This article represents some of my own personal and subjective viewpoints and realities as a possible artist about abstract art with certain references to facts that are in agreement in doing what I believe myself regarding nature, birth, growth and also the evolution of the abstract art outside of the boundaries from the esoteric terms of the art academia.
To use a basic and fundamental go through the subject, we ought to first know very well what the word abstract means before we could tackle the understanding of “abstract art” itself; so we learn that abstract with this sense and as a verb methods to extract or remove and surprisingly just as one adjective means challenging to understand; abstruse. And as a transitive verb it way to take away, remove. It’s origin comes from Latin abstrahere ‘draw away’ or ‘draw from.’
Thus, we are able to conclude that abstract, is usually viewed as a form of art that will not depict whatever resembled the goal or material world; instead it represented new creations that very subjectively were expressions with the inner substance along with the spirit in the artist and quite often through a profound spontaneity that brings out the inner world from the artist.
So, abstract art, being the merchandise of this very natural, uninhibited and unpremeditated impulse without any external stimulus, is intrinsic and is probably the very basic nature and the make up with the artist, as the true influence behind his creations.
As I evolved through my own, personal representational art and became more acquainted with the history of art, I discovered that abstract art had its roots inside very early dawn of human history when man started to draw about the walls of his cave. These early abstract arts, abstract drawings and abstract paintings – sometimes embellished with organic dyes – often tried to capture the main nature along with the quality in the objects instead of the actual appearance ones.
As the art historians and art critics formulated their opinions and ideas into prints, more esoteric terms spun off of the subject under “non-objective art,” “non-representational art,” and “non-figurative art.” In the joy of aesthetics, since none with the principles of making art are actually precisely formulated, this specific branch of humanities have their own critics galore with many different schools of divergent opinions and thoughts, where esoteric lectures and opinions are followed with open jaws in place of reason, personal expressions suffers under the cloud of confusion.
Centuries some time before the birth of abstract expressionism in America, highly figurative arts had existed within the East, namely in the Islamic culture, where calligraphy also as a non-figurative art is taught as being a subject starting sometimes as early as in primary schools, as great emphasis lies upon the pupils’ acquiring and developing skills in calligraphy, because art of handwriting.
In the Western culture, abstract designs are found in many forms. But abstract arts are uniquely distinguished in composition form with regards to decorative art and craft, wherein abstract art, the final results of creation, are spontaneous snapshots from the artist’s thoughts, emotions, along with the introspection through which he creates his work of abstract art.
Abstract Expressionism, as you may know it today, was given birth to in America inside the mid last century following a massive exodus with the European avant- garde artists to New York City, making town the center of the art world; a title that had been held by Paris. The contemporary American artists were immensely affected by the influx on this new talent that brought forth the very welcoming freedom of personal expression from the vehicle of spontaneity inside absence from the boundaries and limitations of conventional forms.
The arrival of abstract expressionism in New York was the dawn of your new peaceful artistic revolution through which the artist begun to rebel overtly contrary to the status quo. He began a new era where he could freely create for the future and change the present scene to get a better tomorrow.
Some in the pioneers in abstract expressionism, including Jackson Pollock, Mark Rothko, Willem de Kooning, became synonymous with New York School and action painting because they played an important role of what became deservedly referred to as avant-garde; a fresh realm of freedom for your artist to produce and construct with an impulse that surmounted any rational and objective realm of reason.
On the more textural side, Jackson Pollock began to re-arrange his easel and painted because he pleased, expressing himself by pouring the paint from the inside unto the canvas, as they felt. Pollock, as one in the most mavericks with the era, used also his body just as one instrument to create with, as he moved rapidly around his large canvases on the floor, spattering interlacing patterns of paint, like an emotional roller coaster, drawing the viewer into its rhythmic flow of movement, apparently into an infinity of space.
In great contrast to Pollock, Barnett Newman’s color-field paintings, are open fields of vast empty spaces to the viewer to walk into them and imagine the things they wish to place in them.
Now, for the sake of simplicity, we’re able to categorize art into only representational art and abstract art. Representational art being what we instantly recognize in association to familiar objects, vs. abstract art that requires our considered to perceive the composition with the art and the comparison in our observation with the conclusions we’ve got made within the past, so that you can arrive inside the immediate instance, where we are. Thus, in your observation of abstract art, the presence or the absence of any emotional responses, brought about because result of understanding the abstract art, improves the question of, what is truly an abstract art and when does it become successful.
Let’s suppose we are taking a look at a representational art, a scenery where it depicts a mossy wooded area cloaked in a very low fog having a cascading shallow stream running through it. We can all agree in what we are considering, appreciate the grade of its beauty, and a few of us become awestricken by its magic, and even feel the mist within the air and smell the moss. We like to think about it being a pleasant experience. We sense it is peaceful, because it has the tendency to make us feel great. It helps us – even though it is for any brief moment – forget our troubles, and transforms our disturbances into a fresh level of calm, concise that we will be there, inside our imagination. We leave behind the painting and look at other paintings that will not produce the identical thoughts and feelings, and that we turn and look at it repeatedly, wanting to have more of the same pleasant experience. Pleasure is what we should are experiencing.
This could be the emotional reaction we feel towards this very representational art that we fully understand. It communicated to us a particular message inside boundaries of the technical expertise, through which it was created. The technical expertise wasn’t your initial visual attraction, however. It was the message that it communicated to us visually, that attracted us. The virtuosity by which it was created becomes secondary for the significance from the message and also the quality of the company’s delivery. Although the content doesn’t have to have exactly the same meaning for each and every viewer, it really is the mixture of both, the message as well as the technical expertise that literally brings about an realizing that causes the viewer to reply emotionally.
From sketching and carving with sharp stones around the walls of his cave, for the magnificence of today’s technology, man has journeyed via an incredible evolution in the arts among a great many other dynamics of life. From those who have accepted the boundaries of these culture and environmental factors, have remained true and faithful to what they were permitted and expected to create in the form of various representational and figurative arts. But the greater precocious, who had an awareness of higher kind of existence and true potential, desired to move past the obvious without tolerance for suppression and entrapment. They took over as visionaries who escaped and sought freedom of expression elsewhere, the place that the attainment of that freedom was possible.
A great number of European artists and teachers for example Joseph Albers and Hans Hofmann transferred to America in mid twentieth century and made New York the newest Art Center of the world by leaving Paris behind. They brought using them that very freedom of spontaneity to generate paintings that became what we should know today as abstract expressionism. As unique as our finger prints, each expression, became a brand new aesthetic signature to reckon with.
However, principle roots in the transition from representational art to abstract art and expressionistic paintings had did start to grow within the later part from the 19th century within the form of impressionist and neo-impressionists when art had begun to change its face, while still retaining a great degree of resemblance to what it meant to be; by the time post-impressionism had arrived about the scene, the field of art had already gone through a noticeable change and well coming towards a significant transformation.
Prior towards the arrival of this new transformation, and definitely before post-impressionism, the artist was primarily engaged in the natural depiction in the landscape, as opposed to attempting to take advantage of the depth of his own emotions through his canvas, and connect towards the psyche of his audience.
Nothing is more powerful and significant compared to birth as well as the power of the new idea. Nothing can or perhaps is capable of stopping an idea. Once an idea is conceived, it can’t be stopped, suppressed or harnessed; because a perception has no mass or form to occupy a physical space and turn into subjected on the opposing forces, and turn into vulnerable. A new idea, once conceived, has a life of their own, when you’re nurtured within the powerful lofts of imagination and carried forward within the arms of those who embrace it.
Hans Huffman who became recognized since the father from the abstract expressionism has this to convey:
“An idea is only able to be materialized while using help of an medium of expression, the inherent qualities ones must be surely sensed and understood in order to become the carrier of a concept.” The idea of self-determinism, allowing oneself the ownership of freedom of expression is often a luxury which is not for sale, but to attain; a faculty innately open to a few, but attainable by the masses. For some it arrives quickly, as well as the rest visit embrace it through hardship.
The evolution of art from representational to abstract expressionism required a tremendous amount of liberalism and acceptance by those whose help and economic support were instrumental inside the survival level of the abstract expressionist painters.
In an essay, very revealing of his philosophy of art, Johannes Itten says: “If new ideas will be to assume any artistic forms, the physical, sensual, intellectual and spiritual forces must all be equally available and act in concert.” Truly speaking, Itten says what it takes to create a good artistic expression in terms with the wherewithal required to transmit a thought, which can be something imagined, felt or pictured inside the mind, in to the canvas as a successful thing of beauty, that may be sensed and understood through the viewer.
This above criteria outlined by Itten in the early twentieth century was a huge philosophical bite that required a lot of chewing and digestion before earning acceptance and support; therefore the abstract artists was required to endure an extremely endearing plight in earning and preserving their livelihood.
Before the arrival of the European pioneers along with their fortitude, in bringing their very precious gift of abstract paintings, representational artists had no clue as from what freedom of artistic expression really designed to open the threshold into a fresh realm of practicing art, which opened a fresh door with an extension with their inner self.
Faced with all the sever opposition with the traditionalists who rejected change, the abstract artists started to express their soul, on their new canvases, making use of their own newly created rules. In the world of art, where art is traded like a luxury rather than a necessity and based mostly on the discretionary money of your few, the arrival from the abstract art generally and in particular abstract expressionism threatened the axles on what the art market was pivoted.
Change became inevitable, and traditionalists broke rank with futurists on the expense with the modern art; however the abstract expressionists became busily linked to experimenting and checking out the various physical entities and invented new tools by which they could apply paint with their canvases.
Suddenly the conventional means by which the artist had painted changed into an ever-changing procedure for exploration, creation, experimentation, and much more creations; each and every time giving birth to a new technique. The canvases, paints and the studio tools extended far past the boundaries with the artist’s studio and into the arena of collage and found objects.
Jackson Pollock was the quintessential action painter, who struggled badly with acceptance, begun to use his body as being a painting instrument around his vast canvases laid out on the ground and danced along with his splashes, drippings and spattering of paint; he developed and mastered the process of action painting and enjoyed a number of the sprouts of an great new fame and fortune before he fell victim to the demons of his culture at the ripe age of 42. He left a great legacy behind, which continued to inspire many abstract artists over the variety of great canvases that she left behind.
This ‘s what Pollock have said simply about his paintings: “It’s all a major game of construction, some which has a brush, some with a shovel, some choose a pen. The method of painting is the natural growth out of need. I want to express my feelings as opposed to illustrate them. It doesn’t matter how the paint is put on, providing something is considered. On the floor I am more comfortable. I feel nearer, more a part of the painting, since this way I can walk around it, work in the four sides and literally be in the painting. The modern artist is working with space and some time and expressing his feelings as opposed to illustrating. When I’m painting, I’m not alert to what I’m doing. It’s only after a get acquainted period that I see what I’ve been about. The painting carries a life of the own. Every good painter paints what he is.”
Another great artist and contemporary painter from your abstract expressionists group is Robert Rauschenberg. Rauschenberg created collages with found objects about the streets of New York City and defied every conceivable traditionalist’s rule as he progressed through his career, which became quite deservedly rewarding, earning him nice, notoriety and financial success in the past a long time. He later gone after, Florida to escape New York City, where he continue to make his art on the quiet and affluent shores of Captiva Island.
One of the most inspiring techniques of Rauschenberg worth remembering, is his idea of leaving enough to chance for that sake of discovery, the place that the artist enjoys the serendipity of unexpected happenstance.
The two most prominent style of abstract expressionism, were the action painters engaging usage of textures, spattering and drippings of paint throughout, gesturing the mood with the artist, and also the color-field painters who expressed their work from the unified fields of color and shapes, while many other painters made utilization of both styles inside their work.