By Paul Crowther, Isabel Wünsche
Traditional paintings is predicated on conventions of resemblance among the paintings and that which it's a illustration "of". summary artwork, by contrast, both adopts substitute modes of visible illustration or reconfigures mimetic conference. This booklet explores the relation of summary paintings to nature (taking nature within the broadest sense―the international of recognisable items, creatures, organisms, tactics, and states of affairs).
Abstract paintings takes many various types, yet there are shared key structural positive aspects established on easy kinfolk to nature. the 1st abstracts from nature, to offer chosen elements of it a brand new and intensely unexpected visual appeal. the second one affirms a traditional creativity that concerns in new, independent varieties that aren't limited through mimetic conventions. (Such creativity is usually attributed to the facility of the unconscious.)
The e-book covers 3 different types: classical modernism (Mondrian, Malevich, Kandinsky, Arp, early American abstraction); post-war abstraction (Pollock, nonetheless, Newman, Smithson, Noguchi, Arte Povera, Michaux, postmodern developments); and the wider historic and philosophical scope.
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Extra resources for Meanings of Abstract Art: Between Nature and Theory
Example text
1 Piet Mondrian, Composition with Grid 3: Lozenge Composition, 1918, oil on canvas, diagonal 121 cm, Gemeentemuseum, The Hague. © 2012 Mondrian/Holtzman Trust c/o HCR International. Mondrian’s First Diamond Composition 31 transformed a scene from nature and nature’s underlying forces into a dynamic, expansive dialectical principle by mobilizing the oppositional nature of force itself—from point to line to plane, as analyzed by Hegel— involving the whole composition in optical and conceptual terms, anticipating key aspects of his mature phase.
After Kupka settled in Paris, he attended lectures on physiology at the Sorbonne and also worked at the biological laboratorium there. See Ludmila Vachtova, “The Other Reality with a Claim to Universality, ” in Frantisek Kupka: The Other Reality, exh. cat. (Cologne: Galerie Gmurzynska 1995), 15. 25. ), Painting the Universe: Frantisek Kupka—Pioneer in Abstraction, exh. cat. (Ostfi ldern-Ruit: Gerd Hatje, 1997), 92. 26. Ibid, 91. 27. ), Matjuschin und die Leningrader Avantgarde, exh. cat. (Karlsruhe, Stuttgart-Munich: Oktogon, 1991), 26–27.
12. August Wiedmann, “The Organic Theory of Art,” in Romantic Art Theories (Henley-on-Thames: Gresham Books, 1986), 89–100. 13. Friedrich Schelling as cited in Philip C. : Smithsonian Institution, 1968, 11. 14. Mundy, “Form and Creation,” 22. 15. Wassily Kandinsky, “Art and Artist,” in K. Lindsay and P. ), Kandinsky. Complete Writings on Art (New York: Da Capo Press, 1994), 210. 16. Paul Klee, “Wege des Naturstudiums,” in Paul Klee Kunst-Lehre (Leipzig: Reclam, 1987), 67. English translation by the author.