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Abstraction

To 'abstract' means to draw away from, to separate, not to refer to something particular anymore . A movement of conscious and methodical destruction of particular and recognizable in appearance . Artistic elimination of rational visual association. Abstraction.

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Abstraction

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  1. To 'abstract' means to draw away from, to separate, not to refer to something particular anymore. A movement of conscious and methodical destruction of particular and recognizable in appearance. Artistic elimination of rational visual association. Abstraction

  2. In a way it is synthetical purification and intensification of colours, forms and ideas that leads to creation of artwork that either resembles a direct print of a soul that refused to undergo rational filters of mind and cognoscence, or a quasi-scientific, almost mathematical picture that looks so rational it's difficult to believe how irrational it actually is.

  3. Franz Kline, C & O, 1958, oil on canvas, 1.96 x 2.79 m (77 x 110 inches), National Gallery of Art, Washington, DC.

  4. Barnett Newman, Adam, 1951-2, oil on canvas, 242.9 x 202.9 cm, Tate Gallery, London.

  5. Barnett Newman, Not There-Here, 1962, oil and casein on canvas, 198 x 89.4 cm, Georges Pompidou Center, Paris.

  6. Constructivism was first created in Russia in 1913 when the Russian sculptor Vladimir Tatlin, during his journey to Paris, discovered the works of Braque and Picasso. When Tatlin was back in Russia, he began producing sculptured out of assemblages, but he abandoned any reference to precise subjects or themes. Those works marked the appearance of Constructivism. Constructivism

  7. Constructivism art refers to the optimistic, non-representational relief construction, sculpture, kinetics and painting. The artists did not believe in abstract ideas, rather they tried to link art with concrete and tangible ideas. Early modern movements around WWI were idealistic, seeking a new order in art and architecture that dealt with social and economic problems. They wanted to renew the idea that the apex of artwork does not revolve around "fine art", but rather emphasized that the most priceless artwork can often be discovered in the nuances of "practical art" and through portraying man and mechanization into one aesthetic program.

  8. Vladimir Tatlin Constructivist art is committed to complete abstraction with a devotion to modernity, where themes are often geometric, experimental and rarely emotional. Objective forms carrying universal meaning were far more suitable to the movement than subjective or individualistic forms. Constructivist themes are also quite minimal, where the artwork is broken down to its most basic elements.

  9. Tatlin’s Tower or The Monument to the Third International was a grand monumental building envisioned by the Russian artist and architect Vladimir Tatlin, but never built. It was planned to be erected in Petrograd (now St. Petersburg) after the Bolshevik Revolution of 1917, as the headquarters and monument of the Comintern (the third international).

  10. Suprematism considered the first systematic school of purely abstract pictorial composition in the modern movement, based on geometric figures and was the expression "of the supremacy of pure sensation in creative art". It is Russian art movement founded (1913) by Kazimir Malevich in Moscow, parallel to constructivism. Suprematism

  11. Suprematism sought "to liberate art from the ballast of the representational world." The work of the painter no longer involved representing and creating chromatic harmonies or formal compositions, but rather attaining the limits of painting. It consisted of geometrical shapes flatly painted on the pure canvas surface. The pictorial space had to be emptied of all symbolic content and all content signifying form. It had to be decongested and cleared, so as to show a new reality where thought was of prime importance. Kazimir Malevich

  12. Black Circle [1913] 1923-29; Oil on canvas, 105.5 x 105.5 cm (41 1/2 x 41 1/2 in); State Russian Museum, St. Petersburg

  13. Black Square [1913] 1923-29; Oil on canvas, 106.2 x 106.5 cm (41 3/4 x 41 7/8 in); State Russian Museum, St. Petersburg

  14. Black Square and Red Square 1915; Oil on canvas, 71.4 x 44.4 cm (28 x 17 1/2 in); The Museum of Modern Art, New York

  15. Suprematist Painting: Aeroplane Flying 1915; Oil on canvas, 57.3 x 48.3 cm (22 5/8 x 19 in); The Museum of Modern Art, New York

  16. Suprematism: Self-Portrait in Two Dimensions 1915; Oil on canvas, 80 x 62 cm (31 1/2 x 24 3/8 in); Stedelijk Museum, Amsterdam

  17. The De Stijl (literally, "the style") art movement was founded by the painter and architect Theo van Doesburg in Leiden in 1917. It encompassed a new type of style in modern art and architecture. This movement used the artistic talent of the artists by designing homes, buildings, and furniture. De Stijl (The Style)‏

  18. Art was seen as a collective approach, with a language that went beyond cultural, geographical and political divisions. The depersonalization of the artwork was carried through into the execution which was anonymous and impersonal. The artist's personality took a back seat to a conscious and calculated working process.

  19. Theo van Doesburg (born Christian Emil Kuepper [or Küpper]) (Dutch, 1883-1931), Composition X, 1918, oil on canvas, 64 x 43 cm, Georges Pompidou Center, Paris. Theo van Doesburg

  20. Theo van Doesburg, Counter-Composition VI, 1925, oil on canvas, 50.0 x 50.0 cm, Tate Gallery, London.

  21. Piet Mondrian, Composition C, 1920, oil on canvas, 23 3/4 x 24 inches (60.3 x 61 cm), Museum of Modern Art, NY.

  22. Piet Mondrian, Color Planes in Oval, 1913-14, oil on canvas, 42 3/8 x 31 inches (107.6 x 78.8 cm), Museum of Modern Art, NY.

  23. Art Deco represented the rapid modernization of the world. While the style was already widespread and was in fashion in the United States and in Europe, the term Art Deco was not known. Modernistic or the "1925 Style" was used. The name Art Deco was derived from the 1925 "Exposition Internationale des Arts Decoratifs Industriels et Modernes", held in Paris. Art Deco

  24. Art Deco was primarily an elegant design style dominant in decorative art, fashion, jewelry, textiles, furniture design, interior decoration, and architecture. It began as the Modernist follow-up style on Art Nouveau but more simplified and closer to mass production.

  25. Tamara de Lempicka, Calla Lilies, 1941, oil, private collection, CA. Tamara de Lempicka

  26. Tamara de Lempicka (born in Poland, from the age of 20, active in Paris and America, 1898-1980), Self-Portrait in the Green Bugatti, 1925, oil on wood panel, private collection.

  27. William Van Alen (American, 1882-1954), Chrysler Building, 1930, New York City. An archetypal American Art Deco skyscraper, the exterior of the building reflects the Chrysler automobile. The building was faced with Nirosta stainless steel, because of its low-maintenance, and the beauty of its color. William van Allen

  28. In the lobby of the Chrysler Building are more Art Deco designs. The outer doors for each elevator are decorated with stylized papyrus motif decor of exotic "Metyl-Wood" veneers produced by the Tyler Company, 1928-1930.

  29. The Bauhaus is one of the first colleges of design. It came into being from the merger of the Weimar Academy of Arts and the Weimar School of Arts and Crafts. It was founded by Walter Gropius in 1919 and was closed in 1933 by the Nazis. Bauhaus

  30. The Bauhaus holds a place of its own in the culture and visual art history of 20th century. This outstanding school affirmed innovative training methods and also created a place of production and a focus of international debate. It brought together a number of the most outstanding contemporary architects and artists. The Bauhaus stood almost alone in attempt to achieve reconciliation between the aesthetics of design and the more commercial demands of industrial mass production.

  31. Bauhaus - A very influential German school of art and design. Underlying the Bauhaus aesthetic was a fervent utopianism, based upon ideals of simplified forms and unadorned functionalism, and a belief that the machine economy could deliver elegantly designed items for the masses, using techniques and materials employed especially in industrial fabrication and manufacture — steel, concrete, chrome, glass, etc. All students took a preliminary course before moving on to specialist workshops, including carpentry, weaving, pottery, stagecraft, graphic arts, and graphic design.

  32. Wassily Kandinsky, Swinging, 1925, oil on board, 70.5 x 50.2 cm, Tate Gallery, London. Kandinsky's book Point and Line to Plane, published in 1926, explains the meanings he ascribed to the geometric imagery he put into such paintings as Swinging.

  33. Wassily Kandinsky (Russian, 1866-1944), In the Gray, 1919, oil on canvas, 129 x 176 cm, Georges Pompidou Center, Paris.

  34. Paul Klee, Comedy, 1921, watercolor and oil on paper, 30.5 x 45.4 cm, Tate Gallery, London.

  35. Paul Klee, A Young Lady's Adventure, 1922, watercolor on paper, 43.8 x 32.1 cm, Tate Gallery, London.

  36. Dadaism or Dada is a post-World War I cultural movement in visual art as well as literature (mainly poetry), theatre and graphic design. The movement was, among other things, a protest against the barbarism of the War and what Dadaists believed was an oppressive intellectual rigidity in both art and everyday society; its works were characterized by a deliberate irrationality and the rejection of the prevailing standards of art. It influenced later movements including Surrealism. Dadaism

  37. According to its proponents, Dada was not art; it was anti-art. For everything that art stood for, Dada was to represent the opposite. Where art was concerned with aesthetics, Dada ignored them. If art is to have at least an implicit or latent message, Dada strives to have no meaning--interpretation of Dada is dependent entirely on the viewer. If art is to appeal to sensibilities, Dada offends. Perhaps it is then ironic that Dada is an influential movement in Modern art. Dada became a commentary on art and the world, thus becoming art itself.

  38. Francis Picabia (born "Francis Martinez de Picabia") (French, 1879-1953; active in New York and Barcelona, 1913-17), Dada Movement, 1919, ink on paper, 20 1/8 x 14 1/4 inches (51.1 x 36.2 cm), Museum of Modern Art, NY.

  39. Theo van Doesburg (born Christian Emil Kuepper [or Küpper]) (Dutch, 1883-1931) with Kurt Schwitters (German, 1887-1948), Kleine Dada Soirée, 1922, lithograph, sheet: 11 7/8 x 11 7/8 inches (30.2 x 30.2 cm), Museum of Modern Art, NY.

  40. Jean Arp, Collage Arranged According to the Laws of Chance, 1916-17, torn-and-pasted papers on gray paper, 19 1/8 x 13 5/8 inches (48.6 x 34.6 cm), Museum of Modern Art, NY.

  41. Arp was a founding member of the first Dada group that coalesced in Zurich in 1916 around the Cabaret Voltaire of Hugo Ball, the poet and performer. "Dada," wrote Arp, "wished to destroy the hoaxes of reason and to discover an unreasoned order." While this work is far less violent than some of the rhetoric of Dada, Arp's use of serendipitous composition here embodies what has been called the heart of Dada practice: the gratuitous act.

  42. Marcel Duchamp, Bicycle Wheel, 1913 / 1964, metal, painted wood, 126.5 x 31.5 x 63.5 cm, Georges Pompidou Center, Paris. Duchamp called this "an assisted readymade."

  43. Marcel Duchamp, L.H.O.O.Q., 1919, rectified readymade, pencil on a reproduction — a chromolithograph, 7 3/4 x 4 7/8 inches, private collection, Paris.

  44. As if the addition of mustache and beard weren't enough of a poke at this most famous of paintings, the letters Duchamp penciled — L.H.O.O.Q. — at the bottom of his altered image are meaningless in themselves, but when read aloud in French, make the sound of "Elle a chaud au cul," meaning, "She has a hot ass." In 1965 Duchamp produced L.H.O.O.Q. Shaved, New York, 1965, playing card with colored ink on printed invitation, 8 1/4 x 5 3/8 inches (21 x 13.8 cm), Museum of Modern Art, NY.

  45. Metaphysical Painting (Pittura Metafisica) is an Italian art movement, born in 1917 with the work of Carlo Carrà and Giorgio de Chirico in Ferrara. The word metaphysical, adopted by De Chirico himself, is core to the poetics of the movement. Metaphysical Paintings

  46. They depicted a dreamlike imagery, with figures and objects seemingly frozen in time. Metaphysical Painting artists accept the representation of the visible world in a traditional perspective space, but the unusual arrangement of human beings as dummy-like models, objects in strange, illogical contexts, the unreal lights and colors, the unnatural static of still figures.

  47. Giorgio de Chirico

  48. Giorgio de Chirico, Ariadne, 1913, oil and graphite on canvas, 53 3/8 x 71 inches (135.6 x 180 cm), Metropolitan Museum of Art, NY.

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