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Abstractionism Lecture
- 1. ABSTRACTIONISMPRE-WWI • THROUGHTHE 1920s • POST-WWI
- 2. The Origins ofAbstractionismInfluenced by:Impressionism: Making the present permanent/ insignificant events or subjects are made importantPost-Impressionism: use of planes overlapping/shifting color to indicate form and shapeFauvism: use of color from exactly what the eye sees and abstract shapes and subjectsCubism: explorations of geometric simplifications and reduced series of overlapped planes
- 3. POST-IMPRESSIONIST INFLUENCESVision Afterthe Sermon-Gauguin1888Orchard at Pontoise- Cezanne 1877The Orchard-Cezanne 1882
- 4. MOVING TOWARD ABSTRACTIONISMWinterLandscape- Kandinsky 1909The Café Terrace on the Place du Forum Arles, at Night- Van Gogh 1888
- 5. CUBISM INFLUENCESComposition VII-Kandinsky 1913Two Figures- Popova 1913
- 6. OTHER INFLUENCESInfluenced bydiscoveries in other areas: Chemistry and physics Philosophy Psychology Poetry Music
- 7. What is abstractionism?Abstractionismis “a kind of representational art in which the representational meanings of the work are minimized by the artist.” –Brettell“The abstract artist receives his inspiration not from any piece of nature you please, but from the nature as a whole, from its most multifarious manifestations; which accumulated in him and used to the work of art.” –Kandinsky
- 8. GEOMETRIC ABSTRACTIONOval Composition-Mondrian 1914COMPOSITION NO. 10- MONDRIAN 1915 composition No. 11- Mondrian 1913
- 9. FORMATION OF “ABSTRACT”GEOMETRICABSTRACTIONWidened stream of cubism/ non-figurative geometric abstraction.IntellectualStructuralArchitectonicGeometricalDependent upon logic and calculation
- 10. NON-GEOMETRIC ABSTRACTIONIn thegrey- Kandinsky 1919
- 11. FORMATION OF “ABSTRACT”Non-GeometricPAINTINGSGauguin and Fauvism flowing into non-geometric abstraction.InstitutionalEmotionalOrganic/biomorphicCurvilinearDecorativeRomantic (as opposed to classical)Focuses on mystical
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- 13. KANDINSKYHis focus inabstract paintings: Spiritual desire Devotion to inner beauty Color and form Expressive methods for his emotional perceptions Non-representational
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- 15. Untitled (first abstractwatercolor)- Kandinsky 1910
- 16. Improvisation 30 (CANNON)-Kandinsky 1913
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- 19. COMPARISON PRE/POST WARRomanticlandscape- Kandinsky 1911Soft pressure- Kandinsky 1931
- 20. Black Square ona White Ground- Malevich 1915
- 21. Composition in black,white, and red painting NO. 9 – Mondrian 1939-42
- 22. MONDRIANHis focus inabstract paintings: Irregular movement of verticals and horizontals Discover an underlying structure of the world Mathematically elemental Removing clutter/revealing clearest form Natural forces defining shape and purpose
- 23. TREES BY THEGEIN AT MOONRISE - MONDRIAN 1908
- 24. Sea at sunset-Mondrian 1909
- 25. Apple tree inflower- Mondrian 1912
- 26. Composition with red,yellow, blue and black –Mondrian 1921
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- 28. Self Portrait –Mondrian 1900/1918
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- 30. O’ KEEFFEHer focusin abstract paintings: Abstract, 2D style removed from imitation of nature Use of simple, clear forms- bring out the essential meaning/context Emphasized balance and harmony Applied paint in dense, invisible strokes Descriptive of single colors
- 31. The Specials –O’Keeffe
- 32. Red Mesa –O’Keeffe 1917
- 33. Music, Pink andBlue No. 2 –O’Keeffe 1918
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- 35. Shelton With Sunspots-O’Keeffe 1926
- 36. Two Calla Lilieson Pink – O’Keeffe 1928White Iris – O’Keeffe 1930
- 37. MOVING TOWARD SURREALISMRamsskull, white hollyhock and little hills- O'Keeffe 1935From the Far Away Nearby- O’Keeffe 1938
- 38. ABSTRACT INTO THEMODERN WORLDFURNITUREfashionarchitecture