During the second decade of the twentieth century, a radical and decisive occurs in painting, the invention of abstraction.
Of course, since the dawn of time, non-figurative forms were used in decorative programs, such as decorating the Greek terracottas of antiquity, the baroque arabesques of wrought iron or curls of Art Nouveau. But these motives were subject to external purposes, such as the beautification of a place or object.
The approach that characterizes the masters of abstraction of the early 20th century is to propose, simply, an "image abstract. "
The oxymoron is that this phrase, an image is traditionally defined as a replica of reality, says the new company. The abstract paintings are images that refer to self nothing else but themselves. In this sense they are similar to the icons of the Orthodox faith who demonstrate the presence of content rather than they are, but, unlike these religious images, abstract paintings break with the world of appearances. They reveal the existence of previously unseen and unknown realities, as determined by each artist in his own way, in his own convictions, their background and culture, folk art to the most speculative theories. Each of the four pioneer artists of abstraction, Frantisek Kupka , Wassily Kandinsky , Kasimir Malevich and Piet Mondrian , resulting in his own language of abstraction, independently of the others.
However, they crossed the threshold of abstraction about at the same time, between 1911 and 1917, simultaneity can be explained by common concerns. They all had a spiritual practice or esoteric. They were also, for some, very attached to music, the least imitative of all arts, they have sometimes taken as a model. And, more generally, they worked in a cultural context, especially with the emergence of science of quantum physics and relativity theory, where the notion of reality becomes problematic. As noted by Paul Valéry at the time, "Neither the matter nor space nor time is twenty years since they were always". In this context culture and science of the early 20th century, the reality is less than what we perceive with the senses that an entity that is approached by thought experiments.
The inventors of abstraction propose a new form of painting in line with this worldview.
Of course, since the dawn of time, non-figurative forms were used in decorative programs, such as decorating the Greek terracottas of antiquity, the baroque arabesques of wrought iron or curls of Art Nouveau. But these motives were subject to external purposes, such as the beautification of a place or object.
The approach that characterizes the masters of abstraction of the early 20th century is to propose, simply, an "image abstract. "
The oxymoron is that this phrase, an image is traditionally defined as a replica of reality, says the new company. The abstract paintings are images that refer to self nothing else but themselves. In this sense they are similar to the icons of the Orthodox faith who demonstrate the presence of content rather than they are, but, unlike these religious images, abstract paintings break with the world of appearances. They reveal the existence of previously unseen and unknown realities, as determined by each artist in his own way, in his own convictions, their background and culture, folk art to the most speculative theories. Each of the four pioneer artists of abstraction, Frantisek Kupka , Wassily Kandinsky , Kasimir Malevich and Piet Mondrian , resulting in his own language of abstraction, independently of the others.
However, they crossed the threshold of abstraction about at the same time, between 1911 and 1917, simultaneity can be explained by common concerns. They all had a spiritual practice or esoteric. They were also, for some, very attached to music, the least imitative of all arts, they have sometimes taken as a model. And, more generally, they worked in a cultural context, especially with the emergence of science of quantum physics and relativity theory, where the notion of reality becomes problematic. As noted by Paul Valéry at the time, "Neither the matter nor space nor time is twenty years since they were always". In this context culture and science of the early 20th century, the reality is less than what we perceive with the senses that an entity that is approached by thought experiments.
The inventors of abstraction propose a new form of painting in line with this worldview.
