Abstraction (art)

The abstraction in art refers to the various abstract art.

The result of abstraction and expressive forms of non-representative forms.

In painting

Abstraction in painting refers to a non-representational painting and non-figurative, then we can find the presence of figures in the painting called "abstract".

The abstract art was born in the early twentieth century, around 1910 with, among others, Kandinsky, Kupka, Mondrian or Malevich.

Geometric Abstraction

Line and color must be the structural basis of each work. In France, Leger and Picabia working on cubist forms treated with intense colors.
Music

The music itself is abstract written for the sole purpose of research rather than to illustrate an idea or theme. The opposite of music to "program" as, for example, the Pastoral Symphony, which illustrates the theme of country life. Composer regarded as "abstract" Schoenberg. (purpose without melody)

Abstract Art

Kazimir Malevich, Black square on white background, 1915

Theo van Doesburg, Counter-Composition V, 1924

The abstract art is an art form that does not try to represent the material world. Art abstract can dispense with model and freed of fidelity to visual reality.

Definition

In art, abstract art is a "visual language" born in the twentieth century. It does not attempt to represent "the visible appearance of the outside world but attempts to give a contraction of real or to recognize the" tears Abstract art can do without model and freed of fidelity to reality and the visual and plastic creations mimetics. It is not subjects or objects of the natural world, real or imaginary, but only shapes and colors for themselves.

The painter Wassily Kandinsky is considered the founder and theorist of abstract art. He painted his first watercolor abstract Untitled in 1910 (actually it is backdated). According to the philosopher Michel Henry; "Kandinsky calls abstract the content that painting must express this life is invisible we are."

In the early twentieth century, this term also included the cubism or futurism, genres in which there is much desire to represent the real world, not imitate or copy, but rather by showing the intrinsic qualities. It represents what we know of an object rather than what one sees.

Abstract art uses a formal language, pictorial and linear composition to create a separate report to visual references exist in the tangible world. Western art has been the Renaissance to the mid-19th century, underpinned by the logic of perspective and an attempt to reproduce the illusion of visible reality. The discovery and increasing access to arts and cultures outside Europe have inspired other models described and enabled a visual experience of the artist freed from the constraints of representation. In the late 19th century, many artists have thus found it necessary to create a new art form assimilating technological change, science and philosophy of their time. The sources which artists draw their theoretical arguments are varied and reflect the social and intellectual concerns in all areas of Western culture from that era.

Abstraction indicates a starting point, a new representation of reality and imagery in art. Since the realism of the early 19th century and the emergence of the daguerreotype, an accurate representation of reality is conducted. The difference between art and reality, the classic theme of artistic representation, has passed through the mirror of visual accuracy. Abstraction is part of this continuity, this constant search for a fair representation of reality. It is a response to these new forms emerged recently, considered despite their technical accuracy as partial, incomplete. The idea of sublimation of reality disappears in favor of an abstraction to its external representation tangible art does the more likely the greater the realism, the more accurate because it can be replaced, abstract, at least theoretically by new forms of representation automated, since a perfect representation is likely to be extremely difficult to achieve. The artwork takes liberties, such as altering the color and shape in a way that is visible and present in a concise essence that can be called "abstract". The result no longer contains traces of abstract, references recognizable and disappear in favor of the visible effects of geometric shapes, the lines clean and abundant, the colors, single or mixed. Thus, geometric abstraction does not retain any references realistic and natural entities presented. Figurative Abstraction, and Total are almost mutually exclusive, except that the figurative representation (or realistic art) often contains a partial abstraction.

The geometric abstraction and lyrical abstraction are most often totally abstract. Among the many artistic movements pre-abstraction, those who embody a substantial and significant abstraction are Fauvism for his use of color, clearly and deliberately altered from reality, and cubism, which modifies blatantly the forms of real life. Finally Futurism, in its desire to de-listed by the real dynamic and kinetic, reaches an abstract art, including Giacomo Balla

Origins of Abstraction

In the years preceding the First World War, several varieties of art abstract emerged in different contexts, although the city of Paris is often recognized as the capital of Western culture at the time, and Robert Delaunay to expound his works cubist prismatic. But it is equally important to look elsewhere, eg in Germany and Russia, artists created paintings that varied greatly, not only in appearance but also in intent.

The influence of the development of science and technology specific to the paint on the evolution of the art is well established Furthermore, the invention and evolution of photography in nineteenth-century painting frees the representation of reality.

However, areas seemingly far removed from the painting have also brought changes in the position of artists.

Thus, in the second half of the nineteenth century, the optical physiologic made significant progress under the leadership of the German von Helmholtz (1821-1894). It distinguishes two stages in the vision at the eye, light rays produce a "print" and then the nerves of the retina are transmitted to the brain where they appear as "sensations".

Some artists are influenced by this new knowledge. The "Impressionists" were, themselves, have tried to make the "impression" (first stage) was their nature. Other artists will recognize that it is futile to try to restore nature on a canvas with complete objectivity. For the "sensations" (second stage) are "disrupting" the creative process and they appear very complex. They are not simply a passive recording of information forms and colors, but involve neural mechanisms providing additional results. There will be more to make the results of introspection than copying more or less faithfully the effects of nature.

František Kupka (1871-1957), pioneer of abstraction in painting, quickly grasped the impact of this new design vision of the purpose of art, previously seen as an imitation of nature. The "feeling" part of the painter now a priority in his vision. Kupka interested in the psychophysics of color appearance, "it therefore seems more appropriate to consider and examine the sensations of light, nature and value different, as they evoke in us moods . We will speak of the "solar eye".

Advances in another science, that of understanding the wave nature, both the light and sound, also open new perspectives. She leads the development by researchers, instruments projection of colored light. These are used with musical accompaniment. One of the inventors of the "color music" ( "color music", which is now called "sound and light"), Wallace Rimington, written in 1895, "In painting, color was only used as a elements of the image. We have not had any images in which there is neither form nor matter, but only the pure color. " He also writes: "... In fact, there has never been pure art of color dealing not only the color alone and not relying just as all the changes subtle and wonderful, and the combinations whose color is as capable of using his own words. "At that time, her concerts" color music "were successful. It is therefore not surprising to find an article published in 1908 under the title The laws of harmony of Painting and Music are the same (Henry Rovel). Its content, in the spirit of the chromatic music, have a great influence on the painters Kandinsky (1866-1944), Larionov (1881-1964) and again Kupka. In another article, Rovel confirms, "Life is characterized by the vibration. Without vibration, there is no life. The whole world is subject to that law. "