The Theory Of The Work Of Art

In Abstract Expressionism - a certain construction of the world we call “individuality” is revealed in its true, that is to say, contingent, vulgarity. And so is painting; or rather, so are paintings like Hofmann’s “The Garden” and Adolph Gottlieb’s “Black, Blue Red” - done as they were under the sign or spell of such a construction, by “individuals” believing utterly (innocently, idiotically) in its power.

Klein´s art emerged from serious circumstances. France in the late 1940s was still nation traumatized by World War II. The cultural center of gravity had moved across the Atlantic to New York. The artists who remained in Paris, or at least the good ones, were producing post-apocalyptic work, and out of the same rubble came the much younger Klein.

For instance, the color blue next to green creates an entirely different feeling inside a person rather than when placed next to red. It is a composition of colors and textures on a canvas. Kandinsky’s paintings have given a new meaning to music to the deaf viewers. For a person, who has never heard of music, Kandinsky’s painting will be a life changing experience.

In Wassily Kandinsky's excerpt from Concerning the Spiritual in Art, he argues that art is supposed to make one’s soul resonate through the discovery of the unknown and color. Kandinsky claims that at first art is only understood by one person, usually the original artist, and it then slowly expands to more and more people as they look at the art. This allows them to discover something the previously did not know or understand. He then claims that color affects the viewer in two distinct ways: physically and psychologically. Using these two claims, he supports his argument that art allows the soul to feel in ways that are not possible otherwise.

Kandinsky transformed colour into a completely abstract art absolutely divorced from subject matter. The fauvists and expressionists shared an appreciation of the pure and simplified shapes of various examples of primitive art, an enthusiasm that was generated by Gauguin and extended to Picasso, Brancusi, Modigliani, Derain, and others.

Abstraction is the creation of art without representation of objects, in which the artist has total freedom of the art that they are creating. I will be using three paintings from three different time periods in order to show the development and lasting effects of abstraction in the twentieth century. The first work that I will be looking at is Foghorns by Arthur Dove. I will use this piece to show the beginning of abstraction, and how ideas of abstraction were present before the movement began. The second painting that I will be looking at is Jackson Pollock’s Lucifer. I will be using this painting as an example of the height of abstraction in the 20th century and will be discussing Pollock’s influence on abstraction. The third piece of art I will be looking at is Many Mansion by Kerry James Marshall. I will use this work to show the remnants of Pollock’s influence, and the influence of abstraction in general, on art in the later half of the century. For the development of this paper I looked at two of the course readings. The first reading that I used was The Tradition of the New by Harold Rosenberg. I used this article to show how Foghorns by Arthur Dove relates to abstraction, and to show how ideas in creation of this painting can be linked to ideas of abstract art. The second reading that I used for this paper was The Legacy of Jackson Pollock by Alan Kaprow. I used this article to gain information about

The engulfing size of the painting (250.5 x 159.5 cm) drives the audiences mind into a hypnotic frenzy as they are overwhelmed by bright and sensual colours, which, have the ability to evoke deep emotions and realisations. Kandinsky has portrayed this through the disorientation of his own personal visions of society during the industrial revolution. The rough yet expressive outline of buildings, a rainbow and the sun gives reference to realism as it allows viewers to connect and understand underlying motifs and shapes yet is painted abstractly to move away from the oppressive and consumerist society. Thus, Kandinsky breaks boundaries through his innovative approach to his art-making practise concluded from his personal belief of ‘art for arts sake’. He believed that art should mainly convey the artist’s personal views and self-expressionism that translated a constant individuality throughout his work from an inner intentional emotive drive. This broke traditional boundaries as art in the renaissance period was meant to be a ‘narration’ or an artwork where an audience could learn and benefit from. This is evidently shown in Composition IV as it exemplifies Kandinsky’s inner feelings towards the industrialised society

Formal elements (causes) in the work of art are clearly connected to the visual effects they produce

It is in that way which the non practical human event of a painting may draw attention to the human observer, there truth may be revealed and through truth of the unique feeling of the sublime in accordance to Schopenhauer, wherein the pleasure is gained from beholding the violent object and its immeasurable nature. 61Through this it is argued the art will not be disenfranchised by the structure and it gains the capacity for change.  This is what Merleau-Ponty calls a “brute fabric of meaning” 62wherein the painter takes upon the raw fabric of the world when he renders their experience in a painting. Then the completed painting is quite literally a brute fabric that the viewer draws upon in his interpretation of what is rendered. The revelation

Non-conformist to traditional art forms, Conceptualism challenges the viewer to delve into the mindset of the artist. It is often seen as multidimensional as it forces the audience to decipher the artists intentions. This art movement has been completely rejecting the standard ideas of art since the mid-1960’s. Since then, many artists have made a name for themselves by self-consciously expanding the boundaries of art. Many of these artists have said they’ve linked their work to artist Marcel Duchamp.

His work of art clearly represents his emotions and chaotic life due to the fact that there are a lot of disorganized shapes and mixtures of colors throughout the canvas. In his painting, Kandinsky also sought to convey profound spirituality and the depth of human emotion through a visual language of abstract shapes and colors. In addition, his purpose behind his work was that he strove to produce a spiritually rich painting that alluded to sounds and emotions through a unity of

Wassily Kandinsky has been part of my fascination and love for art for approximately ten years now. Beginning when I was a freshman in high school, and every year as part of our art classes, my instructor would do small units on art theory and highlight artists throughout those units, Kandinsky included. While my talents, in particular, are somewhat limited to what I can represent, Kandinsky was the first to break Western art’s most “important rule:” that art need to depict anything (Frank, 396). As the first to break away from art being representational, Kandinsky opened other avenues of expression, as well (Wassily-Kandinsky.org). Surrealism, the movement I am most fascinated by, is something I believe is a natural extension from art representing nothing, to art representing multiple things.

Kandinsky, himself an accomplished musician, developed his idea of the correspondence between a work of art and the viewer, and called it "Klang" (sound or resonance). He wrote: "Color is the power which directly influences the soul. Color is the keyboard, the eyes are the hammers, and the soul is the piano with the strings. The artist is the hand which plays, touching one key or another, to cause vibrations in the soul." He even claimed that when he saw color he heard music. To reinforce his analogy with the musical expression, Kandinsky for many years used musical terms as titles, he began to divide his paintings into three categories: "Impressions" (which still show some representational elements), "Improvisations" (which convey spontaneous emotional reactions), and "Compositions" (which are the ultimate works of art, created only after a long period of preparations and preliminaries). Of the three types, Improvisation, as its name suggests, was the most spontaneous, beginning, perhaps, with a subject (object), but one which then receded rapidly from view as various themes were woven from and

Müller-Westermann, Iris, David Lomas, Pascal Rousseau, and Helmut Zander. Hilma Af Klint a Pioneer of Abstraction. Stockholm: Moderna Museet, 2013. Print.

His work is cubist, his work is labeled as orphic, and his work has elements of fauvism within it. If we look at him, we realize he influenced some Americans who by 1912 went back and founded a movement based on his style in America, except that they called it synchronism. Then he was invited by Franz Marc (1880-1916) to come east to Germany and exhibit with Marc's group. Franz Marc is one of the great German Expressionists of the early 20th century, who was a founder, together with Kandinsky (1866-1944) of a group called the Blue Rider (Blaue Reiter) in Munich and used color to symbolize emotion and feeling in a way that we recognize as derived ultimately from that principle established perhaps at first by Gauguin (1848-1903) back in the late 1880s (L39,