Early intimations of a new art had been made by James McNeill Whistler who, in his painting Nocturne in Black and Gold: The falling Rocket, (1872), placed greater emphasis on visual sensation than the depiction of objects. An objective interest in what is seen, 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. Paul Cezanne had begun as an Impressionist but his aim: to make a logical construction of reality based on a view from a single point , with modulated colour in flat areas, became the basis of a new visual art, later to be developed into Cubism by George Braque, Pablo Picasso.
Expressionist painters explored the bold use of paint surface, drawing distortions and exaggerations, and intense color. Expressionists produced emotionally charged paintings that were reactions to and perceptions of contemporary experience; and reactions to Impressionism and other more conservative directions of late 19th century painting. The Expressionists also drastically changed the emphasis on subject matter in favor of the portrayal of psychological states of being. Although artists like Edvard Munch and James Ensor drew influences principally from the work of the Post-Impressionists they were instrumental to the advent of abstraction in the 20th century.
Although Cubism ultimately depends upon subject matter it became along with Fauvism the art movement that directly opened the door to abstraction in the 20th century. Pablo Picasso made his first cubist paintings based on Cézanne's idea that all depiction of nature can be reduced to three solids: cube, sphere and cone. With the painting Les Demoiselles d'Avignon 1907, Picasso dramatically created a new and radical picture depicting a raw and primitive brothel scene with five prostitutes, violently painted women, reminiscent of African tribal masks and his own new Cubist inventions. Analytic cubism was jointly developed by Pablo Picasso and Georges Braque, from about 1908 through 1912. Analytic cubism, the first clear manifestation of cubism, was followed by Synthetic cubism, practised by Braque, Picasso, Fernand Léger, Juan Gris, Albert Gleizes, Marcel Duchamp and countless other artists into the 1920s. Synthetic cubism is characterized by the introduction of different textures, surfaces, collage elements, papier collé and a large variety of merged subject matter. The collage artists like Kurt Schwitters and Man Ray and others taking the clue from Cubism were instrumental to the development of the movement called Dada.
In 1913 the poet Guillaume Appollinaire named the work of Robert and Sonia Delaunay, Orphism (art). He defined it as, the art of painting new structures out of elements that have not been borrowed from the visual sphere, but had been created entirely by the artist...it is a pure art.
Since the turn of the century cultural connections between artists of the major European and American 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 artists books, exhibitions and manifestos so that many sources were open to experimentation 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 movements must have been extremely up-to-date, for the second Knave of Diamonds exhibition, held in January 1912 (in Moscow) included not only paintings sent from Munich, but some members of the German Die Brucke group, while from Paris came work by Robert Delaunay, Henri Matisse and Fernand Leger, 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 went abroad in May and came back determined to rival the almanac Der Blaue Reiter which had emerged from the printers while he was in Germany'.
By 1911 many experimental works in the search for this 'pure art' had been created. Frantisek Kupka had painted the Orphist work,'Discs of Newton'.The Rayist (Luchizm) drawings of Natalia Goncharova and Mikhail Larionov, used lines like rays of light to make a construction. Kasimir Malevich completed his first entirely abstract work, the Suprematist, 'Black Square', in 1915. Another of the Suprematist group' Liubov Popova, created the Architectonic Constructions and Spatial Force Constructions between 1916 and 1921. Piet Mondrian was evolving his abstract language, of horizontal and vertical lines with rectangles of colour, between 1915 and 1919, Neo-Plasticism was the aesthetic which Mondrian, Theo van Doesburg and other in the group De Stijl intended to reshape the environment of the future. In Italy the futurism, mixed with Bauhaus influence, led the way to an abstract art with a distinct warm colour palette such as in the works of Manlio Rho and Mario Radice.
Closely related to this, is the idea that art has The spiritual dimension and can transcend 'every-day' experience, reaching a spiritual plane. The Theosophical Society popularised the ancient wisdom of the sacred books of India, China in the early years of the century. It was in this context that Piet Mondrian, Wassily Kandinsky, Hilma af Klint and other artists working towards an 'objectless state' became interested in the occult as a way of creating an 'inner' object. The universal and timeless shapes found in Geometry: the circle, square and triangle become the spacial elements in abstract art; they are, like color, fundamental systems underlying visible reality.
Eventually American artists who were working in a great diversity of styles began to coalesce into cohesive stylistic groups. The best known group of American artists became known as the Abstract expressionists and the New York School. In New York City there was an atmosphere which encouraged discussion and there was new opportunity for learning and growing. Artists and teachers John D. Graham and Hans Hofmann became important bridge figures between the newly arrived European Modernists and the younger American artists coming of age. Mark Rothko, born in Russia, began with strongly surrealist imagery which later dissolved into his powerful color compositions of the early 1950s. The expressionistic gesture and the act of painting itself, became of primary importance to Jackson Pollock and Franz Kline. While during the 1940s Arshile Gorky's and Willem de Kooning's figurative work evolved into abstraction by the end of the decade. New York City became the center, and artists worldwide gravitated towards it; from other places in America as well.
During the final decades of the 20th century and into the 21st century abstraction remains very much in view, its main themes: the transcendental, the contemplative and the timeless are exempified by Barnett Newman and Agnes Martin. Art as Object as seen in the Minimalist sculpture of Donald Judd and the paintings of Frank Stella and the poetic, Lyrical Abstraction and the sensuous use of color seen in the work of painters as diverse as Robert Motherwell, Patrick Heron, Kenneth Noland, Sam Francis, Cy Twombly, Richard Diebenkorn, Helen Frankenthaler, Joan Mitchell and dozens of others.
There was a resurgence after the war and into the 1950s of the figurative, as Neo-Dada, Fluxus, Conceptual Art, Neo-expressionism, Installation art, Performance Art, Video Art and Pop art have come to signify the age of consumerism. The distinction between abstract and figurative art has, over the last twenty years, become less defined leaving a wider range of ideas for all artists .
Defining the Abstract: It May Seem like the Antithesis of What Abstract Art Is All about. or, It Could Be That Attempts to Define the Abstract and What the Artist Intended Is Part of the Genre's Appeal
Mar 01, 2006; What makes great abstract art great? And what makes the average person on the street naively comment, "Hey, I could do that!'...