- matisse & picasso came close to abstraction but not quite
- abstraction emerges internationally:
-trying to build new systems of visual representation; pure, non-objective artmodels of abstraction: music (music is the most abstract of all the arts); liberation of sound
-materialist (form, color theory, materiality, etc.) vs. idealist (metaphysical, spiritual)
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| composition IV- vasily kandinsky 1911 leader of blue rider group pushed practice into abstract realms borrows language of music rainbow towards left move work away from easily legible scene attach symbolic meaning to colors & specific forms blue = color of eternal, part of landscape |
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| composition VII- kandinsky 1913 spiritual & musical interests to create non-objective, abstract art pure line, pure color |
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| point & line to plane- kandinsky (book) 1926 lines have emotional content transition into pedagogy |
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| the first disk- robert delaunay 1913-1914 playing w color theory colors not attached to objects in the world |
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| blue-green forest- natalia goncharova 1913 fractured lines |
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| red & blue rayonism- mikhail larionov 1913 fractured lines |
-weaving/loom/tapestry
-grid-like logic
-adornment: non-integral aesthetic statement
untitled (vertical-horizontal composition)- sophie taeuber 1916
untitled (pathetic symmetry)- sophie taeuber 1916
models of abstraction: speed (italian futurism)
dynamism of a dog on a leash- giabomo ball 1912
unique forms of continuity in space- umberto boccioni 1913
models of abstraction: spirituality/theosophy
-kandinsky wants art to provide spiritual experience; compared to soullessness of modern life
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| "0.10" exhibition in petrograd including black square- kazimir malevich 1915 |
-dutch artist
-outbreak of WWI, he returns to holland (from paris)
-one of the first artists to make the grid the sole thing in piece
-modernist: materially mapping out canvas- squares reinforce quadrilinear shape of canvas
piet mondrian- neo-plasticism: the general principle of plastic equivalence
-plastic expression of aesthetic emotion/our whole being
-plastic appearance of nonindividual
-direct expression of the universal in us
-art comes from equilibrium, unconscious, immutable
-tragic in life --> artistic creation --> tragic diminishes --> art gains purity
-new plastic = reality of the abstract; ceased to be dominated by tragic
-old plastic = tragic dominates
-turning point of culture: end of everything ancient
-future: does not understand tragic plastic
-new spirit suppresses description in art
-new art = pure plastic
-equivalent duality forming absolute unity
-individual & universal are equilibrated --> unity --> description is superfluous
-neo-plasticism has roots in cubism
-can also be called abstract-real painting bc abstract can be expressed by plastic reality
-rectangular color planes express profound reality; it expresses relationships, not forms
-relationships through color
-unites objective character of decorative art w subjective character of pictorial art
-new spirit: expressed through composition
-unity of all the arts
-reducing 3-D corporeality to single plane = expresses pure relationship
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| the red tree- piet mondrian c. 1909 sinuous lines |
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| still-life w ginger pot- piet mondrian 1912 cubist influences |
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| flowering apple tree- mondrian c. 1912 move away from nature |
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| oval composition- mondrian 1914 move away from nature reduction |
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| composition no. 10 in black & white (pier & ocean)- mondrian 1915 vertical & horizontal lines bare suggestion of horizon line & maybe a pier |
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| composition in line- mondrian 1916-17 world disappears line & composition, looking for equilibrium btwn vertical & horizontal |
de stijl
-international movement
-formal structures
-architecture & functional design too
-reducing object/visual field to most basic
-elementarism
-desire to reintegrate into coherent singular whole
-interest in colored square
-visible grid/horizontal/vertical lines
-common language w painting & architecture bc share flatness
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| composition w grid 9: checkerboard composition w light colors- mondrian 1919 finds readymade grid keeps both materialist & idealist enunciation of 4 sides of canvas rigorously mathematical, staircase to universal (idealist) timeless but also modern bc just a grid has not entered art history realm until early 21st century resists narrative, interruption of world w pure form & structure |
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| composition w yellow, red, black, blue & gray- mondrian 1920 neo-plasticism horizontal & vertical reduced palette: primary & neutral colors irregularly organized grid equilibrium lose sense of spacial recession |
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| composition w large red plane, yellow, black, grey, & blue- mondrian 1921 balance prevents evocation of depth |
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| composition 2- mondrian 1922 |
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| lozenge composition- mondrian 1924-25 squares in canvas= miniaturization of canvas itself grid extends to infinity |
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| composition in a lozenge w four lines- mondrian 1930 |
- lozenge= diamond shape
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| lozenge composition w two lines- mondrian 1931 most successful no sense of figure or ground equilibrium even though it is skewed to one side delicate balance |
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| red & blue chair- gerrit rietveld 1917-18 |
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| spatial color composition for an exhibition, berlin- vilmos vuszar & gerrit rietveld 1923 |
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| broadway boogie woogie- mondrian 1942-43 |
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| architectural analysis counter-construction- theo van doesburg 1923 |
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| project for a university in amsterdam-sud- van doesburg 1922 use of diagonal lines--> departing from de stijl ideals--> seen as used for decorative (adolf loo's decoration is crime) |
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| schroder house- rietveld 1924 integrates interior & exterior design utrecht, netherlands closed/opened windows played into balance & counter-balance |
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| mondrian dress- yves saint laurent 1965 resurrection in high fashion |
russian suprematism:
-investment in formal simplicity
malevich:
-subconsciously mapping surface of canvas
-materiality of color, shape of canvas, geometric shapes w/in canvas
-determine "0" degree, bare minimum
-looking for universal, timeless form
-investment in formal simplicity
-subconsciously mapping surface of canvas
-materiality of color, shape of canvas, geometric shapes w/in canvas
-determine "0" degree, bare minimum
-looking for universal, timeless form
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| suprematist painting (white on white)- malevich 1918 not motivated by aesthetic but through intellectual/philosophical investment in "perfect" abstract geometry |
- rejects that art should represent something in the world
- the making of art is an aesthetic/intellectual/philosophical thing w/o need to create illusionism
- malevich is not avant-garde, just modern
- faktura: referred to desire to make work that was true to the materials of which it was made w/o trying to disguise the type of material
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| black square- kazimir malevich 1915 becomes cracked/faded
arrive at monochrome, most simple
0 degree of culture
purely man-made form
modern art is crafted image
formalist bent (greenburg)
intellectual rigor marries w aesthetic appreciation through essential forms
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| 0.10 exhibition in petrograd including kazimir malevich's black square 1915 10 artists in show trying to reach 0 degree |
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| red square (painterly realism of a peasant woman in two dimensions)- malevich |
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| painterly realism of a boy w a knapsack (color masses in the fourth dimension)- malevich 1915 highly reduced figures from real world |
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