains with critics and art historians. At the same time, the style of abstract art itself is in no way limited by any framework or conventions.
Neoplasticism
And if the paintings were an example of meaninglessness, then the Dutch abstract painter Peter Mondrian introduced a strict system of interaction of large figures with right angles, which contrasted with each other on the canvas and at the same time in some incomprehensible way were united into one whole. Mondrian's work is called "neoplasticism". It became most widespread in the twenties of the last century.
Czech Frantisek Kupka created paintings dominated by round and rounded figures, truncated circles and circles cut off on one side, which suddenly continued with black broken lines, causing anxiety and concern. One could look at Kupka’s canvases for hours and find new nuances in them.
When creating his paintings, the abstract artist tries to move away from familiar images. At first, the unrecognized surrealist works of Kandinsky, Malevich, Mondian and others subsequently caused heated debate among opponents and admirers of the new art.
Expression
Another one in painting is expressionism, a manner of quickly drawing on a large canvas using emphatically neo-geometric strokes applied with wide flute brushes, while large drops of paint can fall onto the spread canvas at random. The expression of this method is the main and only sign of belonging to art.
Orphism is one of the trends in French painting, which developed in the twenties of the last century. Artists adhering to this movement tried to express their aspirations through rhythmic movement and conventional musicality, while they widely used the technique of mutual penetration of colors and intersection of contours.
Pablo Picasso
Cubism as a reflection of abstraction in painting is characterized by the use of geometric shapes, not designated explicitly, but with a certain degree of convention. Irregular circles, broken lines, corners and kinks - all this could be located according to a certain logical pattern and at the same time with blatant chaos. The brightest representative of cubism was and remains the Spanish artist Pablo Picasso (1881 - 1973), who is rightfully considered the founder of this movement in painting.
Experiments with color (blue period, pink period) smoothly turned into changes in forms, deliberate deformation and destruction of nature. An example of such paintings can be considered a canvas painted in 1907, when abstractions in painting were just beginning to gain strength. Thus, the work of Picasso led some artists of that time to a completely new genre, which completely rejected the traditions of naturalism and the educational value of fine art.
Distant past
Paintings by abstract artists of the early twentieth century revolutionized the painting of that period; in the wake of numerous trends and directions in artistic creativity, masters of the brush appeared who were able to prove that abstraction is a completely independent type of fine art, part of culture.
Modern abstract art
Currently, abstractionism has taken on slightly different forms, different from those that existed during the heyday of this rather controversial type of fine art. The modern language of abstraction today is Famous artists such as Andrei Pelikh, Valery Orlov, Marina Kastalskaya, Andrei Krasulin, who put into it ideas about the spiritual at the level of metaphysics, and also use optical laws in a palette of white shades.
The highest tension of color is possible only in the white hypostasis; this color is the basis of all foundations. In addition to the color aspect, in modern abstraction there is also a semantic factor. Signs and symbols arising from the depths of consciousness bear signs of the archaic. Modern abstract artist Valentin Gerasimenko uses in his paintings images of ancient manuscripts and manuscripts, which allow him to broadly interpret the theme of the distant past.
Paintings in the style of Abstract Art
Style Abstractionism- the most extreme school of modernism.
Abstract art, also called nonfigurative art, emerged as a movement in the 10s of the 20th century. Because artists Abstractionists they deny any representation in art, refuse to depict the objective world, abstractionism is also called non-objectivity.
Theorists of the abstract art style trace it from Cézanne through cubism.
In 1911 A new group of German artists, “The Blue Rider,” presented their works to the audience, striving for originality and free experimentation. Their work became the pinnacle of German expressionism and opened the way to abstraction. The most significant member of the group, Wassily Kandinsky, is most often credited with creating it in 1910. The first “abstract” painting.
Representatives: August Macke, Wassily Kandinsky, Paul Klee, Kazimir Malevich.
Abstractionism- a unique phenomenon of world artistic culture. Its uniqueness is due to the peculiarities of the turning point era. The 20th century is a kind of sign and it is no coincidence that it gave birth to a kind of abstract art.
Art does not tolerate direct speech; its strength lies in metaphor. Realism in art can be very different, and this is most convincingly proven by the art of abstractionism.
Thanks to abstractionism, many different movements in modern art have emerged, although the division of art into movements is quite relative.
The perception of art is highly subjective. The attitude towards the works of abstract artists can be expressed in the words of the 17th century Dutch philosopher B. Spinoza: “Do not cry, do not be indignant, but understand.” The deeply rooted habit of perceiving a purely realistic art form does not mean that a direction “unlike life” is uninteresting, much less absurd. The joy of art is that it is different.
You can like or dislike abstract art; you can find many supporters and opponents of this, as well as any other type of art. But any art has the right to exist, and it cannot be banned, denigrated, or hidden.
On our website in the abstract art section we present:
abstract paintings
abstract art artists
abstractionism
abstract art in art
abstract art kandinsky
abstract art Wikipedia
abstract art style
abstract art pictures
representatives of abstract art
modern abstract art
abstract paintings
geometric abstract art
directions of abstract art
abstract art photo
Russian abstract art
a type of abstract art
abstract art in European art
abstract art in fine art
ABSTRACTIONISM IN ART
For a long time, people have tried to display the beauty of the world around them, scenes from life in drawings and paintings. Since ancient times, non-objective creativity existed in the form of ornament or non-finito, but only in recent history has it taken shape into a special aesthetic program - abstractionism. The emergence and development of abstract art is closely connected with spiritual ideas that excited the minds of Europeans at the turn of the 19th and 20th centuries. A passion for metaphysical and utopian theories also gripped painters. The desire to express the inexpressible, to convey the feeling of the unity of soul and matter, the universe, the cosmos, required artists to search for a new, unconventional visual language, full of deep meaning.
The 20th century gave the world new, sometimes unusual, difficult to perceive examples of artistic culture. The stamp of unconventionality has fallen on essentially all types of art.
Art is a type of spiritual activity. In society and the world, everything is interconnected. The following factors were of no small importance for the development of artistic culture of the twentieth century:
The twentieth century is a century of powerful social mobility (two world wars, numerous local wars, revolutions). His turning point was obvious from the very beginning. The visible internal catastrophe was felt, first of all, by artists and creators. How could this century not give rise to rebellious, sometimes rushing art?
The twentieth century announced itself with the greatest scientific discoveries (the structure of the atom, A. Einstein’s theory of relativity, the emergence of instruments that made it possible to look into the depths of the Universe, and many others). The picture of the world as a whole has fundamentally changed. The perception of artists reacted to this as well.
The art of photography has developed and improved. In previous centuries it played a documenting role. As soon as high-quality photography appeared, some artists came to the conclusion: the purpose of artists is not to copy, but to create a new reality.
The attitude of abstract artists to art, in my opinion, is most fully reflected in the words of Stuart Davis: “Art is not and never has been a reflection of nature. Any effort to illustrate nature is doomed to fail. Abstract artists will never try to copy the uncopyable; they are trying to establish a material tangibility that forms a permanent archive of ideas and emotions inspired by nature.”
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ABSTRACTIONISM
From 1907 to 1915, painters in Russia, Western Europe and the USA began to create abstract paintings, as researchers believe and name the first to be Wassily Kandinsky, Kazimir Malevich and Piet Mondrian. And yet, the year of birth of non-objective art is considered to be 1910, when in Germany, in Murnau, Kandinsky wrote his first abstract composition. The following year in Munich, he published the now famous book “On the Spiritual in Art,” in which he reflected on the possibility of embodying the internally necessary, the spiritual, as opposed to the external, accidental. The “logical basis” for Kandinsky’s abstractions was based on the study of the theosophical and anthroposophical works of Helena Blavatsky and Rudolf Steiner.
"Abstractio" means "distraction". When applied to painting, this term allows us to convey the characteristics of artistic consciousness, aimed in search of harmony from the particular to the universal. It is no coincidence that in the first decades abstract art needed the theory of symbolism and an appeal to mystical ideas, but later artists were increasingly fascinated by problems associated with biophysical discoveries, with attempts to embody the concepts of time and space, the infinity of natural forms hidden behind external covers. One of the first abstractionists, the creator of “rayonism,” Mikhail Larionov depicted “the emission of reflected light (color dust).”
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Abstract art is “the most accessible and noble way to capture personal existence, in a form that is perhaps the most adequate - like a facsimile print. At the same time, it is a direct realization of freedom.”
In the 1920s, during the rapid development of all avant-garde movements, abstract art included in its orbit cubo-futurists, non-objectivists, constructivists, and suprematists (A. Ekster and L. Popova, A. Rodchenko and V. Stepanova, G. Stenberg and M. Matyushin , N. Suetina and I. Chashnik). The language of non-figurative art was the basis of the culture of a new, modern plastic form, easel, decorative and applied or monumental, and had every opportunity for further fruitful and promising development.
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There is no need to repeat what is already well known. The internal contradictions of the avant-garde movement, reinforced by the harsh pressure of ideological officialdom, forced its leaders to look for other creative paths in the early 1930s. “Anti-national idealistic” abstract art henceforth had no right to exist. And it seemed that it had disappeared not only from museum halls, from books and monographs, but from memory.
With the coming to power of the fascists, the centers of abstract art moved to America. In 1937, a museum of non-objective painting was created in New York, founded by the family of millionaire Guggenheim, and in 1939, the Museum of Modern Art, created with funds from Rockefeller. During the Second World War and after its end, all the ultra-left forces of the artistic world gathered in America.
In post-war America, the “New York School” was gaining strength, whose members were the creators of abstract expressionism D. Pollack, M. Rothko, B. Newman, A. Gottlieb. In the summer of 1959, their works were seen by young artists in Moscow at the exhibition of US national art in Sokolniki Park. Two years before this event, contemporary world art was presented at an art exhibition as part of the World Festival of Youth and Students. The information breakthrough has become a kind of symbol of spiritual and social freedom. Abstract art was now associated with internal liberation from totalitarian oppression, with a different worldview. The problems of contemporary artistic language and new plastic forms turned out to be inextricably linked with socio-political processes. The era of the “thaw” implied a special system of relationships between abstract art and power. A new stage in the development of domestic abstract art began - 1950-1970s.
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For young Soviet artists, brought up in the traditions of a rigid academic system with unshakable rules and priorities of narrative content and the only true materialist vision of the world, the discovery of abstraction meant the possibility of reproducing personal subjective experience. American researchers characterized abstract expressionism as “a gesture of liberation from political, aesthetic, and moral values.” Similar feelings were experienced by young painters in the USSR, who were comprehending contemporary art that was unfamiliar to them and at the same time building their own forms of coexistence with the authorities or opposition to them. The underground was born, and among informal artists the turn 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 a 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 it did not mean a denial of different levels of meaning. Contemporary European and American abstract art was based on such fundamental layers as the study of primitive mythological consciousness, Freudianism, the beginnings of existentialism, and Eastern philosophies of Zen. But in the conditions of Soviet reality, abstract artists could not always become sufficiently fully and deeply acquainted with the primary sources; they, rather, felt, guessed, intuitively found answers to the problems that worried them and, rejecting reproaches for simply copying Western models, took their own professional reputation seriously .
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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 were “vital for art itself.” There was a “process of repersonalization of art. It became possible to create individual pictures of the world” (A. Borovsky). The latter caused a powerful negative reaction at the state level, which for many years taught us to view abstractionism as “an extremely formalistic direction, alien to truthfulness, ideology and nationality,” and works created by abstractionists as “a meaningless combination of abstract geometric shapes, chaotic spots and lines.”
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 must be created.” What was said at the beginning of the century again became relevant for subsequent generations of painters.
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In the second half of the 50s, an abstract sculpture equipped with an “electronic brain” appeared - “Cysp I” by Nicolas Schöffer. Alexander Kalder, after the “mobiles” that were successful, creates his own “stables”. One of the isolated areas of abstractionism emerges - op art. At the same time, almost simultaneously in England and the USA, the first collages appeared, using labels of mass-produced products, photographs, reproductions and similar objects of the new pop art style.
Moscow at the turn of the 1960s, delving deep into the search for a new form, corresponding to the internal 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, Lydia Masterkova, Mikhail Kulakov, of course, passionate about abstract expressionism , which they were able to fill with high spiritual tension). A different type of abstract thinking was demonstrated by the most consistent in his analytical and practical work, Yuri Zlotnikov, the author of the extensive “Signals” series, created in the late 1950s. According to the artist, “dynamism, rhythm, clearly expressed in geometric abstraction,” led him to the analysis of “dynamic concepts inherent in art” and further “to the study of human motor reactions.” In “Signals,” the artist explored the “feedback” of spontaneous psychological reactions to color symbols.
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The next stage in the development of Russian abstraction begins in the 1970s. This is the time when artists became acquainted with the work of Malevich, 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 geometric forms, linear signs, and plastic structures. “Geometric” made it possible 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, and became familiar with inexhaustible intellectual sources, which in turn filled the works of Mikhail Shvartsman, Valery Yurlov, and Eduard Steinberg with new meaning.
Geometric formed the basis of the working methods of artists who united in the early 1960s in the group “Movement”. Among its members were Lev Nusberg, Vyacheslav Koleichuk, Francisco Infante. The latter was especially passionate about Suprematism. In “Dynamic Spirals,” Infante studied the model of an infinite spiral in space and carefully analyzed the “non-existent plastic situation.”
American 70s returns to figurativeness. It is believed that the 70s are “the moment of truth for American painting, which frees itself from the European tradition that fed it and becomes purely American.”
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The mid-1980s can be considered as the completion of the next stage in the development of abstraction in Russia, which by this time had accumulated not only enormous experience in creative efforts and meaningful philosophical problems, but also became convinced of the demand for abstract thinking.
The last decade of the 20th century confirmed the special “Russian path” of non-objective art. From the point of view of the development of world culture, abstractionism as a style movement ended in 1958. However, in “post-reconstruction Russian society, only now has there arose a need for equal communication with abstract art, a desire to see not meaningless spots, but the beauty of plastic play, its rhythms, and to penetrate into their meaning. Artists got the opportunity to express themselves in not only classical forms - Suprematism or abstract expressionism, but lyrical and geometric abstraction, minimalism, sculpture, object, hand-made author's book, in paper pulp cast by the master himself. abstractionism paintings, abstractionism artists, abstractionism in art, Kandinsky abstractionism, modern abstractionism, abstractionism paintings, Russian abstractionism, abstractionism in European art, abstractionism style, abstractionism paintings
Space as a conceptual category has different semantic loads in modern art. For example, there is a space of a sign, a symbol that emerged from the depths of archaic consciousness, sometimes transformed into a structure reminiscent of a hieroglyph (Evgeniy Dobrovinsky). There is a space of ancient manuscripts, the image of which has become a kind of palimpsest in the compositions of Valentin Gerasimenko.
In addition to those mentioned above, abstractionists include: M. Rothko, R. Rauschenberg, W. de Kooning, L. Moholy-Nagy, F. Klein, U. Boccioni, F. Picabia, A. Gorky, A. Held, P. Soulages , F. Klin, H. Hartung, J. Bazin, R. Bissier, N. De Stael, B. Newman and many others.
KANDINSKY VASILY VASILIEVICH (1866-1944)
Kandinvkiy V.V. - Russian artist who stood at the origins of abstract art in modern times. He was one of the founders and ideological inspirers of the Munich group of artists Der Blaue Reiter.
Kandinsky was born on December 4, 1866 in Moscow. His grandmother was a Mongol princess, and his father was from the Siberian city of Kyakhta. Such differences in the origins of his relatives affected Vasily’s education - he organically perceived both European and Asian cultural traditions. Kandinsky’s parents loved to travel (their financial situation allowed), so even as a child Vasily visited Venice, Rome, Florence, the Caucasus, and Crimea. In 1871, the parents moved to Odessa, where Vasily graduated from school. Kandinsky's first profession was musical performances, where he played the piano and cello. After some time, Kandinsky began to paint, and in his paintings there were very unconventional color combinations, which he explained by the fact that each color lives its own mysterious life. Kandinsky believed that “color is the key; eye - hammer; the soul is a multi-string piano. The artist is the hand that, through this or that key, expediently sets the human soul into vibration. The harmony of colors can only be based on the principle of purposefully touching the human soul.”
In 1886, Kandinsky entered Moscow State University, where he studied law and economics. His thoughts about the life of various flowers continued to visit his head, especially when he saw the colorfulness of Moscow architecture. In 1889, Kandinsky traveled with a university expedition to Vologda, where he was amazed by the unrealistic Russian folk art preserved in remote villages. That same year he visited Paris. By 1893, when he received his doctorate, Kandinsky had lost interest in the social sciences. He came to the conclusion that “art is an unaffordable luxury for Russia.” After graduating from the University, Kandinsky worked in the photographic workshop of the Moscow Publishing Society. By 1896, when Kandinsky turned 30, he was faced with the need to choose his path in life. Then he was offered a position as a professor of law at the University of Tartu in Estonia, at that time the process of Russification was taking place.
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He realized that life had to be changed “now or never,” so he refused his professorship and went to Germany, where he was going to study drawing in order to become a real artist. Kandinsky was a tall, respectable man, always dressed to the nines, he wore pince-nez and looked down on this whole world slightly. He was a cross between a diplomat, a scientist and a Mongol prince. But when he came to Germany, he became simply a student at a private school in Munich under the direction of Anton Azbe. He studied with him for two years, then worked independently for a year, and then entered the Academy of Fine Arts in Munich, in the class of Franz von Stuck. In 1900, Kandinsky received a diploma from this academy. There he was taught realism, and Kandinsky was influenced by impressionism and pointillism. He did not forget Moscow icons and Vologda folklore. The first exhibitions of Kandinsky's paintings took place as part of academic shows throughout Europe. In 1903, Kandinsky’s first personal exhibition took place in Moscow, and two years later it was repeated in Poland. Kandinsky spent 1903-1908 traveling. He was constantly traveling: Tunisia, Paris, Dresden, Berlin...
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In 1902, Kandinsky met Gabrielle Munter, with whom in 1909 he moved to a house near Bavaria. This period of Kandinsky's work was characterized by the formation of his own unique style in art - pure abstractionism. He strove for paintings consisting of bright colors, lines, figures, free of recognizable objects. He needed his own painting language that could express his deepest emotions. Of course, this idea was not new, but nevertheless, at that time Kandinsky was the only one who worked on the language of figures and was the first abstractionist, standing at the head of the artistic avant-garde.
In 1910 he created his first abstract work and wrote a treatise entitled “On the Spiritual in Art” (published in 1912 in German, fragments of the Russian version were read by N. I. Kulbin in December 1911 at the All-Russian Congress of Artists in St. Petersburg). Having put forward its spiritual content as the fundamental foundation of art, Kandinsky believed that the innermost inner meaning can most fully be expressed in compositions organized on the basis of rhythm, the psychophysical effect of color, contrasts of dynamics and statics.
The artist grouped abstract paintings into three cycles: “Impressions”, “Improvisation” and “Compositions”. The rhythm, the emotional sound of color, the energy of the lines and spots of his pictorial compositions were intended to express powerful lyrical sensations, similar to the feelings awakened by music, poetry, and views of beautiful landscapes. The carrier of internal experiences in Kandinsky’s non-objective compositions became coloristic and compositional orchestration, carried out by pictorial means - color, dot, line, spot, plane, contrasting collision of colorful spots.
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With the outbreak of World War I in 1914, Kandinsky broke off relations with Munter and returned to his homeland through Switzerland, Italy and the Balkans. In 1917, Kandinsky married Nina Alekseevskaya, whom he met in 1916. They settled in Moscow, where Wassily Kandinsky was about to immerse himself in Russian life. Kandinsky accepted the revolution very enthusiastically, since the first statements of Soviet leaders showed their loyalty to the abstractionists. In 1918 he became a professor at the Moscow Academy of Fine Arts. His autobiography was even published. In 1919, Kandinsky created the Institute of Artistic Culture and worked hard to open 22 museums throughout the country. In 1920, Kandinsky was already a professor at Moscow State University, and in the same year his personal exhibition took place in Moscow. In 1921, the authorities decided to promote a new direction in art - socialist realism, so there was no place left for abstract art in the USSR. That year Kandinsky left for Berlin.
At that time, Kandinsky already had significant authority in the artistic community. At the same time, Kandinsky always dreamed of teaching. When he was offered a place at the Bauhaus School in Weimar in 1922, he gladly accepted. His lectures were slightly different from his creative work, since the school did not train artists in the traditional sense of the word. He told his students about form, color and the artist’s perception of this world. In 1925 the school moved to Dassau, where it taught free, not applied arts. He became a German citizen in 1928, but when the Nazis came to power in 1933, he moved to Paris because they closed the school. Kandinsky spent the last 11 years of his life in the suburbs of Paris. In 1939, Kandinsky became a French citizen.
On December 13, 1944, Wassily Kandinsky died in Nully-sur-Seine in France.
MALEVICH KAZIMIR SEVERINOVICH (1878 - 1935)
Malevich K.S. - Russian painter, graphic artist, teacher, art theorist, philosopher. The founder of one of the types of abstract art, the so-called Suprematism. Born into the family of a factory manager. From the age of 11 I drew and painted a lot. In 1894 he graduated from a five-year agronomic school. In 1895 - 1896 he studied at a drawing school, then moved with his family to Kursk. There he participated in an established circle of art lovers and served as a draftsman, earning money to live and study in Moscow. In 1904 he came to Moscow, where he briefly attended classes at the School of Painting, Sculpture and Architecture and at the Stroganov School. In 1905 he returned to Kursk and began painting on his own. In 1907, his first participation, known from catalogs, took place in the exhibition of the Moscow Association of Artists, where, in addition to works by Malevich, paintings by V. V. Kandinsky and others were presented.
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Malevich worked a lot on the canvases of a new painting system, which he called “Suprematism” (“Black Square”, 1913), the principles of which were outlined by him in the manifesto brochure “From Cubism to Suprematism. New pictorial realism" After the February Revolution of 1917, Malevich was elected chairman of the Art Section of the Moscow Union of Soldiers' Deputies. He developed a project for the creation of the People's Academy of Arts, was a commissioner for the protection of ancient monuments and a member of the Commission for the Protection of Artistic Values of the Kremlin. After the October Revolution, he created the scenery and costumes for the production of “Mystery-bouffe” by V.V. Mayakovsky, wrote a theoretical work “On New Systems in Art”, together with Chagall in Vitebsk he led a workshop at the People’s Art School, and participated in exhibitions. In 1922 he finished the manuscript “Suprematism. Peace as non-objectivity or eternal peace”, published in 1962 in German. Since 1922, Malevich taught drawing at the architectural department of the Petrograd Institute of Civil Engineers. In 1923 he was appointed director of the Institute for Research into the Culture of Contemporary Art. In 1926, after a pogrom article in Leningradskaya Pravda, the institute was liquidated and Malevich was fired. In 1927 Malevich exhibited his paintings in Berlin. In 1928 - 1930 he taught at the Kiev Art Institute. In 1929, his personal exhibition took place at the State Tretyakov Gallery. In 1930 his works were exhibited in Austria and Germany; he gave a course of lectures on the theory of painting at the Leningrad House of Arts. In the fall of 1930, Malevich was arrested by the OGPU, but was released in early December. In 1931 he painted murals at the Red Theater in Leningrad. In 1932 he became the head of the experimental laboratory at the State Russian Museum and participated in exhibitions. Died after a serious illness.
PIET MONDRIAN (1872-1944)
Piet Mondrian (real name Pieter Cornelis) is a Dutch artist. His paintings, which are combinations of rectangles and lines, are examples of the most rigorous, uncompromising geometric abstraction in modern painting.
Born March 7, 1872 in Amersfoort. His first works were written in a realistic style. In 1911 he met the Cubists, and their work began to have a significant influence on the formation of the young artist. Mondrian soon abandoned in his paintings the slightest hint of plot, atmosphere, modeling and spatial depth and gradually consciously limited the means of expression. Mondrian argued that “non-objective art proves that art is neither the expression of external facts (as we perceive them) nor the expression of the process of our life (which we lead). Art is the expression of true reality and true life. They cannot be defined, but they can be realized in ". In 1912-1916, he built compositions based on a freely constructed spatial grid that filled the canvas. At this time, Mondrian, like Georges Braque and Pablo Picasso during the period of analytical cubism, preferred a palette of tans and grays.
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In 1914, the artist returned to Holland to his father, who was dying, and remained in his homeland throughout the First World War, and in 1919 he again left for Paris. By this time he was already a member of a circle that included Theo van Doesburg, Oud, Rietveld and van Esteren. They were all adherents of modernism, working in styles close to Mondrian's painting, and may have had some influence on him in the transition from cubist compositions to the pure geometric forms of red, yellow and blue rectangles.
In 1917, Mondrian and Theo van Doesburg founded the avant-garde magazine De Stijl and the group of the same name. The aesthetic theory underlying this movement was called neoplasticism. In accordance with the demands of neoplasticism, Mondrian further reduced his artistic means, using only white, gray, black and the most intense tones of the primary colors of the spectrum.
By 1920, Mondrian's style was fully formed. Using straight lines of hard contours, he made compositions asymmetrical, achieving dynamic balance. Through the rejection of particulars and details, he hoped to achieve a clearer expression of the universal fundamental principles of creativity, striving to achieve what he called “pure plastic reality.”
In 1940 Mondrian moved to New York; two years later his first solo exhibition took place. In one of the artist’s last works, “Boogie-Woogie on Broadway” (New York, Museum of Modern Art), a tendency appeared to move away from the strict classical principles of the avant-garde. In this work, small squares are dotted across a grid of lines, giving the entire composition a new syncopic complexity and playful rhythm.
Mondrian died in New York on February 1, 1944. His works influenced many, such as Alexander Calder, Ben Nicholson, Victor Vasarely and Fritz Glarner. A number of movements in modern art, such as minimalism and op art, can be traced back to the work of Mondrian and the De Stijl circle, as do forms of modern architecture, advertising and printing.
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Abstractionism (from Latin abstractus - remote, abstract)- a very broad movement in the art of the 20th century, which emerged in the early 1910s in several European countries. Abstractionism is characterized by the use of exclusively formal elements to display reality, where imitation or accurate representation of reality was not an end in itself.
The term abstractionism comes from the Latin abstraho - to pull away, distract. It is generally accepted that this is a direction, or even a style; abstractionism is something completely different, and those who interpret this concept in this way are unwittingly mistaken. Abstract art is understood by artists and art theorists as a way of comprehending reality through the means of fine art, subject to complete abstraction from the form of visible objects of reality itself. Just like figurative (objective) art, abstractionism breaks down into many styles and directions: geometric, lyrical, gestural, analytical abstraction, and more particular movements: Suprematism, Aranformel, Nuageism, Tachisme, etc. Actually, the searches of artists of all times have always been and will be limited only by these two hypostases: figurative and abstract art. There is no third option, as they say.
The founders of abstract art are Russian artists Wassily Kandinsky and Kazimir Malevich, Dutchman Piet Mondrian, Frenchman Robert Delaunay and Czech Frantisek Kupka. Their method of drawing was based on the desire for “harmonization,” the creation of certain color combinations and geometric shapes in order to evoke various associations in the beholder.
In abstractionism, two clear directions can be distinguished: geometric abstraction, based primarily on clearly defined configurations (Malevich, Mondrian), and lyrical abstraction, in which the composition is organized from freely flowing forms (Kandinsky). There are also several other large independent movements in abstract art.
In the early 50s, the famous impressionist A. Matisse first turned to abstract painting. And in 1950, in Paris, artists J. Devagne and E. Pilet opened a workshop where they began to teach young painters how to get rid of realistic vision, create abstract paintings using exclusively pictorial means and use no more than three tones in a composition, as in abstract art , in their opinion, shape is most often determined by color. Devagne and Pilet believed that the main condition for creating a good abstract painting was to choose the most accurate colors. Devan's abstract painting The Apotheosis of Marat (1951) was received with great enthusiasm by critics. They wrote about the painting that this is not only an intellectual portrait of a famous revolutionary figure, but also “a celebration of pure color, the dynamic play of curves and straight lines,” “this thing is proof that abstraction expresses not only spiritual values, but also figurative art can address historical and political events.”
In the second half of the 50s, installation art and pop art arose in the United States, which somewhat later glorified Andy Warhol with his endless circulation of portraits of Marilyn Monroe and cans of dog food - collage abstractionism. In the fine arts of the 60s, the least aggressive, static form of abstraction, minimalism, became popular. At the same time, Barnett Newman, the founder of American geometric abstractionism, together with A. Lieberman, A. Held and K. Noland, successfully worked on the further development of the ideas of Dutch neoplasticism and Russian Suprematism.
Another movement of American painting is called “chromatic” or “post-painterly” abstractionism. Its representatives were to some extent inspired by Fauvism and Post-Impressionism. The harsh style, the emphatically sharp outlines of the works of E. Kelly, J. Jungerman, F. Stella gradually gave way to paintings of a contemplative melancholic nature. In the 70s and 80s, American painting returned to figurativeness. Moreover, such an extreme manifestation as photorealism has become widespread. Most art historians agree that the 70s are the moment of truth for American art, since during this period it finally freed itself from European influence and became purely American. However, despite the return of traditional forms and genres, from portraiture to historical painting, abstractionism has not disappeared.
Paintings and works of “non-representational” art were created as before, since the return to realism in the USA was overcome not by abstractionism as such, but by its canonization, the ban on figurative art, which was identified primarily with our socialist realism, and therefore could not help but be considered odious in a “free democratic” society, a ban on “low” genres, on the social functions of art. At the same time, the style of abstract painting acquired a certain softness that it lacked before - streamlined volumes, blurred contours, richness of halftones, subtle color schemes (E. Murray, G. Stefan, L. Rivers, M. Morley, L. Chese, A. .Byalobrod). However, the hard style did not completely disappear; it faded into the background and was preserved in the work of geometricians and expressionist artists of the older generation (H. Buchwald, D. Ashbaugh, J. Gareth, etc.).
All these trends laid the foundation for the development of modern abstractionism. There can be nothing frozen or final in creativity, since that would be death for it. But no matter what path abstractionism takes, no matter what transformations it undergoes, its essence always remains unchanged. It is that abstractionism in fine art is the most accessible and noble way to capture personal existence, and in a form that is most adequate - like a facsimile print. At the same time, abstractionism is a direct realization of freedom.
