 The World of Abstract
Abstract by Country
Abstract Masters
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Since the days of Impressionism, painting showed evidence of vitality, the inventive power, a spirit of discovery that are admirable, and may at first seem inexhaustible. We know the series of transformations that took place through the various and sometimes contradictory movements: an awareness of its own powers of painting that led to the logical abstraction. In fact, only a superficial view-point would be considered the beginning of abstraction as an accident. Instead, it was the result (I would say the predictable result) of a release of "painting by painting" that began with freedom of color by the Impressionists - even before Turner, Delacroix, and some other even more distant from us.
It should be noted, however, he was with the Impressionists that it really started, it was they who began the liberation of "color, they rejected the" subject "and have abandoned historical scenes of pompous devote their attention to most aspects of ordinary and everyday nature, seeing the tree as a simple mass of color, they were constantly decomposition and recomposition of these colors on a background of change (as with various colors) is called heaven. Van Gogh and Cezanne also be minimized, painting artificial instead of real flowers, or even a pair of shoes worn. I guess you agree with me that such disregard for object has undoubtedly marked a time when it would be denied completely, when men become conscious of the specific power of color as color, or the pace! , and forms the shapes.
Apart from cubism, in which the connection is too obvious, I think Picasso's genius-mania of the assassination of the appearance of things (to give them a supra-appearance instead) ended not with negation, but rather with the exaltation of Post subject: the last-ditch effort, the final jump of the object to keep us. Since his Cubist period, all works of Picasso expressed the last attempt, the art of nature to draw us toward it, the same way that some people commit suicide to draw attention to themselves. This effort is fascinating, mocking one of the most winning of Picasso's work.
Tension and spiritual commitment that enabled the first abstract painters think in terms of "abstraction and acquire a suitable technique for painting the language psychological novel, was really wonderful. Day after day, they had to do everything possible to renew and expand the scale of their new expressive means, which, once it began, was threatened with multiple sclerosis and free, because there was a risk of 'repetition' and 'recipe'.
Why not admit that this effort to the constant renewal and invention of forms, which was their main concern was - I would not prevent it - but forbids them to deepen and extend their findings with a maximum intensity and eloquence?
Currently, where abstract painting shows that he has at his disposal an expressive keyboard as wide and as eloquent as that of music or poetry (in proportion to its own domain, of course), I think Modern artists now have the opportunity to enjoy all the possibilities. The artist is now free from the rope that is choking the threat of unexpected reappearance of nature, he may cancel his will even paint, forcing him to practice every day new inventions in the order to his deflector and free themselves. This is what explains the schematic appearance of certain kinds of work by a diagram, I mean lacks poetry. In such cases, the invention prior to the inner impulse, for which preceded the emotion. But we know such an attempt an answer to a vital necessity. We know only too well that it was a matter of "life or death" not to be touched by it. If they are lacking in this poetry now seems quite natural to abstract painting, this work is still an emotional reflection of this struggle.
We are led to draw a conclusion from these facts: being able to breathe an atmosphere that is at least abstract respirable other modern painters we are now able to operate with a maximum intensity of all the "offered" opportunities. That's what I meant when I said: I am convinced that our time is one of the deepening and lengthening.
Some artists, such as myself and the vast majority of French painters - perhaps more impressed by the lessons of clarity, balance, eloquence controlled, we have the most recent period of work Kandinsky, Kupka to, Mondrian, Van Doesburg, and Delaunay, or rather, as in America today, many are attracted to Kandinsky first period more impulsive, or expressionism or Marc Macke, but it is not the point. This is not my task here to judge and compare these trends, I would be delighted if critics, museum directors, collectors, art lovers and even would not judge too systematically either. In my opinion, no real distinction can be made on the level of formal appearances, but only on the basis of the poetry contained in the work. To make myself understood, I want to emphasize that, for me, there are two categories of poetry in painting: the first - the poetry of figuration, which is the poetry of everyday associations - Poetry of the tree as a shelter, shade, or Rendezvous on site.
This kind of poetry is composed of all the memories of the tree or things of everyday life, because such memories are conscious or unconscious reason for the figurative painter choose the tree as its subject, it is a " must "for him to rediscover them to paint the tree. There is another kind of poetry, one that is the result of pure and unadulterated plastic pictorial art. This is poetry that emerges from assemblies colors in rhythms - shapes, lines, contrasts, harmonies, textures. Such poetry belongs to abstract painting in the same way that poetry belongs to the music or even poetry itself.
Such poetry is a feature in each of these various arts, whose limits are set by the latter and is, in fact, the specific expression of these arts. But if any confusion, any compromise rather then the whole structure will collapse poetry to make room for a single exposure of feelings, an exercise in abstract painting communications.In present in France (or more Specifically, Paris), it seems that the phenomenon indefinable yet very real and known as "Climate of Paris continues favorable for a wide range of talents and tendencies. Talents of various nationalities who are sometimes, but always in the spirit of Paris and trends that are sometimes conflicting, but never irreducible.Three mainstream without distinct borders seem to divide modern painting at the moment:
1. The constructivist trend (not necessarily geometric).
2. The Expressionist (not necessarily tachiste).
3. The semi-abstract (which arises mainly from Impressionism).
In the constructivist tendency, we must place among veterans: Herbin (geometric), Gorin (neoplasticist the last authentic), and Sonia Delaunay. The team of Robert and Sonia Delaunay has provided a unique example of creative osmosis, which found a natural extension in the work of Sonia Delaunay. Magnelli, an Italian by birth, whose influence on the younger generation is undeniable, and in his case, as with many young artists, the term means nothing, nor geometric. And finally the new generation: Deyrolle - one whose work is most full of nuances, while Vasarely is the purest, Mortensen very sensitive, Pillet (no comment), and Dewasne the youngest and the most intransigent technician.
The second trend is a characteristic note he is a painter of German origin who heads the list, Hans Hartung (although naturalized French). If his reputation in America is exceeded by some young artists such as Mathieu or relieves, for example, work by its fullness and strength dominates the whole group. Lacasse, Ubac and Le Moal, Schneider, of Swiss origin, and Poliakoff, who was born in Russia and Lanskoy: and finally, both Chapoval Stael and are both so recently deceased that I can not fail to mention them also. At last comes the third trend: Bissière has long been misunderstood by the public galleries, but his influence was considerable; Bazaine, Esteve, Manessier Singier, Atlan, Vieira da Silva ...
Naturally, this list is by no means exhaustive, and there was no excuse for any comprehensive overview of the current and final painting in Paris. My classifications are in all probability also inaccurate, as are all these attempts to classify. Poliakoff, for example, could be put in the first trend, Esteve in the second - if I was referring to his most recent work, and Lanskoy could go in the third, etc.
I'd add to this list all the names I have unfortunately forgotten and whose work in the future could embarrass me, and if I put for the next generation, I have omitted to do classifications not broadcast too far, but whose names can shine in the future even brighter, I think I can say that the development of French painting today is as rich and significant movements of the past. Less explosive, less "sensation," he pauses, no spectacular finds, but the in-depth research.
I return to my original premise - a rectangle of pure color flat - if it was inspired by the memory of a table - will not have special and pure poetry for which we are seeking. This would be true of a turbulent surface texture that gives us only the idea of ??a rock, undergrowth, or a beach covered with lichens and shells. But it also means that a colored rectangle may well contain all the poetry-painting, we are looking for - just as successful as the twisted form of a texture eroded.
At present, because it was determined that qualitative distinctions can be made, not on the basis of formal appearances, but on the basis of poetic purity that makes its context, and now that the ground broken by our predecessors is wide open for us, we must conclude by saying that the means of expression appear to be increasingly infinity, even if - as we must admit - all the recipes of contemporary painting of the early research abstract. Indeed, this medium attracts endless endless wealth of possibilities for deepening and lengthening.
The task of the first abstract painters was to prove the existence of abstract painting. Our own task is to prove that abstract painting is neither restricted nor limited, it is not just a trend or school, but independently of expression, so conscious of its autonomy and powers that it can refuse to compromise.
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