Non-Objective Art

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The avid artistic viewer in America in the 1930s saw Hilla Rebay’s collection at the Guggenheim museum. They analyzed concluded non-objective art stood at the pinnacle of the art world. Simple to understand, it breaks down the wall between cultures. Non-objective art requires no cultural or theological lens. When viewing non-objective art, the observer deduces the following: In modern day, non-objective art offers a sense of relief and beauty unbeknownst to the rest of the art scene. Therefore, non-objective art appears universal. In her essay, The Beauty of Non-Objectivity, Rebay explains how, "...intuitive creations are understandable to all nations alike through the universal language of art." In this essay, I explore the use of the following artistic elements in Rebay’s Composition 1:…show more content…
Her comparison to music gets the viewer to interact with the piece in a new way. Kandinsky accomplished a similar task. Kandinsky’s works , The bright yellows represent the blaring vibration of a trumpet sound. Blues create calming, spiritual waves. In a similar fashion, Rebay uses color to emulate the motion of sound. Her red-oranges create a lively melody. Though, it is important to recognize she is not representing a song. Rebay’s composition remains purely non-objective. However, its effect on the viewer is akin to the feeling a song would provide a listener.
Rebay’s explanations about non-objective art are not gratuitous or excessive. She appeals to the viewer and asks them to acknowledge the work on an emotional level. How the work makes you feel: this is important to Rebay. By not focusing on the object, Rebay’s work can ignore explicit details. This then allows her to draw back on the core elements of art. Color, form and rhythm become the order of operations for her painting. Rebay shows the viewer the touch of the painter’s hand as well as a seamless quality of
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