Examples of abstractionism. Abstract composition (principles of displaying human sensations). Single Barrel Pattern, William Morris
By definition, we agree with Wikipedia, Abstract art (lat. abstractio n - removal, distraction) or non-figurative or pointless the direction of art, which refused to depict forms close to reality in painting, graphics and sculpture.
The aesthetic concept of the first abstractionists was based on the rejection of the real form, which requires erudition and logical comprehension from the viewer, for the sake of expressing at least a pure emotional message. As a maximum, it was assumed that artistic creation reflects the laws of the universe, hidden behind the external, superficial phenomena of reality. These patterns, intuitively comprehended by the artist, were expressed through the ratio of abstract forms (color spots, lines, volumes, geometric shapes) .
Rice. 1. V. V. Kandinsky. The first abstract watercolor. 1910 g.
The widely used term abstract composition grows out of the field of education, where it defines the formulation of an instructional exercise. The word "composition" is used not in the sense of composition, but in the aspect of the finished work. Or rather, of course, to talk about composition in abstract art. As the art of "personal experience", abstractionism in various periods of its existence shocked the viewer, made up the avant-garde of art, then ridiculed, condemned and censored, as an art that has no meaning and is degenerate. However, now abstractionism exists on a par with all other forms of art and, moreover, comes to special positions in the assignments of entrance examinations for admission to educational institutions for architectural and design specialties. As a test of the applicant's creative abilities, the abstraction test is very productive because vividly reveals creative thinking, compositional knowledge and the ability to express a topic in the complicated conditions of a ban on recognizable forms of the surrounding world. After all, historically, working with the primary elements of the language of art (those geometric forms from which by cutting off the excess in figurative art, you can get objects of the visual world), abstractionists turned to the common for everything visual arts compositional principles. It is not surprising that abstractionists found application for their non-pictorial forms in industrial aesthetics (design), artistic design, architecture (the activities of the Style group in the Netherlands and the Bauhaus school in Germany; Kandinsky's work at VKHUTEMAS; Malevich's architects and design projects; Alexander Calder's mobiles; designs by Vladimir Tatlin, works by Naum Gabo and Antoine Pevzner). The activity of abstractionists contributed to the formation modern architecture, arts and crafts, design.
Personally, the author is interested in abstract composition only because it is easier to understand the psychophysiological laws of the viewer's perception of an image using the example of conventional abstract forms and put them into service when identifying the author's thought in a work. After all, in order to make your ideas intelligible for the viewer, it is logical to communicate in a pictorial language that is understandable for the viewer and the artist, about which the doctor of art history G.P. Stepanov wrote. (Compositional Problems of Synthesis of Arts, 1984). In the language of the common human gestalts of the psyche of R. Arnheim (Art and Visual Perception. 1974), taking into account the physiology of viewing and processing what was seen by the brain, which were generalized for artists in his book by G.I. Panksenov (Painting. Form, color, image, 2007). This topic is detailed by the author in the articles "" and "", which will increase the understanding of this article. Let us pay attention to the fact that even when the first ideas of a subject (genre or plot, associative-surrealistic, decorative, etc.) composition * are sketched, all objects in it are outlined with conditional spots or masses, which are then brought to recognizable forms by the method of “cutting off” the excess ... The theory of composition unambiguously dictates that it is precisely in the conditional masses of large and small, dark and light at the stage of the first implicit sketches that interaction, harmony, compositional center, means of expressiveness should be found and carefully preserved until the end of work on the work.
Rice. 2. Sketches of paintings. a) I.I. Levitan. Platform. An approaching train. Sketch. 1879. Tretyakov Gallery. b) Spiridonov V.M.Multi-figure composition. Sketch 1941 Chuvash state. Museum. v)
P. G. cypresses. Mariyki are coming. Sketches for the painting "When the Lilac Blossoms". Chuvash state Museum.
This approach makes all aspects of the composition (genre, abstract associative, decorative, etc.) related. Of course, in abstraction, we can bring the viewer closer only to some kind of psychological experience, mood, sensation, but this is not enough for a work and an objective nature. Therefore, an understanding of composition in abstraction will expand the horizons and artists of figurative movements in art. It is from these positions that we hypothesize that understanding the relationship between the psychological and the visual should become the basic principle of expressing certain sensations in compositional knowledge. This will allow the artist to more accurately express his thoughts and create a more powerful emotional impact on the viewer in a work of both figurative and non-figurative nature.
However, do all draftsmen understand the principles of displaying certain sensations, this or that association, mood in a non-objective composition, with the help of which coded language the author and the viewer should speak through the image?
* All fine art can be divided into objective and non-objective. Both the one and the other section can be represented as a set of trends in art, for example, in abstract art, two large areas of geometric abstraction, based mainly on clearly defined configurations (Malevich, Mondrian) and lyrical abstraction, in which the composition is organized from freely flowing forms (Kandinsky). Within their framework, narrower trends can be distinguished, for example, tachism (painting with spots that express the unconscious activity of the artist), suprematism (combinations of multi-colored planes of the simplest geometric outlines), neoplasticism (painting in the arrangement of large rectangular planes painted in the main colors of the spectrum), etc. .d. In object painting, various approaches to the depiction of the most realistic form, action, time, space intervene. For example, a genre realistic composition, i.e. reflecting a certain genre of art (portrait, still life, landscape, animalistic, historical, battle, everyday life, etc.) clearly adheres to Aristotle's unity - time, place, action. In such art, certain characters at a certain moment in time in real space are united by one action. However, such trends as surrealism, cubism, futurism and other "subject" avant-garde movements, where objects of the surrounding world with a significant degree of stylization (deformation, simplification, complication, etc.) or without it, are not depicted in conditions of the real physical world, but as if in the stream of the author's associative reflections. In other words, there are real objects, but times, spaces can mix, the color can be interpreted conditionally, and the shape can be strongly deformed. “Already the period of proto-avant-garde at the turn of the 19th-20th centuries is characterized as a breakdown, a transition from the classical aesthetics of Aristotle, mimesis to the non-classical, anti-Aristotelian tradition”. But, with all this, the laws, rules, principles, means of expressiveness are the same for all manifestations and produce the influence laid down by the author in any variants of an objective or non-objective image.
The purpose of this article is to try to describe the adequate principles by which human sensations are revealed in an abstract composition, and at the same time to explain the methodology for thinking about the expression of life sensations in the composition using the example of tactile, gustatory, vestibular, etc. standard tasks for educational tasks on composition and shaping. sensations. Why let's analyze the features of composition in abstract art and give several examples with illustrations.
To express statics in a composition, the following are characteristic:
A heavy bottom and a light top are a psychological anticipation (expectation) of the alignment of forces in the sheet, which is due to the physical realities of life. In other words, from the habit of feeling reliable support under your feet, and a light, bright sky above your head. Therefore, it is better to lay the compositional center just below the geometric center of the sheet in order to strengthen the bottom, to pull the composition to the implied platform. Associatively felt at the lower edge of the sheet, the support area is required to be large in connection with the physical law that a large plane gives a large frictional force. In connection with the life experience of finding equilibrium stable states, it is necessary to emphasize verticals and horizontals as a compositional key or a dominant principle in a composition. It doesn't cost anything to put on a corner. Even triangles in compositions that introduce diagonals with their sides should be placed on a wide base, tending to isosceles and right-angled triangles. According to the author, color does not affect vestibular sensations.
To express the dynamics in the composition are characterized by:
In connection with the prevailing "Arnheim" gestalt of the psyche, to feel a light bright sky above the head, often when looking at the pictorial plane, objects placed in the upper part of the sheet seem to be flying or falling. Therefore, it is better to lay the compositional center in dynamic compositions just above the geometric center of the sheet in order to shift the emphasis for the viewer, as it were, “into the sky”. We would venture to suggest that dark objects and large ones that are associated with gravity seem to be falling, while light and light ones, by analogy with fluff, snow, steam, etc., seem to be flying. The support area at the bottom edge of the sheet is absolutely unnecessary. Unlike statics, the structure of a dynamic composition is most often a diagonal. There may be a spiral, but with a spiral, the impression of constant distance and flight must be "squeezed" by the rhythm and scale. Please note that dynamics does not mean chaotic movement, but vector-directed, as if with a given acceleration. In other words, the depicted objects should appear to be flying (thrown with force) towards a specific target. Such static shapes as various rectangles should be placed at an angle, diagonally. The main means of expression is rhythm. By varying the distance from one drawn object to another, the artist can create a feeling of acceleration or deceleration, depending on how far you need to jump the gaze from one object to another. At the same time, the effect of the prospective reduction of departing objects will also be a good help. Color does not affect vestibular sensations, according to the author.
Rice. 3. Examples of images of statics and dynamics in a geometric abstract composition. a) Yuldasheva E. b) Lazareva V. c) Lazareva V.
For expressing massive in a composition, it is typical:
To express the gravity in the sheet, it is better to lay the compositional center just below the geometric one. It is more successful to choose the horizontal format, as if "down to earth". In special cases, for massiveness, the support area should be, and the larger, the better (including the total of several heavy objects) due to the fact that the heavy mass is more strongly attracted to the ground. It is necessary to press the image to the bottom edge of the sheet. However, there may be various artistic tasks in which the massive should not be associated with the ground, then it should be limited only to a large scale in the sheet and in a dark tone. There is probably no pronounced structure for creating massive compositions, but it is interesting to enhance the feeling of heaviness, stuffiness and pressure due to the fact that graphically you can pinch or crush a small object with large ones, by analogy with blockages. Try to depict objects tightly, without visible gaps between them. For weight sensations, tone is much more important: light or dark, rather than color. So, to reveal the feeling of massiveness, dark tones should come to the rescue. This is again connected with life experience, which associates heavy tones with the expected (a priori) severity before the experience. Including, figuratively, darkness is associated with difficult emotional states of a person. And since it is known from the color science course that you can choose the appropriate tone for each color, then naturally dark colors brown, blue, purple, dark green, dark burgundy and other dark shades of colors are suitable for massive. The main means of expression is scale. This is again related to life experience, which associates huge size with the expected heaviness of the object.
To create a feeling of lightness in the composition, it is characteristic:
For a lightweight composition center, it is better to design a little higher than the geometric center of the sheet in order to connect the most important thing in the composition with something soaring, sublime. Even the format should most likely be vertical. In special cases related to statics or stability, support points will be needed, but for a greater expression of lightweight structures, they should be point (not solid), visually thin supports, regardless of the support area. However, there may be various artistic tasks of a dynamic nature. Then it should be limited only to the expression of the idea with the help of scale and light tone. It is pointless to highlight the pronounced structure of the composition here, but it is interesting to enhance the feeling of lightness by the abundance of "air" between the objects in the image. However, excellent artistic technique to emphasize the lightness, the so-called "drawing through" or "through the object" will become, creating the impression of transparency of the depicted objects. It is also good to depict objects as hollow, associatively lightening their mass. To reveal the feeling of lightness, by analogy with the realities of life, light colors are suitable, by analogy with fluff, snow, steam, etc. And since it is known from the course of color science that for each color you can choose a tone that is appropriate in strength, then naturally the light is associated with light shades of colors: yellow, pink, orange, blue, light green. The main means of expression is scale. This is again connected with life experience, which associates small size with the notorious lightness of an object.
Rice. 4. Examples of the image of massive and light in a geometric abstract composition. a) Belyaeva E., b) Lazareva V., c) Yuldasheva E.
To create a sense of stability and instability in the composition, it is important:
These two themes are inextricably linked with the human concept of the plane of the earth, floor, podium, support. Of course, these planes do not have to be drawn, but they can be implied and emphasized by the concentration of lines. The stable will differ from the static only by the feeling that the static will stand for centuries, and the stability is a fleeting phenomenon. If the statics, as we understand it, is difficult to destroy, then the stable one is destroyed with little effort. In order for a sense of stability in a graphic structure to be categorically present, the support area (including the total of several objects) may not be large, but the total projection of the compositional center of the entire structure onto the plane of the intended "floor" must fall into the support area. On the contrary, if the projection of the center of gravity goes beyond the support area, then there is a feeling of collapse, fall, destruction. In this case, we recommend choosing the vertical format. TO Position the compositional center above the geometric center.
Rice. 5. Examples of images of stable and unstable in an abstract geometric composition. a) Lazareva V., b) Yuldasheva E.
To express the taste sensations of sour, it is important for the composition:
In the author's opinion, color plays a huge role in the expression of taste sensations. The bright colors of lemon, lime, pineapple, grapefruit, etc. are associated with sour from life. Therefore, all cool shades of yellow, green, emerald, blue, blue, violet are suitable for us. Naturally, the listed colors may not be enough for the author-composer's idea. At the same time, you should not impoverish your composition. the listed colors... There is only one rule to remember - 75% of cold sour colors and 25% of others. It should be clearly understood that the more you bring elements from opposite sensations into the composition, the more extraneous associations you have, which contradicts the principles of the integrity of the composition, when each element should work to express the author's general idea. Formation in the composition occurs again due to images real life.V remember your sensations from eating lemon. The oral cavity seems to cut, prick, sting, therefore, the forms in the composition should be used prickly, needle-like, sharp, ruffled.
To express the taste of sweet things for the composition, it is important:
Warm shades of yellow, green, at the same time orange, red, brown are associated with sweet in life. For other colors, exactly the same rule applies: 75% associated with a sweet taste and 25% other colors. To form the shape of objects in the composition, remember your feelings from eating sweet, right up to sugary sweet. Soft curved curves, viscous, drop-like shapes immediately come to mind, associations with squeezing jams, with creamy layers flowing down between multilayer cakes can arise. You just need to start analyzing and transforming your own memories into lines and colors abstracted from objects.
Rice. 6. Examples of expression in an abstract lyrical composition of sour and sweet sensations a) in black and white graphics, b) in color. Ikonnikova E.
How to express joy and sadness in a composition
Sadness in the drawing - these are dark, thick achromatic or achromatic colors, a kind of impersonality or boredom expressed by uniform shapes and equal distances between them, vertical rhythms, curved curves, creating the effect of "haze", nebula using special techniques, such as a pointel. Joy- it is a dynamic composition, asymmetric, the rhythms are constantly changing, as well as the scales. All elements do their job: average forms in relation to the format, as a rule, carry the main semantic load and create the main action, large elements in a composition have the ability to combine medium into a system, subordinate disparate elements, small ones are the "raisins" of each composition. With thoughtful plastic phrases, they decorate the composition, like a small adornment in a wardrobe. Again, remember the attributes of the holiday and arrange dot lines like fireworks, rain, confetti, ribbons, pops, flashes, etc. The colors should be open bright, respectively.
Rice. 7. Examples of images in an abstract composition a) tactile, b) tactile, c) auditory and other sensations. Ikonnikova E.
We have done a tremendous job, which is almost impossible to do perfectly due to the individual perception. We did not touch upon the cultural, religious and social associations of people, only physical and physiological - common, perhaps, for the entire population of the globe. Here it was even more important to present a method of reasoning, which can later be applied to such tasks as expressing warmth and cold, sonorousness and deafness, aggression or peacefulness, excitement and calmness, etc. important points compositional knowledge, because in teaching the professions of the architectural and artistic cycle, there are tasks for the expression of sensations in abstraction, but the author does not know the existence of a clear supporting theory. Therefore, an attempt was made to give a basis from the author's personal developments for individual reflections, for the search for author's techniques of novice artists. Let us draw the reader's attention to the fact that the article contains basic principles that are probably understandable to professionals with experience and analytical thinking. And since one of the principles of composition is novelty (not in the sense that any author's development that did not previously exist is new in itself, but in the sense that its composition should be dramatically distinguished by individual finds from a monotonous mass), then to this basis each author needs to look for his own individual developments. It remains to say that the presented author's concept is not the ultimate truth, learn from your own experience, analyze, synthesize. Listening to your inner voice, oddly enough, is very important, how important it is to analyze the answer given to yourself and try to figure out how to fix what you don’t like, or how not to spoil what you like. So the techniques and findings associated with a positive answer over the years are clumped into a huge professional baggage, which is also cleared of unsuccessful tests associated with negative personal experiences and reviews of teachers.
A.S. Chuvashov
Bibliography:
1. Kryuchkova V. A. Abstractionism // Great Russian Encyclopedia / S. L. Kravets. Moscow: Great Russian Encyclopedia, 2005.Vol. 1.P. 42-43. 768 s.
2. Sarukhanyan AP On the relationship between the concepts of "modernism" and "avant-garde" // Avant-garde in the culture of the twentieth century (1900-1930): Theory. History. Poetics: In 2 vols. / Ed. Yu.N. Girina. - M .: IMLI RAN, 2010 .-- T. 1. - P. 23.
For me, the style of abstraction is primarily an opposition to the logic of civilization. The entire history of civilization of the last century is built on formulas, algorithms, principles, equations and rules. However, a person is characterized by a striving for balance and harmony. In this connection, at the dawn of the century of the scientific and technological revolution, such an art movement appears, which does not obey the classical canons of drawing, but on the contrary, serves its purpose to give freedom to the unconscious and chaotic, seemingly devoid of meaning, but thereby giving a person the opportunity to free himself from influence of norms and dogmas and preserve inner harmony.
Abstractionism(from the Latin abstractus - distant, abstract) is a very broad trend in the art of the 20th century, which arose 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 display of reality was not an end in itself. 
The founders of abstract art are Russian artists and the Dutchman Piet Mondrian, the Frenchman Robert Delaunay and the Czech František Kupka. Their drawing method 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 mainly on clearly outlined configurations (Malevich, Mondrian), and lyrical abstraction, in which the composition is organized from freely flowing forms (Kandinsky). Also in abstractionism there are several large independent trends. 
Cubism- the avant-garde trend in the visual arts, which originated at the beginning of the 20th century and is characterized by the use of emphatically conventional forms of geometric shapes, the desire to "split" real objects into stereometric primitives. 
Rayonism (Rayonism)- the direction in abstract art of the 1910s, based on the displacement of light spectra and light transmission. The idea of the emergence of forms from the "intersection of the reflected rays of various objects" is characteristic, since a person actually perceives not the object itself, but "the sum of the rays coming from the light source, reflected from the object." 
Neoplasticism- designation of the direction of abstract art, which existed in the years 1917-1928. in Holland and united artists grouped around the magazine "De Stijl" ("Style"). Characterized by clear rectangular shapes in architecture and abstract painting in the arrangement of large rectangular planes painted in the primary colors of the spectrum. 
Orphism- direction to french painting 1910s. Orphist artists strove to express the dynamics of movement and musicality of rhythms with the help of "regularities" of the interpenetration of the basic colors of the spectrum and the intersection of curved surfaces. 
Suprematism- a direction in avant-garde art, founded in the 1910s. Malevich. It was expressed in combinations of multi-colored planes of the simplest geometric outlines. The combination of multi-colored geometric shapes forms balanced asymmetric Suprematist compositions permeated with internal movement. 
Tashism- current in Western European abstractionism of the 1950s-60s, which was most widespread in the United States. It is painting with spots that do not recreate images of reality, but express the artist's unconscious activity. Strokes, lines and spots in Tashism are applied to the canvas with quick movements of the hand without a premeditated plan. 
Abstract expressionism- the movement of artists who paint quickly and on large canvases, using non-geometric strokes, large brushes, sometimes dripping paint onto the canvas, to fully reveal emotions. The expressive painting method here often has the same meaning as the painting itself. 
“When an acute angle of a triangle touches a circle, the effect is no less significant than that of Michelangelo when the finger of God touches that of Adam,” said V. Kandinsky, the leader of the avant-garde art of the first half of the 20th century.
- the form visual activity that does not aim to display visually perceived reality.
This trend in art is also called "pointless", because its representatives abandoned the image close to reality. Translated from Latin, the word "abstractionism" means "removal", "distraction."
V. Kandinsky "Composition VIII" (1923)
Abstract artists on their canvases created certain color combinations and geometric shapes in order to evoke various associations in the viewer. Abstract art does not aim at recognizing the subject.
History of abstraction
The founders of abstract art are Wassily Kandinsky, Kazimir Malevich, Natalia Goncharova and Mikhail Larionov, Piet Mondrian. Kandinsky was the most decisive and consistent of those who represented this trend at the time.
Researchers say that it is not entirely correct to consider abstractionism as a style in art, because this is specific form visual arts. It is divided into several directions: geometric abstraction, gestural abstraction, lyrical abstraction, analytical abstraction, Suprematism, Arranformal, nuage, etc. But in essence, strong generalization is an abstraction.
V. Kandinsky “Moscow. The Red Square""
Already with mid XIX v. painting, graphics, sculpture are based on what is inaccessible to a direct image. The search begins for new visual means, methods of typing, increased expression, universal symbols, compressed plastic formulas. On the one hand, this is aimed at displaying the inner world of a person - his emotional psychological states, on the other, at updating the vision of the objective world.
Kandinsky's work goes through a number of stages, including academic drawing and realistic landscape painting, and only then goes to free space colors and lines.
V. Kandinsky "The Blue Rider" (1911)
Abstract composition is the last, molecular, level at which painting is still painting. Abstract art is the most accessible and noble way to capture personal being, and at the same time, it is a direct realization of freedom.
Murnau's "Garden" (1910)
The first abstract painting was painted by Wassily Kandinsky in 1909 in Germany, and a year later here he published the book "On the Spiritual in Art", which later became famous. The basis of this book was formed by the artist's thoughts that the external can be accidental, while the internally necessary, spiritual, which constitutes the essence of a person, may well be embodied in a painting. This attitude is associated with the theosophical and anthroposophical works of Helena Blavatsky and Rudolf Steiner, which Kandinsky studied. The artist describes color, the interaction of colors and their effect on a person. “The psychic power of paint ... causes a spiritual vibration. For example, the color red can cause a soul vibration similar to that caused by fire, since red is at the same time the color of fire. The warm red color is energizing; such a color can increase to a painful painful degree, perhaps also due to its similarity with flowing blood... In this case, the red color awakens the memory of another physical factor, which, of course, has a painful effect on the soul. "
V. Kandinsky "Twilight"
«... purple is a chilled red, both physically and mentally. Therefore, it has the character of something painful, extinguished, has something sad in itself. It is not in vain that this color is considered suitable for the dresses of old women. The Chinese apply this color directly to mourning robes. Its sound is similar to the sounds of the English horn, flute, and in its depth - to the low tones of woodwind instruments (for example, bassoon) ”.
V. Kandinsky "Gray Oval"
"Black color internally sounds like Nothing without opportunities, like dead."
“It is clear that all the designations given for these simple colors are only very temporary and elementary. The same are the feelings that we mention in connection with colors - joy, sadness, etc. These senses are also only material states of the soul. Of a much more subtle nature are the tones of colors, as well as of music; they cause much more subtle vibrations that defy verbal designations. "
V.V. Kandinsky (1866-1944)
An outstanding Russian painter, graphic artist and theorist of fine arts, one of the founders of abstract art.
Born in Moscow into a businessman's family, he received his basic musical and artistic education in Odessa, when the family moved there in 1871. He brilliantly graduated from the law faculty of Moscow State University.
In 1895, an exhibition of French impressionists was held in Moscow. Kandinsky was especially struck by Claude Monet's painting "Haystack" - so at the age of 30 he completely changes his profession and becomes an artist.
V. Kandinsky "Colorful life"
His first painting is "Colorful Life" (1907). It represents a generalized picture of human existence, but this is already the perspective of his future creativity.
In 1896 he moved to Munich, where he got acquainted with the work of the German Expressionists. After the outbreak of the First World War, he returned to Moscow, but after a while he again left for Germany, and then France. He traveled a lot, but periodically returned to Moscow and Odessa.
In Berlin, Wassily Kandinsky taught painting, became a theorist of the Bauhaus school ( graduate School construction and artistic design) - an educational institution in Germany, which existed from 1919 to 1933. At this time, Kandinsky received worldwide recognition as one of the leaders of abstract art.
He died in 1944 in the Parisian suburb of Neuilly-sur-Seine.
Abstract art like artistic direction in painting was not a homogeneous phenomenon - abstract art united several currents: Rayonism, Orphism, Suprematism, etc., about which you can learn in more detail from our articles. The beginning of the XX century. - the time of the rapid development of various avant-garde movements. Abstract art was very diverse, it also included cubo-futurists, constructivists, non-objects, etc. But the language of this art demanded other forms of expression, but they were not supported by figures of official art, moreover, contradictions were inevitable among the avant-garde movement itself. Avant-garde art was declared anti-popular, idealistic and practically prohibited.
Abstractionism did not find support in Nazi Germany, so the centers of abstractionism from Germany and Italy are moving to America. In 1937, a museum of non-figurative painting was created in New York, founded by the family of the millionaire Guggenheim, in 1939 - the Museum of Modern Art, created with funds from Rockefeller.
Postwar abstractionism
After the Second World War, the “school of New York” was popular in America, the members of which were the creators of abstract expressionism D. Pollock, M. Rothko, B. Newmann, A. Gottlieb.
D. Pollock "Alchemy"
Looking at the picture of this artist, you understand: serious art does not lend itself to easy interpretation.
M. Rothko "Untitled"
In 1959, their works were exhibited in Moscow at an exhibition of US national art in Sokolniki Park. The beginning of the "thaw" in Russia (1950s) opened new stage in the development of domestic abstractionism. The studio "New Reality" was opened, the center of which was Eliy Mikhailovich Belyutin.
The studio was located in Abramtsevo near Moscow, at Belyutin's dacha. There was an orientation towards collective work, which the futurists of the early 20th century aspired to. "New Reality" united Moscow artists who adhered to different views on the method of constructing abstraction. The artists L. Gribkov, V. Zubarev, V. Preobrazhenskaya, A. Safokhin left the studio "New Reality".
E. Belyutin "Motherhood"
A new stage in the development of Russian abstraction begins in the 1970s. This is the time of Malevich, Suprematism and Constructivism, the traditions of the Russian avant-garde. Malevich's paintings aroused interest in geometrized form, linear signs, plastic structures. Modern authors have discovered the works of Russian philosophers and theologians, theologians and mystics, have joined inexhaustible intellectual sources that filled the works of M. Shvartsman, V. Yurlov, E. Steinberg with new meaning.
The mid-1980s - the completion of the next stage in the development of abstraction in Russia. End of XX century marked a 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, but only in the post-perestroika Russian society abstract art has become equal with other areas. Artists got the opportunity to express themselves in not only classical forms, but also in forms of geometric abstraction.
Modern abstractionism
The modern language of abstraction often becomes White color... For Muscovites M. Kastalskaya, A. Krasulin, V. Orlov, L. Pelikha, the space of white (the highest tension of color) is filled with endless possibilities that allow using both metaphysical ideas about the spiritual and optical laws of light reflection.
M. Kastalskaya "Sleepy Hollow"
The concept of "space" is contemporary art different meaning. For example, there is a space of a sign, a symbol. There is a space of ancient manuscripts, the image of which has become a kind of palimpsest in V. Gerasimenko's compositions.
A. Krasulin "Stool and Eternity"
Some trends in abstract art
Rayonism
S. Romanovich "Descent from the Cross" (1950s)
The direction in painting of the Russian avant-garde in the art of the 1910s, based on the shift of light spectra and light transmission. One of the earliest directions of abstractionism.
The idea of "intersection of reflected rays of various objects" lies at the heart of the creativity of the rayists, since a person actually perceives not the object itself, but "the sum of the rays coming from the light source, reflected from the object and falling into our field of vision." The rays on the canvas are transmitted using colored lines.
The founder and theorist of the movement was the artist Mikhail Larionov. Mikhail Le-Dantiu and other artists of the Donkey's Tail group worked in Rayonism.
Rayonism was especially developed in the work of S. M. Romanovich, who made the coloristic ideas of Rayonism the basis of the “spatiality” of the paint layer of the figurative painting: “Painting is irrational. It comes from the depths of man, like a spring beats out of the ground. Its task is to transform the visible world (object) through harmony, which is a sign of truth. To work - to write in harmony - maybe the one in whom she lives - this is the secret of man. "
Orphism
The trend in French painting at the beginning of the 20th century, formed by R. Delaunay, F. Kupka, F. Picabia, M. Duchamp. The name was given in 1912 by the French poet Apollinaire.
R. Delaunay "Field of Mars: Red Tower" (1911-1923)
Orphist artists strove to express the dynamics of movement and the musicality of rhythms through the interpenetration of the main colors of the spectrum and the intersection of curved surfaces.
The influence of Orphism can be seen in the works of the Russian artist Aristarkh Lentulov, as well as Alexandra Exter, Georgy Yakulov and Alexander Bogomazov.
A. Bogomazov "Composition No. 2"
Neoplasticism
This style is characterized by clear rectangular shapes in architecture (“international style” by P. Auda) and abstract painting in the arrangement of large rectangular planes painted in the primary colors of the spectrum (P. Mondrian).
"Mondrian style"
Abstract expressionism
A school (movement) of artists who paint quickly and on large canvases, using non-geometric strokes, large brushes, sometimes dripping paint onto the canvas to fully reveal emotions. The artist's goal with this creative method is the spontaneous expression of the inner world (subconsciousness) in chaotic forms, not organized by logical thinking.
The movement gained particular scope in the 1950s, when D. Pollock, M. Rothko and Willem de Kooning took over.
D. Pollock "Under different masks"
One of the forms of abstract expressionism is tachism, both of these trends practically coincide in ideology and creative method, however, the personal composition of artists who called themselves tachists or abstract expressionists does not completely coincide.
Tashism
A. Orlov "Scars in the soul never heal"
It is painting with spots that do not recreate images of reality, but express the artist's unconscious activity. Strokes, lines and spots in Tashism are applied to the canvas with quick movements of the hand without a premeditated plan. The European group "COBRA" and the Japanese group "Gutai" are close to tashism.
A. Orlov "The Seasons" by P.I. Tchaikovsky
Abstract art is a style or direction in painting. Abstractionism or abstract genre implies the rejection of the depiction of real things and forms. Abstract art is aimed at evoking certain emotions and associations in a person. For these purposes, paintings in an abstract style try to express the harmony of colors, shapes, lines, spots, and so on. All forms and color combinations that are in the perimeter of the image have an idea, expression and semantic load. No matter how it seems to the viewer, looking at a picture where there is nothing but lines and blots, everything in abstraction is subject to certain rules of expression.
Today, abstraction is so wide and varied that it itself is subdivided into many types, styles and genres. Each artist or group of artists is trying to create something of their own, something special, which would the best way could reach the feelings and sensations of a person. It is very difficult to achieve this without the use of recognizable shapes and objects. For this reason, the canvases of abstractionists, which really evoke special feelings and make you marvel at the beauty and expressiveness of an abstract composition, deserve great respect, and the artist himself is considered a real genius from painting.
It is believed that abstract painting invented and developed by the great Russian artist. His followers were and, who not only researched the philosophy of abstractionism, but also developed a new direction in this genre - Rayonism. even more "improved" the technique of abstraction, having achieved complete objectlessness, which was called - Suprematism. No less famous abstractionists were: Pete Mondrian, Mark Rothko, Barnett Newmann, Adolph Gottlieb and many others.
Abstract painting, which literally blew up the art world, became a symbol of the beginning of a new era. This era means a complete transition from frameworks and restrictions to complete freedom of expression. The artist is no longer connected by anything, he can paint not only people, everyday and genre scenes, but even thoughts, emotions, sensations and use any form of expression for this. Abstractionism, as a painting of personal experience, was in the underground for a long time. He, like many other genres of painting in history, was ridiculed and even condemned and censored as art that has no meaning. However, over time, the position of abstraction has changed and now it exists on a par with all other forms of art.
V. Kandinsky - Several circles
V. Kandinsky - Composition VIII
Willem de Kooning - Composition
Abstract art got its name from the Latin - Abstrac-tus, which means abstract, that is, pointless. This is one of the areas of art that deliberately renounces the image of the real world and objects from the real world. The main canon of abstractness is the expression of feelings, emotions, experiences with the help of images, symbols, sensual combination of colors. Abstract art is not a separate style or genre, but rather a collection of different trends in art, such as Op Art, Expressionism and others. It arose as an official one, presumably in 1910 in France, where it developed vigorously until it conquered the whole world. Also, it should be said that it is applicable not only to painting, but also to sculpture, design and even architecture. After the Second World War, this style of art developed under the name Tachism, so, who does not know, Tachism and Abstract art are synonymous words. In Russia, the development of Abstract art was in every possible way hampered and, even, during the times of communist rule, any of its manifestations were persecuted as inappropriate to communist ideology.
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Abstract expressionism
Abstract Expressionism like the New York School took shape in America. During the Second World War, almost all avant-garde artists emigrated to America, including Andre Breton, Salvador Dali and many others. Already there, by combining their efforts, the so-called school of abstract expressionism was created. This kind of painting characterized by fast image, using large brushes, this is often done with strokes or drops, all this is done for one thing - to convey some kind of emotion or strong expression. Basically, abstract expressionism is painted on large, monumental canvases. Such a solid scope, and some of the canvases reached five meters in length, arouses the imagination of the viewer. Many artists saw this art form in their own way, each had its own style. For example, Gorki added some floating figures or, as they were called, hybrids to his paintings. Jackson Pollock just spread the canvas on the floor and splashed paint on it. Subsequently, this style was called Dripping (dripping). Mark Rothko painted over his canvases with large colored planes, leaving unpainted areas between them, which aroused the viewer's interest and awakened imagination. Frank Stella experimented with the canvases themselves, cutting corners or turning them into polygons. Thus, the Abstract Expressionists achieved the complete opposite of their art and the art of traditional painting.
Abstract art in art
Abstractionism or non-objective art. One of the forms of the avant-garde that emerged in the first half of the 20th century. The main criterion of Abstractionism was the renunciation and refusal to depict the real world, real things and events. The founders of this interesting trend were V. Kandinsky, P. Mondrian and K. Malevich. The emergence of abstractionism in art, which will replace ordinary realism, was predicted by Plato, and appeared as a certain pattern of boring ordinary painting and another avant-garde (surrealism, dadaism). And so it happened. This genre is often distinguished by strong impulsiveness, as if by random color combinations.
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