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the physical and create the conditions for putting an end to wars. In an enthusiastic essay on
Wassily Kandinsky he had written about the dialogue between the artist and the viewer, and the role of art as 'the educator of our inner life, the educator of our hearts and minds'. Van Doesburg subsequently adopted the view that the spiritual in man is nurtured specifically by abstract art, which he later described as 'pure thought, which does not signify a concept derived from natural phenomena but which is contained in numbers, measures, relationships, and abstract lines'. In his response to Piet Mondrian's
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1106:, were just a few of the exiled Europeans who arrived in New York. The rich cultural influences brought by the European artists were distilled and built upon by local New York painters. The climate of freedom in New York allowed all of these influences to flourish. The art galleries that primarily had focused on European art began to notice the local art community and the work of younger American artists who had begun to mature. Certain artists at this time became distinctly abstract in their mature work. During this period Piet Mondrian's painting
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Utopian
Reality: Reconstructing Culture in Revolutionary Russia and Beyond; Christina Lodder, Maria Kokkori, Maria Mileeva; BRILL, Oct 24, 2013 "Van Doesburg stated that the purpose of art was to imbue man with those positive spiritual qualities that were needed in order to overcome the dominance of
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similarly sees modernist abstraction as a function of the abstract power of money, equating all things equally as exchange-values. The social content of abstract art is then precisely the abstract nature of social existence—legal formalities, bureaucratic impersonalization, information/power—in the
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in art. This departure from accurate representation can be slight, partial, or complete. Abstraction exists along a continuum. Even art that aims for verisimilitude of the highest degree can be said to be abstract, at least theoretically, since perfect representation is impossible. Artwork which
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founded in 1931 as a more open group, provided a point of reference for abstract artists, as the political situation worsened in 1935, and artists again regrouped, many in London. The first exhibition of
British abstract art was held in England in 1935. The following year the more international
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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
1110:, 1939–1942, characterized by primary colors, white ground and black grid lines clearly defined his radical but classical approach to the rectangle and abstract art in general. Some artists of the period defied categorization, such as
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art disapproved of by the Nazi party. Then the exodus began: not just from the
Bauhaus but from Europe in general; to Paris, London and America. Paul Klee went to Switzerland but many of the artists at the Bauhaus went to America.
519:, 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
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applied mathematically based ideas to sculpture. The many types of abstraction now in close proximity led to attempts by artists to analyse the various conceptual and aesthetic groupings. An exhibition by forty-six members of the
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Many of those who were hostile to the materialist production idea of art left Russia. Anton
Pevsner went to France, Gabo went first to Berlin, then to England and finally to America. Kandinsky studied in Moscow then left for the
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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 color in flat areas – became the basis of a new visual art, later to be developed into
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and other more conservative directions of late 19th-century painting. The
Expressionists drastically changed the emphasis on subject matter in favor of the portrayal of psychological states of being. Although artists like
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and an attempt to reproduce an illusion of visible reality. By the end of the 19th century many artists felt a need to create a new kind of art which would encompass the fundamental changes taking place in
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845:. The philosophy underlying the teaching program was unity of all the visual and plastic arts from architecture and painting to weaving and stained glass. This philosophy had grown from the ideas of the
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Since the turn of the century, cultural connections between artists of the major
European cities had become extremely active as they strove to create an art form equal to the high aspirations of
2696:, Van Doesburg linked peace and the spiritual to a non-representational work of art, asserting that 'it produces a most spiritual impression...the impression of repose: the repose of the soul'."
68:. The sources from which individual artists drew their theoretical arguments were diverse, and reflected the social and intellectual preoccupations in all areas of Western culture at that time.
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takes liberties, e.g. altering color or form in ways that are conspicuous, can be said to be partially abstract. Total abstraction bears no trace of any reference to anything recognizable. In
480:. 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."
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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
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1161:'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.
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During the Nazi rise to power in the 1930s many artists fled Europe to the United States. By the early 1940s the main movements in modern art, expressionism, cubism, abstraction,
225:'s choice to work with abstract shapes correlate with the unnatural nature of her subject, in a time when abstraction" isn't yet a concept (she organized an exhibit in 1871).
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would see the quantum theories with their disintegration of conventional ideas of form and matter as underlying the divorce of the concrete and the abstract in modern art.
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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
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Abstract art, non-figurative art, non-objective art, and non-representational art are all closely related terms. They have similar, but perhaps not identical, meanings.
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believing that art was no longer something remote, but life itself. The artist must become a technician, learning to use the tools and materials of modern production.
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As visual art becomes more abstract, it develops some characteristics of music: an art form which uses the abstract elements of sound and divisions of time.
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who, while a modernist abstractionist, was a pure maverick in that she painted highly abstract forms while not joining any specific group of the period.
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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
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189:. Artistic independence for artists was advanced during the 19th century. An objective interest in what is seen can be discerned from the paintings of
1125:. In New York City there was an atmosphere which encouraged discussion and there was a new opportunity for learning and growing. Artists and teachers
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One socio-historical explanation that has been offered for the growing prevalence of the abstract in modern art—an explanation linked to the name of
829:: the circle, square and triangle become the spatial elements in abstract art; they are, like color, fundamental systems underlying visible reality.
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and
Alexandre Exter and others abandoned easel painting and diverted their energies to theatre design and graphic works. On the other side stood
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During the 1930s Paris became the host to artists from Russia, Germany, the Netherlands and other European countries affected by the rise of
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Patronage from the church diminished and private patronage from the public became more capable of providing a livelihood for artists. Three
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of shape, form, color and line to create a composition which may exist with a degree of independence from visual references in the world.
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221:, (1872), placed greater emphasis on visual sensation than the depiction of objects. Even earlier than that, with her 'spirit' drawings,
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2614:
Watercolors by Kandinsky at the Guggenheim Museum: a selection from the Solomon R. Guggenheim Museum and the Hilla von Rebay Foundation
2616:, 1991. In 1871 the family moved to Odessa, where the young Kandinsky attended the Gymnasium and learned to play the cello and piano.
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popularized the ancient wisdom of the sacred books of India and China in the early years of the century. It was in this context that
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2008:
782:. By the mid-1920s the revolutionary period (1917 to 1921) when artists had been free to experiment was over; and by the 1930s only
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revolutionized the Paris art world with "wild", multi-colored, expressive landscapes and figure paintings that the critics called
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2231:, Cécile Debray, Françoise Lucbert, Musées de Châteauroux, Musée Fabre, exhibition catalogue, Éditions Cercle d'art, Paris, 2000
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became important bridge figures between the newly arrived European Modernists and the younger American artists coming of age.
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1534:), October 1914-March 1915, No. 17, Group IX, Series SUW (this abstract work was never exhibited during af Klint's lifetime)
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With his expressive use of color and his free and imaginative drawing Henri Matisse comes very close to pure abstraction in
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was evolving his abstract language, of horizontal and vertical lines with rectangles of color, between 1915 and 1919,
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setting out a manifesto defining an abstract art in which the line, color and surface only are the concrete reality.
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From 1909 to 1913 many experimental works in the search for this 'pure art' had been created by a number of artists:
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1332:—is that such abstraction is a response to (and a reflection of) the growing abstraction of social relations in
503:, held in January 1912 (in Moscow) included not only paintings sent from Munich, but some members of the German
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2417:"The Fiftieth Anniversary of the Guggenheim Museum, Kandinsky Retrospective, Guggenheim Museum, New York, 2009"
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contained work by the Neo-Plasticists as well as abstractionists as varied as Kandinsky, Anton Pevsner and
806:, that all our senses respond to various stimuli but the senses are connected at a deeper aesthetic level.
395:. The raw language of color as developed by the Fauves directly influenced another pioneer of abstraction,
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The term "Abstraction" spoken about at Museum of Modern Art by Nelson Goodman of Grove Art Online
1905:
1484:), 1913-14, cut and pasted colored paper, gouache and charcoal on paperboard, 43.5 Ă— 33 cm,
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676:, created the Architectonic Constructions and Spatial Force Constructions between 1916 and 1921.
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suggested a link between non-representational works of art and ideals of peace and spirituality.
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painting, are a few directions relating to abstraction in the second half of the 20th century.
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798:, himself an amateur musician, was inspired by the possibility of marks and associative color
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also had an important influence on the early formations of the geometric abstract styles of
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2502:"Museum of Modern Art, New York, LĂ©opold Survage, Colored Rhythm (Study for the film) 1913"
421:, the art movement that directly opened the door to abstraction in the early 20th century.
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2362:"National Gallery of Art, Washington, DC., Francis Picabia, The Procession, Seville, 1912"
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499:'s knowledge of modern art movements must have been extremely up-to-date, for the second
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2038:"Abstract Art – What Is Abstract Art or Abstract Painting, retrieved January 7, 2009"
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2448:"Philadelphia Museum of Art, Disks of Newton (Study for "Fugue in Two Colors") 1912"
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collaborated on paintings and sculpture using organic/geometric forms. The Polish
487:. Ideas were able to cross-fertilize by means of artist's books, exhibitions and
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2473:"Musée National d'Art Moderne, Centre Georges Pompidou, Paris, Robert Delaunay,
1975:
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in which color is conspicuously and deliberately altered vis-a-vis reality, and
48:
44:
2612:
Susan B. Hirschfeld, Solomon R. Guggenheim Museum, Hilla von Rebay Foundation,
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65:
57:
2629:
Herbert Bayer ed., Museum of Modern Art, publ. Charles T Banford, Boston,1959
83:, for instance, one is unlikely to find references to naturalistic entities.
1920:
1882:
1817:
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854:
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484:
444:), 1912, oil on canvas, 210 Ă— 200 cm, Narodni Galerie, Prague. Published in
266:
262:
203:
2596:, Twentieth Century masters series, Random House Incorporated, 1987, p. 7,
684:
was the aesthetic which Mondrian, Theo van Doesburg and other in the group
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and can transcend 'every-day' experience, reaching a spiritual plane. The
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gives some impression of the inter-connectedness of culture at the time: "
3146:
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1807:
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and the sensuous use of color seen in the work of painters as diverse as
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gained control in 1932, The Bauhaus was closed. In 1937 an exhibition of
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685:
647:
405:, based on CĂ©zanne's idea that all depiction of nature can be reduced to
249:
they were instrumental to the advent of abstraction in the 20th century.
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2278:
3055:
2527:"Rijksmuseum Kröller-Müller, Otterlo, Netherlands, Piet Mondrian, 1913"
1762:
908:
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111:
61:
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Art with a degree of independence from visual references in the world
2170:"Hilton Kramer, "Mondrian & mysticism: My long search is over",
1045:
907:
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428:
338:
152:
75:
51:
up to the middle of the 19th century, underpinned by the logic of
18:
2063:"Themes in American Art – Abstraction, retrieved January 7, 2009"
1787:
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and the act of painting itself, became of primary importance to
1075:
406:
3098:
2894:
2890:
74:
Abstraction indicates a departure from reality in depiction of
1292:
525:
which had emerged from the printers while he was in Germany".
1245:
are seen today as newer permutations. Other examples include
118:, which alters the forms of the real-life entities depicted.
963:
to be too indefinite a collection he published the journal
2144:
Paying the Piper: Causes and Consequences of Art Patronage
177:
which contributed to the development of abstract art were
1378:, 1910-12, oil on canvas, 41 Ă— 27 cm. Reproduced in
375:
and several other young artists including the pre-cubist
1214:, op art, abstract expressionism, color field painting,
658:, used lines like rays of light to make a construction.
261:
Additionally in the late 19th century in Eastern Europe
1309:
746:'s slogan, and that of all the future Constructivists.
201:
and from them to the Impressionists who continued the
110:
that embody partial abstraction would be for instance
1454:
II), 1912, oil on canvas, 120.3 Ă— 140.3 cm, The
877:. In 1925 the school was moved to Dessau and, as the
1403:, 1911-12, pastel on unidentified support (now lost)
106:
are often totally abstract. Among the very numerous
3043:
2988:
2928:
2841:. Movements in Modern Art series. Tate Publishing.
2793:
The World Backwards: Russian Futurist Books 1912–16
2279:"Francis Picabia, Caoutchouc, c. 1909, MNAM, Paris"
1645:
Composition with Yellow, Black, Blue, Red, and Gray
1601:, 1920, relief, limestone, polychrome, 80 cm,
688:intended to reshape the environment of the future.
448:
1912, Exhibited at the 1912 Salon d'Automne, Paris.
2734:David Cunningham, 'Asceticism Against Colour', in
2304:"Museum of Modern Art, New York, Francis Picabia,
2200:"Art View; How the Spiritual Infused the Abstract"
809:Closely related to this, is the idea that art has
300:and his colleagues in the early 20th century. The
211:. Early intimations of a new art had been made by
245:drew influences principally from the work of the
662:completed his first entirely abstract work, the
2479:(in French). Centrepompidou.fr. Archived from
734:Many of the abstract artists in Russia became
218:Nocturne in Black and Gold: The falling Rocket
163:Nocturne in Black and Gold: The Falling Rocket
3110:
2906:
672:, in 1915. Another of the Suprematist group'
8:
1579:, 1919, oil on canvas, 53.8 Ă— 64.8 cm,
1422:, 1912, oil on canvas, 73.6 Ă— 92.1 cm,
996:. Hepworth, Nicholson and Gabo moved to the
472:named the work of several artists including
2268:, British museum Publications, London, 1978
1628:), 1921, oil on canvas, 200.5 Ă— 110 cm
885:, 'Entartete Kunst' contained all types of
3192:Pages with image sizes containing extra px
3117:
3103:
3095:
2913:
2899:
2891:
2723:New York Painting and Sculpture: 1940–1970
2127:, "The Early Medici as Patrons of Art" in
841:at Weimar, Germany was founded in 1919 by
2725:, Metropolitan Museum of Modern Art, 1969
99:) art often contain partial abstraction.
2552:The Russian Experiment in Art, 1863–1922
2003:, University of California Press, 1969,
1992:
1486:Scottish National Gallery of Modern Art
1361:
30:, 134 cm (52.7 in.), private collection
2198:Brenson, Michael (December 21, 1986).
2087:Whistler versus Ruskin, Princeton edu.
1050:A 1939–1942 oil on canvas painting by
2065:. Nga.gov. 2000-07-27. Archived from
507:group, while from Paris came work by
446:Au Salon d'Automne "Les Indépendants"
371:At the beginning of the 20th century
269:religious philosophy as expressed by
7:
558:Untitled (First Abstract Watercolor)
2862:How to look at an abstract painting
2576:. Harvard University Press. p. 62.
2394:. Faculty.txwes.edu. Archived from
2392:(First Abstract Watercolor), 1910"
2333:"MoMA, New York, Francis Picabia,
2210:from the original on July 23, 2020
2040:. Painting.about.com. 2011-06-07.
1458:, New York. Exhibited at the 1913
304:also inspired the abstract art of
14:
2769:Aniela Jaffé, in C. G. Jung ed.,
2669:, p. 104, Thames and Hudson, 1990
2244:, Wiley-Blackwell, 2003, p. 189.
802:The idea had been put forward by
276:had a profound impact on pioneer
87:and total abstraction are almost
3170:
3079:
3078:
2044:from the original on 7 July 2011
1697:
1674:
1655:
1633:
1610:
1587:
1565:
1539:
1516:
1493:
1466:
1436:
1408:
1389:
1364:
1296:
460:exhibited his abstract painting
3217:Paintings by movement or period
2641:Geometric Abstraccion 1926-1949
2508:from the original on 2010-12-22
2454:from the original on 2013-10-02
2343:from the original on 2013-09-11
2314:from the original on 2013-09-11
2285:from the original on 2015-04-02
2229:La Section d'or, 1912–1920–1925
2180:from the original on 2012-03-09
2157:A Concise History of Modern Art
894:Abstraction in Paris and London
586:Amorpha, Fugue en deux couleurs
576:had painted the Orphist works,
462:Amorpha, Fugue en deux couleurs
438:Amorpha, Fugue en deux couleurs
102:Both geometric abstraction and
2860:Rump, Gerhard Charles (1985).
2475:Formes Circulaires, Soleil n°2
1401:Based on Leaf Forms and Spaces
1078:were represented in New York:
1000:in Cornwall to continue their
646:And the search continued: The
602:Formes Circulaires, Soleil n°2
1:
2643:. Dallas Museum of Fine Arts.
347:
2881:Tate UK "Abstract art is..."
2814:Stangos, Nikos, ed. (1981).
1581:The Art Institute of Chicago
976:exhibition was organized by
612:(Study for the film), 1913;
501:Knave of Diamonds exhibition
452:During the 1912 Salon de la
365:Musée national d'art moderne
2566:Arnold Schoenberg's Journey
1692:restaurant mural, Stockholm
1058:. Responding to it, fellow
288:. The mystical teaching of
3235:
2386:Stan Rummel (2007-12-13).
2115:, retrieved April 12, 2009
1505:French Window at Collioure
1456:Metropolitan Museum of Art
1426:, New York. Reproduced in
1183:Post-painterly abstraction
1168:
1011:
897:
853:. Among the teachers were
695:
629:French Window at Collioure
596:painted a series entitled
319:
130:
3168:
3132:
3074:
2682:, Thames and Hudson, 1990
2554:, Thames and Hudson, 1962
2364:. Nga.gov. Archived from
2146:, Univ. of Illinois Press
2133:, pp. 35–57, London, 1966
1743:American Abstract Artists
1622:Composition bleu et jaune
1153:. While during the 1940s
168:Detroit Institute of Arts
2886:Abstract Art Demystified
2747:M. Hardt/K. Weeks eds.,
2639:Seuphor, Michel (1972).
2529:. Kmm.nl. Archived from
2504:. Moma.org. 1914-07-15.
2242:Art in theory, 1900–2000
1649:Art Institute of Chicago
1283:Veronica Ruiz de Velasco
847:Arts and Crafts movement
2795:. The British Library.
2791:Compton, Susan (1978).
2625:Walter Gropius et al.,
2096:Retrieved June 13, 2010
1509:Centre Georges Pompidou
1139:expressionistic gesture
1119:Abstract expressionists
1030:British Constructivists
921:Staatsgalerie Stuttgart
811:The spiritual dimension
800:resounding in the soul.
550:The Procession, Seville
3000:Abstract expressionism
2816:Concepts of Modern Art
2773:(1978) pp. 288–89, 303
2281:. Francispicabia.org.
2092:June 16, 2010, at the
1733:Abstract expressionism
1376:Les Arbres (The Trees)
1229:In the United States,
1171:Abstract expressionism
1067:
923:
731:
650:(Luchizm) drawings of
449:
368:
213:James McNeill Whistler
170:
158:James McNeill Whistler
127:19th century in Europe
31:
3126:Geometric abstraction
2837:Gooding, Mel (2001).
2818:. Thames and Hudson.
1858:Representation (arts)
1813:Geometric abstraction
1603:Kröller-Müller Museum
1241:and the paintings of
1204:geometric abstraction
1049:
974:Abstract and Concrete
949:JoaquĂn Torres-GarcĂa
911:
821:, Wassily Kandinsky,
764:Władysław Strzemiński
717:
570:Picture with a Circle
470:Guillaume Apollinaire
432:
342:
215:who, in his painting
156:
91:. But figurative and
81:geometric abstraction
22:
2940:Abstract photography
2709:, Studio Vista, 1968
2592:François Le Targat,
2563:Shawn, Allen. 2003.
2483:on September 7, 2012
2388:"Wassily Kandinsky,
2335:Dances at the Spring
2176:. Newcriterion.com.
1916:Abstract photography
1713:Museum of Modern Art
1682:Otto Gustaf Carlsund
1577:The Railway Crossing
1424:Museum of Modern Art
1042:Abstraction-Création
969:Abstraction-Création
815:Theosophical Society
706:Constructivism (art)
598:Simultaneous Windows
546:Dances at the Spring
3030:Organic abstraction
2771:Man and his Symbols
2450:. Philamuseum.org.
2266:The World Backwards
2240:Harrison and Wood,
2159:, Thames and Hudson
1828:Lyrical abstraction
1823:History of painting
1667:Fire in the Evening
1275:Helen Frankenthaler
1247:Lyrical Abstraction
1216:monochrome painting
1212:lyrical abstraction
1179:Lyrical abstraction
947:group organized by
849:in England and the
698:Russian avant-garde
692:Russian avant-garde
590:Fugue in Two Colors
582:Fugue in Two Colors
493:The World Backwards
468:) (1912), the poet
466:Fugue in Two Colors
442:Fugue in Two Colors
417:became, along with
247:Post-Impressionists
104:lyrical abstraction
47:had been, from the
2965:Hard-edge painting
2760:Cunningham, p. 114
2749:The Jameson Reader
2571:2023-01-15 at the
2533:on October 2, 2013
2204:The New York Times
2142:Judith Balfe, ed.
2111:2012-01-12 at the
1906:Abstract animation
1334:industrial society
1308:. You can help by
1271:Richard Diebenkorn
1200:hard-edge painting
1108:Composition No. 10
1068:
1056:Composition No. 10
1022:American Modernism
980:including work by
924:
875:László Moholy-Nagy
851:Deutscher Werkbund
804:Charles Baudelaire
732:
729:The Russian Museum
652:Natalia Goncharova
640:The Yellow Curtain
634:View of Notre-Dame
622:Composition No. 11
450:
425:Early abstract art
369:
335:Fauvism and Cubism
316:Early 20th century
223:Georgiana Houghton
171:
141:Post-Impressionism
89:mutually exclusive
32:
3179:
3178:
3092:
3091:
3010:All-over painting
2864:. Inter Nationes.
2848:978-1-85437-302-1
2825:978-0-500-20186-2
2802:978-0-7141-0396-9
2655:Abstract Painting
2627:Bauhaus 1919–1928
2264:Susan P Compton,
2254:books.google.com"
2250:978-0-631-22708-3
2174:, September 1995"
1999:Rudolph Arnheim,
1951:Literary nonsense
1941:Experimental film
1926:Avant-garde music
1626:Composition jaune
1547:Theo van Doesburg
1444:Wassily Kandinsky
1330:Theodor W. Adorno
1326:
1325:
1251:Robert Motherwell
1159:Willem de Kooning
1147:Robert Motherwell
1064:Theo van Doesburg
1008:Late 20th century
961:Theo van Doesburg
859:Wassily Kandinsky
796:Wassily Kandinsky
784:socialist realism
748:Varvara Stepanova
562:Improvisation 21A
554:Wassily Kandinsky
397:Wassily Kandinsky
290:Georges Gurdjieff
286:Wassily Kandinsky
28:Le Premier Disque
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2745:
2739:
2738:55 (2005) p. 110
2732:
2726:
2719:Henry Geldzahler
2716:
2710:
2705:Gillian Naylor,
2703:
2697:
2689:
2683:
2678:Anna Moszynska,
2676:
2670:
2665:Anna Moszynska,
2663:
2657:
2653:Michel Seuphor,
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1888:Western painting
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1569:
1555:The Three Graces
1543:
1520:
1497:
1470:
1448:Improvisation 27
1440:
1412:
1393:
1368:
1340:Frederic Jameson
1321:
1318:
1300:
1293:
1112:Georgia O'Keeffe
1092:Jacques Lipchitz
990:Barbara Hepworth
959:. Criticized by
772:Henryk StaĹĽewski
752:Kazimir Malevich
719:Kazimir Malevich
660:Kasimir Malevich
656:Mikhail Larionov
522:Der Blaue Reiter
352:
349:
322:Western painting
306:Kasimir Malevich
207:painting of the
149:Spiritualist art
93:representational
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2001:Visual Thinking
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1936:Concrete poetry
1911:Abstract comics
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1416:Francis Picabia
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1316:
1313:
1306:needs expansion
1291:
1233:as seen in the
1193:
1169:Main articles:
1167:
1143:Jackson Pollock
1123:New York School
1044:
1012:Main articles:
1010:
957:Kurt Schwitters
945:Cercle et Carré
940:Katarzyna Kobro
928:totalitarianism
913:Kurt Schwitters
906:
898:Main articles:
896:
835:
792:
768:Katarzyna Kobro
744:Vladimir Tatlin
736:Constructivists
712:
696:Main articles:
694:
606:LĂ©opold Survage
594:Robert Delaunay
578:Discs of Newton
574:František Kupka
530:Francis Picabia
509:Robert Delaunay
474:Robert Delaunay
458:František Kupka
434:František Kupka
427:
361:Centre Pompidou
350:
344:Francis Picabia
337:
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320:Main articles:
318:
310:František Kupka
209:Barbizon school
195:J. M. W. Turner
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131:Main articles:
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39:visual language
24:Robert Delaunay
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3142:Constructivism
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2069:on 8 June 2011
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1080:Marcel Duchamp
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1002:constructivist
953:Michel Seuphor
904:St Ives School
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883:degenerate art
863:Johannes Itten
843:Walter Gropius
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823:Hilma af Klint
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740:Art into life!
702:Futurism (art)
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610:Colored Rhythm
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377:Georges Braque
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2398:on 2012-07-19
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1506:
1502:
1501:Henri Matisse
1496:
1491:
1487:
1483:
1479:
1475:
1474:Pablo Picasso
1469:
1464:
1461:
1457:
1453:
1449:
1445:
1439:
1434:
1431:
1430:
1425:
1421:
1417:
1411:
1406:
1402:
1398:
1392:
1387:
1383:
1382:
1377:
1373:
1367:
1362:
1357:
1355:
1353:
1352:Post-Jungians
1350:By contrast,
1348:
1346:
1341:
1337:
1335:
1331:
1320:
1311:
1307:
1304:This section
1302:
1299:
1295:
1294:
1288:
1286:
1284:
1280:
1279:Joan Mitchell
1276:
1272:
1268:
1264:
1260:
1256:
1255:Patrick Heron
1252:
1248:
1244:
1240:
1237:sculpture of
1236:
1232:
1231:Art as Object
1227:
1225:
1224:shaped canvas
1221:
1217:
1213:
1209:
1205:
1201:
1197:
1192:
1188:
1184:
1180:
1176:
1172:
1164:
1162:
1160:
1156:
1155:Arshile Gorky
1152:
1148:
1144:
1140:
1136:
1132:
1128:
1124:
1120:
1115:
1113:
1109:
1105:
1101:
1097:
1093:
1089:
1088:Piet Mondrian
1085:
1084:Fernand LĂ©ger
1081:
1077:
1073:
1065:
1061:
1057:
1053:
1052:Piet Mondrian
1048:
1043:
1039:
1038:Groupe Espace
1035:
1034:Systems Group
1031:
1027:
1023:
1019:
1015:
1007:
1005:
1003:
999:
995:
994:Ben Nicholson
991:
987:
983:
982:Piet Mondrian
979:
978:Nicolete Gray
975:
970:
966:
962:
958:
954:
950:
946:
941:
937:
933:
932:Sophie Tauber
929:
922:
918:
914:
910:
905:
901:
893:
891:
888:
884:
880:
876:
872:
868:
864:
860:
856:
852:
848:
844:
840:
832:
830:
828:
824:
820:
819:Piet Mondrian
816:
812:
807:
805:
801:
797:
789:
787:
786:was allowed.
785:
781:
775:
773:
769:
765:
761:
757:
756:Anton Pevsner
753:
749:
745:
741:
737:
730:
726:
725:
720:
716:
711:
707:
703:
699:
691:
689:
687:
683:
679:
678:Piet Mondrian
675:
674:Liubov Popova
671:
670:
665:
661:
657:
653:
649:
644:
642:
641:
636:
635:
630:
625:
623:
619:
618:Tableau No. 1
615:
614:Piet Mondrian
611:
607:
603:
599:
595:
591:
587:
583:
579:
575:
571:
567:
563:
559:
555:
551:
547:
543:
542:
537:
536:
531:
526:
524:
523:
518:
517:Fernand LĂ©ger
514:
513:Henri Matisse
510:
506:
502:
498:
497:David Burliuk
494:
490:
486:
481:
479:
475:
471:
467:
463:
459:
455:
447:
443:
439:
435:
431:
424:
422:
420:
416:
412:
408:
404:
400:
398:
394:
390:
386:
382:
378:
374:
373:Henri Matisse
366:
362:
358:
357:
345:
341:
334:
331:
327:
323:
315:
313:
311:
307:
303:
299:
298:Piet Mondrian
295:
291:
287:
283:
280:artists like
279:
275:
272:
268:
264:
259:
257:
252:
248:
244:
240:
235:
234:Impressionism
230:
229:Expressionist
226:
224:
220:
219:
214:
210:
206:
205:
200:
199:Camille Corot
196:
192:
188:
187:Expressionism
184:
183:Impressionism
180:
176:
175:art movements
169:
165:
164:
159:
155:
150:
146:
145:Expressionism
142:
138:
137:Impressionism
134:
126:
121:
119:
117:
113:
109:
108:art movements
105:
100:
98:
94:
90:
86:
82:
77:
72:
69:
67:
63:
59:
54:
50:
46:
42:
40:
36:
29:
25:
21:
3197:Abstract art
3137:Concrete art
3044:Predecessors
2945:Concrete art
2922:Abstract art
2921:
2861:
2856:
2839:Abstract Art
2838:
2833:
2815:
2810:
2792:
2787:
2770:
2765:
2756:
2748:
2743:
2735:
2730:
2722:
2714:
2706:
2701:
2693:
2687:
2680:Abstract Art
2679:
2674:
2667:Abstract Art
2666:
2661:
2654:
2649:
2640:
2634:
2626:
2621:
2613:
2608:
2593:
2588:
2564:
2559:
2551:
2546:
2535:. Retrieved
2531:the original
2521:
2510:. Retrieved
2496:
2485:. Retrieved
2481:the original
2474:
2467:
2456:. Retrieved
2442:
2431:. Retrieved
2424:the original
2411:
2400:. Retrieved
2396:the original
2389:
2381:
2370:. Retrieved
2366:the original
2356:
2345:. Retrieved
2339:. Moma.org.
2334:
2327:
2316:. Retrieved
2310:. Moma.org.
2305:
2298:
2287:. Retrieved
2273:
2265:
2260:
2241:
2236:
2228:
2224:
2212:. Retrieved
2203:
2193:
2182:. Retrieved
2171:
2164:
2156:
2151:
2143:
2138:
2128:
2120:
2101:
2082:
2071:. Retrieved
2067:the original
2057:
2046:. Retrieved
2032:
2021:Abstract Art
2020:
2015:
2000:
1995:
1981:Sound poetry
1961:Modern dance
1773:Concrete art
1708:
1690:concrete art
1685:
1666:
1644:
1625:
1621:
1599:Deux figures
1598:
1595:Joseph Csaky
1576:
1554:
1550:
1531:
1527:
1504:
1481:
1477:
1451:
1447:
1429:Du "Cubisme"
1427:
1419:
1400:
1381:Du "Cubisme"
1379:
1375:
1349:
1338:
1327:
1314:
1310:adding to it
1305:
1243:Frank Stella
1230:
1228:
1222:, neo-Dada,
1194:
1165:21st century
1131:Hans Hofmann
1116:
1107:
1104:André Breton
1096:André Masson
1069:
1055:
973:
964:
951:assisted by
925:
916:
867:Josef Albers
836:
810:
808:
799:
793:
776:
739:
733:
724:Black Square
722:
669:Black Square
667:
645:
638:
637:(1914), and
632:
628:
626:
621:
617:
609:
601:
597:
589:
585:
584:), 1912 and
581:
577:
569:
568:series, and
565:
561:
557:
549:
545:
539:
533:
527:
520:
492:
482:
465:
461:
454:Section d'Or
451:
445:
441:
437:
401:
381:André Derain
370:
354:
302:spiritualism
260:
251:Paul CĂ©zanne
239:Edvard Munch
227:
216:
202:
172:
161:
101:
73:
70:
43:
35:Abstract art
34:
33:
27:
3162:Suprematism
3015:Color Field
2992:abstraction
2980:Suprematism
2960:Fractal art
2932:abstraction
2707:The Bauhaus
1976:Noise music
1878:Synchromism
1868:Suprematism
1768:Color field
1753:Art periods
1748:Art history
1728:Abstraction
1488:, Edinburgh
1460:Armory Show
1397:Arthur Dove
1263:Sam Francis
1239:Donald Judd
1196:Digital art
1191:Minimal art
1175:Color field
1151:Franz Kline
1135:Mark Rothko
965:Art Concret
917:Das Undbild
900:Marlow Moss
887:avant-garde
871:Anni Albers
833:The Bauhaus
710:Marlow Moss
664:Suprematist
643:from 1915.
604:(1912–13);
580:(Study for
538:, c. 1909,
351: 1909
271:theosophist
243:James Ensor
179:Romanticism
133:Romanticism
53:perspective
49:Renaissance
45:Western art
26:, 1912–13,
3212:Modern art
3186:Categories
3152:Minimalism
2970:Minimalism
2930:Geometric
2537:2013-09-29
2512:2013-09-29
2487:2013-09-29
2477:(1912–13)"
2458:2013-09-29
2433:2013-09-29
2402:2013-09-29
2372:2013-09-29
2347:2013-09-29
2318:2013-09-29
2306:The Spring
2289:2013-09-29
2184:2012-02-26
2073:2011-06-11
2048:2011-06-11
1987:References
1873:Surrealism
1863:Spatialism
1833:Minimalism
1715:, New York
1688:, 1930, a
1420:Tarentelle
1317:April 2023
1267:Cy Twombly
1235:Minimalist
1220:assemblage
1208:minimalism
1072:surrealism
1026:Surrealism
879:Nazi party
616:, painted
566:Impression
541:The Spring
535:Caoutchouc
505:Die BrĂĽcke
489:manifestos
385:Raoul Dufy
356:Caoutchouc
265:and early
66:philosophy
58:technology
2594:Kandinsky
1921:Atonality
1883:Vorticism
1818:Hard-edge
1803:Formalism
1709:Onement 1
1663:Paul Klee
1605:, Otterlo
1557:), 1917,
1343:world of
1187:Sculpture
1100:Max Ernst
1014:Modernism
986:Joan MirĂł
855:Paul Klee
760:Naum Gabo
592:), 1912;
485:modernism
278:geometric
267:modernist
263:mysticism
204:plein air
97:realistic
3147:De Stijl
3084:Category
3061:Futurism
3035:Tachisme
3025:Nuagisme
2990:Lyrical
2955:De Stijl
2569:Archived
2506:Archived
2452:Archived
2390:Untitled
2341:Archived
2312:Archived
2283:Archived
2208:Archived
2178:Archived
2109:Archived
2090:Archived
2042:Archived
1808:Futurism
1793:De Stijl
1721:See also
1711:, 1948,
1647:, 1921,
1532:The Swan
1507:, 1914,
1289:Analysis
1121:and the
1060:De Stijl
998:St. Ives
936:Jean Arp
919:, 1919,
827:geometry
727:, 1923,
686:De Stijl
631:(1914),
624:, 1913.
608:created
572:(1911);
560:, 1913,
556:painted
552:, 1912;
544:, 1912,
532:painted
456:, where
166:(1874),
3056:Fauvism
2781:Sources
2337:, 1912"
2308:, 1912"
2214:May 18,
1848:Orphism
1763:Bauhaus
1511:, Paris
1358:Gallery
1157:'s and
1062:artist
1054:titled
839:Bauhaus
780:Bauhaus
478:Orphism
419:Fauvism
393:Fauvism
367:, Paris
326:Fauvism
122:History
112:fauvism
76:imagery
62:science
3157:Op art
3051:Cubism
2975:Op art
2845:
2822:
2799:
2600:
2580:
2248:
2007:
1853:Rayism
1843:Op Art
1783:Cubism
1669:, 1929
1528:Svanen
1384:, 1912
1281:, and
1189:, and
1149:, and
1102:, and
1074:, and
1040:, and
1004:work.
873:, and
770:, and
708:, and
648:Rayist
564:, the
411:sphere
403:Cubism
330:Cubism
328:, and
256:Cubism
147:, and
116:cubism
2427:(PDF)
2420:(PDF)
1686:Rapid
790:Music
37:uses
3207:Dada
2843:ISBN
2820:ISBN
2797:ISBN
2598:ISBN
2578:ISBN
2246:ISBN
2216:2020
2005:ISBN
1788:Dada
1482:TĂŞte
1478:Head
1129:and
1076:dada
992:and
934:and
902:and
837:The
758:and
742:was
654:and
620:and
600:and
548:and
515:and
415:cone
413:and
407:cube
387:and
308:and
292:and
284:and
241:and
185:and
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
