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Abstract art uses visual language of shape, form, color and line to create a composition which may exist with a degree of indepdce from visual referces in the world.
Western art had be, from the Raissance up to the middle of the 19th ctury, underpinned by the logic of perspective and an attempt to reproduce an illusion of visible reality. By the d of the 19th ctury many artists felt a need to create a new kind of art which would compass the fundamtal changes taking place in technology, scice and philosophy. The sources from which individual artists drew their theoretical argumts were diverse, and reflected the social and intellectual preoccupations in all areas of Western culture at that time.
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Abstract art, non-figurative art, non-objective art, and non-represtational art are all closely related terms. They have similar, but perhaps not idtical, meanings.
Abstraction indicates a departure from reality in depiction of imagery in art. This departure from accurate represtation can be slight, partial, or complete. Abstraction exists along a continuum. Ev art that aims for verisimilitude of the highest degree can be said to be abstract, at least theoretically, since perfect represtation is impossible. Artwork which takes liberties, e.g. altering color or form in ways that are conspicuous, can be said to be partially abstract. Total abstraction bears no trace of any referce to anything recognizable. In geometric abstraction, for instance, one is unlikely to find referces to naturalistic tities. Figurative art and total abstraction are almost mutually exclusive. But figurative and represtational (or realistic) art oft contain partial abstraction.
Both geometric abstraction and lyrical abstraction are oft totally abstract. Among the very numerous art movemts that embody partial abstraction would be for instance fauvism in which color is conspicuously and deliberately altered vis-a-vis reality, and cubism, which alters the forms of the real-life tities depicted.
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Much of the art of earlier cultures – signs and marks on pottery, textiles, and inscriptions and paintings on rock – used simple, geometric and linear forms which might have had a symbolic or decorative purpose.
Islam's sometimes negative view of figurative art has led to the proliferation of complex non-figurative artistic expression across the Islamic world. Non-figurative Islamic art is nearly as old as Islam itself, and some of the oldest examples of it can be found on such early buildings as the Dome of the Rock. While Islamic art may have reservations about painting humans and animals, it does not, however, feel the same about plants and inanimate objects.
Islamic art traditionally revolves around calligraphy, tessellating geometric patterns, and vegetal motifs called arabesques. These elemts can be found in all Islamic applied arts, including architecture, rugmaking, pottery, glassmaking, and metalwork, as well as decorating the borders of otherwise figurative paintings.
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As a result of the extsive dialogue betwe the Christian and Islamic world brought about by the Crusades, Islamic patterns and techniques would also come to be applied to European decorative arts, especially in Italy and Spain. Promint examples include Spanish Mudéjar art and Vetian Gothic architecture.
In Chinese painting, abstraction can be traced to the Tang dynasty painter Wang Mo (王墨), who is credited to have invted the splashed-ink painting style.
While none of his paintings remain, this style is clearly se in some Song Dynasty Paintings. The Chan buddhist painter Liang Kai (梁楷, c. 1140–1210) applied the style to figure painting in his "Immortal in splashed ink" in which accurate represtation is sacrificed to hance spontaneity linked to the non-rational mind of the lighted. A late Song painter named Yu Jian, adept to Tiantai buddhism, created a series of splashed ink landscapes that evtually inspired many Japanese Z painters. His paintings show heavily misty mountains in which the shapes of the objects are barely visible and extremely simplified. This type of painting was continued by Sesshu Toyo in his later years.
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Another instance of abstraction in Chinese painting is se in Zhu Derun's Cosmic Circle. On the left side of this painting is a pine tree in rocky soil, its branches laced with vines that extd in a disorderly manner to the right side of the painting in which a perfect circle (probably made with help of a compass
) floats in the void. The painting is a reflection of the Daoist metaphysics in which chaos and reality are complemtary stages of the regular course of nature.
In Tokugawa Japan, some Z monk-painters created so, a circle who represts the absolute lightmt. Usually made in one spontaneous brush stroke, it became the paradigm of the minimalist aesthetic that guided part of the Z painting.
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Three art movemts which contributed to the developmt of abstract art were Romanticism, Impressionism and Expressionism. Artistic indepdce for artists was advanced during the 19th ctury. An objective interest in what is se can be discerned from the paintings of John Constable, J M W Turner, Camille Corot and from them to the Impressionists who continued the plein air painting of the Barbizon school. Early intimations of a new art had be made by James McNeill Whistler who, in his painting Nocturne in Black and Gold: The falling Rocket, (1872), placed greater emphasis on visual ssation than the depiction of objects. Ev earlier than that, with her 'spirit' drawings, Georgiana Houghton's choice to work with abstract shapes correlate with the unnatural nature of her subject, in a time wh abstraction” isn't yet a concept (she organized an exhibit in 1871).
Expressionist painters explored the bold use of paint surface, drawing distortions and exaggerations, and intse color. Expressionists produced emotionally charged paintings that were reactions to and perceptions of contemporary experice; and reactions to Impressionism and other more conservative directions of late 19th-ctury painting. The Expressionists drastically changed the emphasis on subject matter in favor of the portrayal of psychological states of being. Although artists like Edvard Munch and James sor drew influces principally from the work of the Post-Impressionists they were instrumtal to the advt of abstraction in the 20th ctury. Paul Cézanne had begun as an Impressionist but his aim – to make a logical construction of reality based on a view from a single point,
Additionally in the late 19th ctury in Eastern Europe mysticism and early modernist religious philosophy as expressed by theosophist Mme. Blavatsky had a profound impact on pioneer geometric artists like Hilma af Klint and Wassily Kandinsky. The mystical teaching of Georges Gurdjieff and P.D. Ouspsky also had an important influce on the early formations of the geometric abstract styles of Piet Mondrian and his colleagues in the early 20th ctury.
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At the beginning of the 20th ctury Hri Matisse and several other young artists including the pre-cubist Georges Braque, André Derain, Raoul Dufy and Jean Metzinger revolutionized the Paris art world with "wild", multi-colored, expressive landscapes and figure paintings that the critics called Fauvism. The raw language of color as developed by the Fauves directly influced another pioneer of abstraction, Wassily Kandinsky.
Cubism, based on Cézanne's idea that all depiction of nature can be reduced to cube, sphere and cone became, along with Fauvism, the art movemt that directly oped the door to abstraction in the early 20th ctury.
František Kupka, Amorpha, Fugue deux couleurs (Fugue in Two Colors), 1912, oil on canvas, 210 x 200 cm, Narodni Galerie, Prague. Published in Au Salon d'Automne "Les Indépdants" 1912, Exhibited at the 1912 Salon d'Automne, Paris.
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During the 1912 Salon de la Section d'Or, where František Kupka exhibited his abstract painting Amorpha, Fugue deux couleurs (Fugue in Two Colors) (1912), the poet Guillaume Apollinaire named the work of several artists including Robert Delaunay, Orphism.
He defined it as, "the art of painting new structures out of elemts that have not be borrowed from the visual sphere, but had be created tirely by the artist...it is a pure art."
Since the turn of the ctury, cultural connections betwe artists of the major European cities had become extremely active as they strove to create an art form equal to the high aspirations of modernism. Ideas were able to cross-fertilize by means of artist's books, exhibitions and manifestos so that many sources were op to experimtation and discussion, and formed a basis for a diversity of modes of abstraction. The following extract from The World Backwards gives some impression of the inter-connectedness of culture at the time: "David Burliuk's knowledge of modern art movemts must have be extremely up-to-date, for the second Knave of Diamonds exhibition, held in January 1912 (in Moscow) included not only paintings st from Munich, but some members of the German Die Brücke group, while from Paris came work by Robert Delaunay, Hri Matisse and Fernand Léger, as well as Picasso. During the Spring David Burliuk gave two lectures on cubism and planned a polemical publication, which the Knave of Diamonds was to finance. He wt abroad in May and came back determined to rival
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