By Paul Crowther, Isabel Wünsche
Traditional paintings is predicated on conventions of resemblance among the paintings and that which it's a illustration "of". summary artwork, by contrast, both adopts replacement modes of visible illustration or reconfigures mimetic conference. This ebook explores the relation of summary artwork to nature (taking nature within the broadest sense―the global of recognisable items, creatures, organisms, approaches, and states of affairs).
Abstract paintings takes many alternative kinds, yet there are shared key structural positive aspects headquartered on uncomplicated family members to nature. the 1st abstracts from nature, to provide chosen elements of it a brand new and intensely unexpected visual appeal. the second one affirms a usual creativity that concerns in new, independent kinds that aren't restricted by means of mimetic conventions. (Such creativity is usually attributed to the facility of the unconscious.)
The publication covers 3 different types: classical modernism (Mondrian, Malevich, Kandinsky, Arp, early American abstraction); post-war abstraction (Pollock, nonetheless, Newman, Smithson, Noguchi, Arte Povera, Michaux, postmodern developments); and the wider old and philosophical scope.
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Additional info for Meanings of Abstract Art: Between Nature and Theory
New York: Museum of Modern Art, 1936), 2. 52. ,” in ‘ . . und nicht die leiseste Spur einer Vorschrift’—Positionen unabhängiger Kunst in Europa um 1937, exh. cat. (Düsseldorf: Kunstsammlung NordrheinWestfalen, 1987), 38. English translation by the author. 2 Mondrian’s First Diamond Composition Spatial Totality and the Plane of the Starry Sky Marek Wieczorek Nature always remained important for Piet Mondrian, albeit in the most abstract way, and in relation to its Hegelian dialectical other, geest, which like the German Geist translates as both spirit and mind.
21 Schoenmaekers provided Mondrian with speciﬁc examples from nature through “conceptual representations” (begripsvoorstellingen), which are (“plastic”) mathematical ﬁgures explaining the conceptual basis of natural phenomena, and through so-called “life words,” which emphasize the reﬂexive, speculative dimension of the Dutch language. The circle or sphere for Schoenmaekers is such a ﬁgure, which occurs very often in nature in more or less perfect shape. Dissect this circle into content and expression.
4. William Coleman, Biologiy in the Nineteenth Century: Problems of Form, Function, and Transformation (Cambridge, MA: Cambridge University Press, 1977); Ernst Mayr, This Is Biology: The Science of the Living World (Cambridge, MA: Belknap Press of Harvard University Press, 1997). 5. ), Vitalism from Haller to the Cell Theory: Proceedings of the Zaragoza Symposium, XIXth International Congress of History of Science (Florence: Leo S. Olschki Editore, 1997). 6. J. S. Haldane, “Life and Mechanism,” Mind 9 (1884): 31–38; Edmund Montgomery, “The Unity of the Organic Individual,” Mind 5 (1880): 326.