 The World of Abstract
Abstract by Country
Abstract Masters
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Like the man in the course of his personal existence, companies undergo a change of mind or spirit, and their outward appearance. The universe is a continuous creation, a plateau or "be presented" in biblical terms, and all its elements are subjected, as the world itself, the great law of change or mutation. One could say that history is a summary record of the transformation of humanity whose art is the direct expression and synthetic. The essence of successive societies is embodied in various forms of art that have been left to us over the centuries.
This is an explicit, complete in itself and in need of no comments: for example, the thirteenth century can be read more easily in the statuary of the Cathedral of Chartres in the most learned of books history. The tedious, pointless series of battles and political upheaval seems to have crawled out of the yellow press, in comparison with tangible evidence that we find in works of art. And what are the other possible evidence for the thirteenth century could there be, that these anonymous illustrations of the Scriptures, made by the sculptors and glass artists who were as humble as they were effective?
Our century, too, has its own face, his own look, which is reflected in an art made in His own image. This is a century in the chain of invention, short freaks, the confused aspirations, violent sensations, together with all the diseases of a society whose institutions are in ruins and in which the very conditions of life is fragile, constantly threatened by a cycle of crises. These characteristics are all observed to be in print in the evolutions and revolutions that took place in art since the dawn of the century.
There are, however, a prevailing idea that permeates the apparent disorder of our time, an idea that determines his spiritual vision and control all its reactions when they show any sign of seriousness. This is the idea of ??freedom. I can not think of a better word to convey the fundamental characteristic of modern art as a whole. Not only did he define it according to its underlying psychological basis, but the word covers and summarizes all of its visible manifestations. There is freedom to say anything, invent anything, to create a style for its own interest, to prefer discord to harmony, to choose the rule and set limits on her freedom at a time constraint and license.
It is the most natural thing in the world for the freedom to have his opponents in the best of times, always maligned and failing to understand it. There is a mystery of freedom for each individual, but some are perhaps not mature enough to attach to it, or they are poorly prepared by education wrong. Anyway, we know now, after half a century of experience, that freedom is the best teacher in all that concerns art.
He is a master who, by no means condemns the disciplines, but that might be easy to believe. The opposite is true for the more surely than any other master, liberty teaches restraint and measurement through trials and errors of any kind. It alone can enable a person to learn and grow. This is why modern art is the freedom of his discoveries, his infinite variety and freshness. The same fifty years of experience has proven that traditional images, nudes, landscapes, still lifes - all lost their substance and not have anything of substance to offer today's man. Or, rather, the landscape, fruit bowl or mandolin can be accepted insofar as they are pretexts for the real thing - which has yet come to the forefront - that is to say, the painting itself and for itself. Thus, it was quite logical to take Cubism to its natural conclusions, and cut the traditional subject and give a final expression, in a clear and absolute freedom, the values of pure art such that they appear to the artist.
Abstract art came into being when, at about the same time and in different parts of Europe, it appeared a number of intrepid artists who have seen, a glance, both the testimony of an existing problem and demonstrated how it could be solved.
What happened between 1910 and 1917. The centers in question were in Paris, Munich, Moscow, Florence, Zurich and Amsterdam. The main protagonists were Kandinsky, Larionov, Kupka, Picabia, Mondrian, Delaunay, Malevich, Arp and Magnelli. Others soon followed in their wake. A hundred men came to replace those who virtually stopped painting (as Larionov), or who, for varying periods returned to figurative painting (Picabia, Delaunay, Magnelli). It gradually became clear that there were as many styles as there were really creative new artists. The largest of them had their usual group of servile imitators whose mediocrity has not long go unnoticed, as an art freed from the object implies and requires the absolute need for creativity. Thus, under the gay attire of "freedom", the invention became mandatory the new tyrant of art. Now any artist not to invent and become the happy prospector an autonomous world, should be ordered to hand. The art object has become and is now more than ever to find a personal mode of expression and inexhaustible, the image of our deep inner being.
This put an end to Harlequins, ray-fish, stuffed tomatoes and similar trifles. Subject in itself, serves only to lull the conscience of the artist uncreative, as he basks in the sweet oblivion in the arms of short-term of art that can offer the amateur, but nothing to wallow deep in the enjoyment.
It is in the multiple patterns of abstract art that modern man, who is also a collector, can recognize its own existence and to find again some substantial food. I mean he finds in it an answer to his own distinct sensibility, the sensibility of the city involved in the rhythm and technique of modern life, as well as a response to the need harmony and novelty, balance and surprise, complex and simple. It is not surprising, then, if abstract art, in spite of everything that tries to stand in its way, is to find one in the world and still more favorable, because it is the only art that coincides really with the age in which we live.
Each man is a complete world in itself, full of amazing potential, but every man is also a member of a family whose spiritual welfare he shares. The twentieth century is such a "family". He has already left a legacy infinitely precious, so that the eyes refuse to see and ears so refuse to hear.
Once we learned to admire the great Fauves and the Cubists, it behooves us to try to understand those who, having learned from its predecessors and canvases they painted in their days of struggle, have their own way own invented an independent art of painting.
It is, by some miracle, that this art highly individualistic, again and again summarizes the art of painting, when it is grafted on a certain sensitivity richly endowed, that is both honest with himself and able to give and to share.
Thus, the key to abstract art lies in self-discovery and exploitation, by an appropriate technique, this hidden store of virgin material we all carry within us, and we must find a way - and this is perhaps the hardest aspect of the artist's work - before it can be highlighted.
The next important issue is to consider each work in its own order, looking at his apparent trends and research of its autonomous laws. The greatest pleasure for those who care about art is more like it used to be, a matter of entering the object represented through a temperament, but to discover what that Whether in the depths of the artist dictates the intentions of his work: that is to say, to follow the same process step by step the composition, the understanding of the interior, much like an orchestra interprets music. The spokesman sensitive or lover of knowledge in the art can determine where and under what the artist has remained or has failed to remain true to himself. And it is precisely at the points where he is unfaithful we may have come closest to the crucial moment of discovery, the expansion of the self, the outpouring of the same past.
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