This article is a result of some of my own, personal personal and subjective viewpoints and realities being an artist about abstract art with certain references to facts which might be in agreement with what I believe myself regarding the nature, birth, growth along with the evolution from the abstract art outside of the boundaries from the esoteric terms with the art academia.
To have a basic and fundamental glance at the subject, we need to first determine what the word abstract means before we will tackle the idea of "abstract art" itself; and that we learn that abstract with this sense so that as a verb way to extract or remove and surprisingly being an adjective means challenging to understand; abstruse. And being a transitive verb it ways to take away, remove. It's origin is from Latin abstrahere 'draw away' or 'draw from.'
Thus, we are able to conclude that abstract, is usually viewed as a type of art that will not depict anything that resembled the aim or material world; instead it represented new creations that very subjectively were expressions in the inner substance and the spirit with the artist and frequently through a profound spontaneity which brings out the inner world in the artist.
So, abstract art, being the product of this very natural, uninhibited and unpremeditated impulse in the absence of any external stimulus, is intrinsic and belongs to the very basic nature and the make up in the artist, since the true influence behind his creations.
As I evolved through my personal representational art and became more familiar with the history of art, I discovered that abstract art had its roots inside the very early dawn of human history when man did start to draw on the walls of his cave. These early abstract arts, abstract drawings and abstract paintings - sometimes embellished with organic dyes - often attempted to capture the main nature and also the quality with the objects as opposed to the actual appearance of these.
As the art historians and art critics formulated their opinions and ideas into prints, more esoteric terms spun over subject under "non-objective art," "non-representational art," and "non-figurative art." In the industry of aesthetics, since none from the principles of producing art are actually precisely formulated, this particular branch of humanities has its own critics galore with many different schools of divergent opinions and thoughts, where esoteric lectures and opinions are listened to with open jaws in place of reason, personal expressions suffers beneath the cloud of confusion.
Centuries long before the birth of abstract expressionism in America, highly figurative arts had existed inside the East, namely inside the Islamic culture, where calligraphy also as a non-figurative art is taught 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 located in many forms. But abstract arts are uniquely distinguished in composition form regarding decorative art and fine art, wherein abstract art, the outcomes of creation, are spontaneous snapshots from the artist's thoughts, emotions, as well as the introspection by which he creates his work of abstract art.
Abstract Expressionism, as you may know it today, was created in America within the mid twentieth century following a massive exodus in the European avant- garde artists to New York City, making the city the center with the art world; a title that was previously held by Paris. The contemporary American artists were immensely relying on the influx of this new talent that brought forth abdominal muscles welcoming freedom of private expression from the vehicle of spontaneity in the absence with the boundaries and limitations of conventional forms.
The arrival of abstract expressionism in New York was the dawn of your new peaceful artistic revolution in which the artist begun to rebel overtly against the status quo. He began a brand new era where he could freely create for the future and change the present scene for any better tomorrow.
Some in the pioneers in abstract expressionism, such as Jackson Pollock, Mark Rothko, Willem de Kooning, became synonymous with New York School and action painting as they played an important role of what became deservedly generally known as avant-garde; a brand new realm of freedom for that artist to produce and construct with an impulse that surmounted any rational and objective whole world of reason.
On the more textural side, Jackson Pollock did start to re-arrange his easel and painted while he pleased, expressing himself by pouring the paint from within unto the canvas, because he felt. Pollock, as one with the most mavericks of the era, used also his body being an instrument to color with, because he moved rapidly around his large canvases on the floor, spattering interlacing patterns of paint, as an emotional journey, drawing the viewer into its rhythmic flow to move, apparently into an infinity of space.
In great contrast to Pollock, Barnett Newman's color-field paintings, are open fields of vast empty spaces for that viewer to walk into them and imagine what you wish to devote them.
Now, to the sake of simplicity, we're able to categorize art into only representational art and abstract art. Representational art being might know about instantly recognize in association to familiar objects, vs. abstract art that requires our shown to perceive the composition of the art and also the comparison in our observation with all the conclusions we now have made inside the past, to be able to arrive inside the immediate instance, where we have been. Thus, inside our observation of abstract art, the presence or absence of any emotional responses, brought about as the result of knowing the abstract art, improves the question of, what exactly is truly an abstract art then when does it achieve success.
Let's imagine that we are investigating 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 investigating, appreciate the quality of its beauty, and several of us become awestricken by its magic, and also feel the mist within the air and smell the moss. We like to check out it like a pleasant experience. We sense that it's peaceful, because it has the tendency to create us feel great. It helps us - regardless of whether it is for any brief moment - forget our troubles, and transforms our disturbances into a brand new level of calm, to the level that we're able to be there, within our imagination. We walk away from the painting and look at other paintings it doesn't produce exactly the same thoughts and feelings, and now we turn and look at it time and again, planning to have more from the same pleasant experience. Pleasure is that which you are experiencing.
This will be the emotional reaction we're feeling towards this very representational art that individuals fully understand. It communicated to us some message inside the boundaries of their technical expertise, by which it was created. The technical expertise wasn't the initial visual attraction, however. It was the material that it communicated to us visually, that attracted us. The virtuosity in which it was created becomes secondary to the significance with the message and the quality of the delivery. Although the message doesn't have to have exactly the same meaning for each and every viewer, it's the mixture of both, the message and also the technical expertise that can bring about an knowing that causes the viewer to respond emotionally.
From sketching and carving with sharp stones about the walls of his cave, on the magnificence of today's technology, man has journeyed using an incredible evolution in the arts among a great many other dynamics of life. From individuals who have accepted the boundaries with their culture and environmental factors, have remained true and faithful to what they were permitted and expected to create inside the form of various representational and figurative arts. But the greater precocious, who had a comprehending of higher form of existence and true potential, planned to move after dark obvious without any tolerance for suppression and entrapment. They had become the visionaries who escaped and sought freedom of expression elsewhere, where the attainment of these freedom was possible.
A great number of European artists and teachers including Joseph Albers and Hans Hofmann transferred to America in mid last century and made New York the modern Art Center with the world leave Paris behind. They brought using them that very freedom of spontaneity to create paintings that became that which you know today as abstract expressionism. As unique as our finger prints, each expression, became a brand new aesthetic signature to reckon with.
However, the essential roots with the transition from representational art to abstract art and expressionistic paintings had did start to grow inside the later part of the 19th century inside the form of impressionist and neo-impressionists when art had begun to change its face, while still retaining a fantastic degree of resemblance as to what it intended as; and by the time post-impressionism had arrived for the scene, the joy of art had already gone by having a noticeable change and well on its way towards a serious transformation.
Prior on the arrival with this new transformation, and certainly before post-impressionism, the artist was primarily engaged inside natural depiction of the landscape, instead of attempting to attain depth of their own emotions through his canvas, and connect towards the psyche of his audience.
Nothing is a lot more powerful and significant than the birth along with the power of an new idea. Nothing can or possibly capable of stopping a perception. Once a perception is conceived, it can't be stopped, suppressed or harnessed; because a perception has no mass or form to occupy a physical space and be subjected towards the opposing forces, and turn into vulnerable. A new idea, once conceived, represents a life of the company's own, when you are nurtured within the powerful lofts of imagination and carried forward within the arms of people who embrace it.
Hans Huffman who became recognized since the father of the abstract expressionism has this to express:
"An idea could only be materialized with the help of your medium of expression, the inherent qualities which must be surely sensed and understood to be able to become the carrier of a perception." The idea of self-determinism, to permit oneself the ownership of freedom of expression is a luxury that is not for sale, but to attain; a faculty innately offered to a few, but attainable from the masses. For some it arrives quickly, along with the rest arrived at 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 in the abstract expressionist painters.
In an essay, very revealing of his philosophy of art, Johannes Itten says: "If new ideas are 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 in the wherewithal essential to transmit a thought, which can be something imagined, felt or pictured within the mind, in the canvas as being a successful thing of beauty, that may be sensed and understood with the viewer.
This above criteria outlined by Itten in the early twentieth century was a major philosophical bite that required lots of chewing and digestion before earning acceptance and support; hence the abstract artists were required to endure a very endearing plight in earning and preserving their livelihood.
Before the arrival with the European pioneers in addition to their fortitude, in bringing their very precious gift of abstract paintings, representational artists had no clue as to what freedom of artistic expression really supposed to open the door into a whole new realm of practicing art, which opened a whole new door as well as an extension with their inner self.
Faced with the sever opposition in the traditionalists who rejected change, the abstract artists started to express their soul, on the new canvases, making use of their own newly created rules. In the world of art, where art is traded being a luxury and never a necessity and based mostly on the discretionary money of your few, the arrival in the abstract art in general and in particular abstract expressionism threatened the axles where the art market was pivoted.
Change became inevitable, and traditionalists broke rank with futurists in the expense with the modern art; but the abstract expressionists became busily linked to experimenting and going through the various physical entities and invented new tools where they could apply paint to their canvases.
Suddenly the standard means where the artist had painted become an ever-changing technique of exploration, creation, experimentation, and more creations; every time giving birth to a brand new technique. The canvases, paints and also the studio tools extended far past the boundaries in the artist's studio and into the realm 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 to the ground and danced together with his splashes, drippings and spattering of paint; he developed and mastered the strategy of action painting and enjoyed a number of the sprouts of a great new fame and fortune before he fell victim for the demons of his culture at the ripe day of 42. He created a great legacy behind, which continued to inspire many abstract artists through the variety of great canvases which he left behind.
This is the thing that Pollock have said in part about his paintings: "It's all a large game of construction, some using a brush, some having a shovel, some choose a pen. The method of painting may be the natural growth beyond need. I want to express my feelings in lieu of illustrate them. It doesn't matter how the paint is put on, so long as something is considered. On the floor I am more confident. I feel nearer, more a part from the painting, because way I can walk around it, work in the four sides and literally be inside painting. The modern artist is working with space and serious amounts of expressing his feelings rather than illustrating. When I'm painting, I'm not conscious of what I'm doing. It's only following a get acquainted period that I see what I've been about. The painting features a life of their own. Every good painter paints what he could be."
Another great artist and contemporary painter in the 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 while he progressed through his career, which became quite deservedly rewarding, earning him the buzz, notoriety and financial success inside past few decades. He later transferred to, Florida to escape New York City, where he continue to generate his art for the quiet and affluent shores of Captiva Island.
One from the most inspiring techniques of Rauschenberg worth remembering, is his concept of leaving enough to chance to the sake of discovery, the place that the artist enjoys the serendipity of unexpected happenstance.
The two most prominent type of abstract expressionism, were the action painters engaging usage of textures, spattering and drippings of paint throughout, gesturing the mood in the artist, and the color-field painters who expressed their work over the unified fields of color and shapes, while a great many other painters made utilization of both styles within their work.
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