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Abstract World, Noida, India. likes ยท 1 talking about this. Art that does not attempt to represent external, recognizable reality but seeks to.
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By and large, however, John Elderfield is no doubt correct when he observes in his introduction to the catalogue of the ''Contrasts of Form'' exhibition that ''[The] utopian philosophy, wherein art, ideally at least, was meant to construct a new world, or if not that, to form a blueprint for one, did not survive the social disillusionments of the 's.
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Elderfield goes on to describe as ''the idea of composing from basic formal elements. Historically, the emergence of geometric abstraction as a codified movement in art represents the conjunction of two developments -one artistic, the other political - which at first glance would seem to have no necessary relation to each other.
The artistic development consisted of the gradual abandonment of naturalistic representation that culminated in the creation of Cubism in the first decade of the 20th century. The political development came a few years later in the widespread feeling of revulsion and despair caused by the trauma of World War I. The first effectively removed from art the obligation to base itself on a faithful depiction of the observable world.
The second encouraged artists to reject the world as they found it -the civilization responsible for the ghastly and wasteful slaughter of the war - and seek alternatives in ideologies of rebellion, personal salvation and social reconstruction. In this respect, certainly, the growth of geometric abstraction in art must be seen to be as much a reaction to the war as Dada was, or indeed any of the other antiwar movements of the late teens and early twenties.
Cubism, in its original form - that is, the Cubism first created by Picasso, Braque and Leger - remained a mode of pictorial representation with more or less recognizable subjects.
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Yet so drastic was the priority that Cubism gave to a new formal syntax that its subject matter quickly assumed a secondary status. What dominated Cubist composition was the kind of drawing that reduced the depiction of objects to a vocabulary of shapes that no longer drew their inspiration from direct description. As the name Cubism implies, these shapes tended to be geometric in character, however much they might still retain their vestigial denotative function. The result was an art that grew increasingly abstract and conceptual.
It had never been the purpose of Picasso or Braque or Leger to create a purely abstract art, however, and the fact is that none of the original inventors of Cubism ever became abstractionists as such.
The Abstract World of Wassily Kandinsky | Europeana Blog
After creating the means by which pure abstraction could be achieved, they drew back, as if from a precipice, and refused to enter the brave new world of nonrepresentational art that beckoned in the distance. If anything, their art became even more deeply entrenched in the esthetics of representation than it had been in the period in which they first created the Cubist style.
But the die had been cast. The possibility of effecting this fateful transformation of art had been made abundantly clear. If Picasso and his fellow Cubists were reluctant to follow the logic of their own discoveries as Mondrian, among others, contended , there were plenty of others -mainly artists from northern, central and eastern Europe -who did not hesitate to make that momentous leap and follow the logic of abstraction wherever it might lead.
Where it led, in the early years of the abstract movement, was only partly determined by esthetic logic, however. The tragedy of history also played a pivotal role. Even before the eruption of World War I shattered the placid surface of European cultural life, there were signs aplenty that a spirit of insuperable alienation and rebellion was gathering momentum in those enclaves of independent thought known as the avant-garde.
In Italy, a group of arrogant young artists and writers who called themselves Futurists openly declared their allegiance to a warlike ideal that extolled the beauties of machine tech-nology and did not shrink from embracing violence as a means of achieving a sweeping cultural revolution.
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In Russia, a similarly vociferous but far more numerous vanguard of revolte artists and writers was mounting its own swiftly accelerating challenge to the cultural status quo. They, too, adopted the banner of Futurism as a way of signaling their ardent desire to hasten the millenium of modernity and to sweep away whatever obstacles might lie in the path of its triumphant realization. When the war came in , plunging all of Europe into a chaos of death and destruction on an unprecedented scale, it galvanized these revolte impulses and gave them a new sense of purpose.
Suddenly the culture that the avant-garde had all along declared to be moribund was everywhere seen to be destroying itself, and an opportunity to build a new world on the ruins of the old seemed to be at hand. The millenium had arrived, so to speak, ahead of schedule. It has long been recognized that the war produced a tremendous wave of disillusionment and despair and brought in its wake both revolution on a grand scale - especially in Russia - and those mini-revolutions of the spirit, such as Dada and Surrealism, which penetrated to the very heart of European culture.
But it also gave birth to a resurgence of the utopian impulse, and it was as an expression of that impulse, with its yearning for a new world of order and harmony, that geometric abstraction in art had its true origins.
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What the ''Contrasts of Form'' exhibition and its excellent book-length catalogue sets out to trace and document is the artistic history of this movement from its beginnings in Cubism and Futurism down to the Minimalist art of the present day. Its first section, on the years , is devoted to the ''Origins of the Nonobjective'' in the Cubist and Futurist works of Picasso, Braque, Leger, and various members of the Italian and Russian avant-garde. In its second section, on the years , the exhibition concentrates on the emergence of pure abstraction during the critical period of the war and its immediate aftermath, with special attention to Suprematism and Constructivism in Russia and the de Stijl group in the Netherlands.
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