Abstraction in art. The most famous abstract artists: definition, direction in art, features of the image and the most famous paintings

One of the main trends in avant-garde art. The main principle of abstract art is the refusal to imitate visible reality and operate with its elements in the process of creating a work. The object of art, instead of the realities of the surrounding world, becomes the tools of artistic creativity - color, line, shape. The plot is replaced by a plastic idea. The role of the associative principle in the artistic process increases many times over, and it also becomes possible to express the feelings and moods of the creator in abstract images, cleared of the outer shell, which are capable of concentrating the spiritual principle of phenomena and being its carriers (theoretical works of V.V. Kandinsky).

Random elements of abstraction can be identified in world art throughout its entire development, starting with rock paintings. But the origin of this style should be sought in the painting of the Impressionists, who tried to decompose color into individual elements. Fauvism consciously developed this tendency, “revealing” color, emphasizing its independence and making it the object of the image. Of the Fauvists, Franz Marc and Henri Matisse came closest to abstraction (his words are symptomatic: “all art is abstract”), and the French Cubists (especially Albert Gleizes and Jean Metzinger) and the Italian Futurists (Giacomo Balla and Gino Severini) also moved along this path. . But none of them was able or willing to overcome the figurative border. “We admit, however, that some reminder of existing forms should not be completely banished, at least at the present time” (A. Glaze, J. Metzinger. About Cubism. St. Petersburg, 1913. P. 14).

The first abstract works appeared in the late 1900s – early 1910s in Kandinsky’s work while working on the text “On the Spiritual in Art,” and his first abstract painting is considered to be his “Painting with a Circle” (1911. NMG). His reasoning dates back to this time: “<...>only that form is correct which<...>materializes the content accordingly. All sorts of side considerations, and among them the correspondence of the form to the so-called “nature”, i.e. external nature, are insignificant and harmful, since they distract from the only task of the form - the embodiment of content. Form is the material expression of abstract content” (Content and form. 1910 // Kandinsky 2001. T. 1. P.84).

At an early stage, abstract art, represented by Kandinsky, absolutized color. In the study of color, practical and theoretical, Kandinsky developed the theory of color of Johann Wolfgang Goethe and laid the foundations for the theory of color in painting (among Russian artists, M.V. Matyushin, G.G. Klutsis, I.V. Klyun and others studied color theory) .

In Russia in 1912–1915, abstract painting systems of Rayonism (M.F. Larionov, 1912) and Suprematism (K.S. Malevich, 1915) were created, which largely determined the further evolution of abstract art. A rapprochement with abstract art can be found in cubo-futurism and alogism. A breakthrough to abstraction was N.S. Goncharova’s painting “Emptiness” (1914. Tretyakov Gallery), but this theme was not further developed in the artist’s work. Another unrealized aspect of Russian abstraction is the color painting of O.V. Rozanova (see: Non-objective art).

During the same years, the Czech Frantisek Kupka, the French Robert Delaunay and Jacques Villon, the Dutchman Piet Mondrian, and the Americans Stanton MacDonald-Wright and Morgan Russell followed their own paths to pictorial abstraction in these same years. The first abstract spatial structures were counter-reliefs by V.E. Tatlin (1914).

The rejection of isomorphism and an appeal to the spiritual principle gave reason to associate abstract art with theosophy, anthroposophy and even the occult. But the artists themselves did not express such ideas in the first stages of the development of abstract art.

After the First World War, abstract painting gradually gained a dominant position in Europe and became a universal artistic ideology. This is a powerful artistic movement, which in its aspirations goes far beyond the scope of pictorial and plastic tasks and demonstrates the ability to create aesthetic and philosophical systems and solve social problems (for example, Malevich’s “Suprematist city” based on the principles of life-building). In the 1920s, based on his ideology, research institutes such as the Bauhaus or Gienkhuk emerged. Constructivism also grew from abstraction.

The Russian version of abstraction is called non-objective art.

Many principles and techniques of abstract art, which became classics in the twentieth century, are widely used in design, theatrical and decorative arts, cinema, television and computer graphics.

The concept of abstract art has changed over time. Until the 1910s, this term was used in relation to painting, where forms were depicted in a generalized and simplified manner, i.e. "abstract" versus a more detailed or naturalistic depiction. In this sense, the term was mainly applied to decorative arts or to compositions with flattened forms.

But since the 1910s, “abstract” has been used to describe works where a form or composition is depicted from such an angle that the original subject changes almost beyond recognition. Most often, this term denotes a style of art that is based solely on the arrangement of visual elements - shape, color, structure, while it is not at all necessary that they have an initiating image in the material world.

The concept of meaning in abstract art (in both its early and later meanings) is a complex issue that is constantly debated. Abstract forms can also refer to non-visual phenomena such as love, speed or the laws of physics, associating with a derivative entity (“essentialism”), with the imaginary or other way of separating from the detailed, detailed and inessential, random. Despite the absence of a representative subject, an abstract work can accumulate enormous expression, and semantically rich elements such as rhythm, repetition and color symbolism indicate involvement in specific ideas or events outside the image itself.

Literature:

• M.Seuphor. L'Art abstrait, ses origins, ses premiers maîtres. Paris, 1949;
• M.Brion. L'Art abstract. Paris, 1956; D.Vallier. L'Art abstract. Paris, 1967;
• R.Capon. Introducing Abstract Painting. London, 1973;
• C.Blok. Geschichte der abstrakten Kunst. 1900–1960. Köln, 1975;
• M. Schapiro. Nature of Abstract Art (1937) // M. Schapiro. Modern Art. Selected Papers. New York, 1978;
• Towards a New Art: Essays on the Background to Abstract Painting 1910–1920. Ed. M. Compton. London, 1980;
• The Spiritual in Art. Abstract Painting 1890–1985. Los Angeles County Museum of Arts. 1986/1987;
• Text by M. Tuchman; B. Altshuler. The Avant-Garde in Exhibition. New Art in the 20th Century. New York, 1994;
• Abstraction in Russia. XX century. T. 1–2. State Russian Museum [Catalog] St. Petersburg, 2001;
• Pointlessness and abstraction. Sat. articles. Rep. ed. G.F.Kovalenko. M., 2011;

Description of the main ideas and types of abstract painting.

Abstract art

Definition and meaning

Term "abstract art"(sometimes "non-objective", "non-representational") is a rather vague definition for any painting or sculpture depicting unrecognizable objects and scenes. However, there is no clear consensus regarding this interpretation. For example, Pablo Picasso believed that abstract painting does not exist, while some art historians believe that no painting can be more than a crude abstraction of what the artist sees. Even famous critics and scholars disagree when classifying some canvases, trying to distinguish between "expressionism" and "abstraction". The situation is complicated by the fact that there are both completely abstract painting and sculpture, and a semi-abstract style.

Types of abstract art

As mentioned above, some directional paintings are based on simple geometric shapes, but this is not all types of abstract work. Conventionally, they can be divided into six main types:

• Geometric. An early form of this type was Analytical Cubism, which rejected linear perspective and the illusion of depth in a painting. Illustrated by works by Piet Mondrian, Theo van Doesburg, Kazimir Malevich and others.
• Curvilinear - characteristic of Celtic and Islamic masters, as well as some early cultures. Includes a range of motifs featuring interlace, spiral and 'endless' designs.
• Color and light. Well illustrated by the work of Turner and Monet, who used color (or light) to separate works of art from reality through rich colors and pigments.
• Emotional/intuitive. This type embraces a mixture of styles whose overall theme is devoted to naturalistic ideas. Unlike geometric abstraction, intuitive abstraction often depicts nature, but in less representational ways. One of the most famous representatives of emotional abstraction is Mark Rothko.
• Gesticulation is a form of abstract expressionism in which the process of creating a painting becomes more important than in other forms of art.
• Minimalist. A kind of return to the basics and concepts of avant-garde art, devoid of all possible references and associations.

Some of these types are abstract to varying degrees, but they are all connected by the ideas of separating the object of art from reality.

It is worth noting that in parallel with the development of the geometric style, surrealism was also formed in the 1920–1930s, whose ideas echoed abstract art. Leading representatives of which were Joan Miro, Jean Arp, Salvador Dali and others.

Postmodern abstraction

Since the mid-60s art has tended to split into a number of smaller schools. Some of them were based on the philosophy of the great styles of the early 20th century, some (for example minimalism) responded to the economic and political situation in the world.

Abstract art updated: September 15, 2017 by: Gleb

Abstractionism abstractionism

(from Latin abstractio - distraction), non-objective art, one of the most influential artistic movements of the 20th century, which arose in the beginning. 1910s The creative method of abstractionism is based on a complete rejection of “life-likeness”, the depiction of the forms of reality. An abstract painting is based on the relationships between colored spots, lines, and strokes; sculpture - on combinations of volumetric and flat geometric forms. With the help of abstract constructions, artists wanted to express internal patterns and intuitively comprehended essences of the world, the Universe, hidden behind visible forms.

The date of birth of abstractionism is considered to be 1910, when V.V. Kandinsky exhibited the first abstract work in the history of art (watercolor) in Munich and wrote a treatise “On the Spiritual in Art,” in which he substantiated his creative method with the discoveries of science. Soon abstractionism becomes a powerful movement, within which various directions emerge: lyrical abstraction (paintings by Kandinsky and masters of unification "Blue Rider" with their fluid, “musical” forms and emotional expressiveness of color) and geometric abstraction (K.S. Malevich, P. Mondrian, partly by R. Delaunay, whose compositions are based on combinations of elementary geometric shapes: squares, rectangles, crosses, circles). Malevich’s programmatic work was his famous “Black Square” (1915). The artist called his method Suprematism (from the Latin supremus - highest). The desire to break away from earthly reality led him to a fascination with space (Malevich was one of the authors of the famous play “Victory over the Sun”). The artist called his abstract compositions “planites” and “architectons,” symbolizing the “idea of ​​universal dynamism.”

In the beginning. 20th century abstract art spread to many Western countries. In 1912, neoplasticism was born in Holland. The creator of neoplasticism, P. Mondrian, together with T. van Doesburg, founded the De Stijl group (1917) and a magazine under the same name (published until 1922). The “human element” was completely banished from their art. Members of the De Stijl group created canvases where surfaces lined with a grid of lines formed rectangular cells filled with pure, uniform colors, which, according to Mondrian, expressed the idea of ​​pure plastic beauty. He wanted to create painting that was “devoid of individuality” and, therefore, possessing “world significance.”
In 1918-20 in Russia arose based on the ideas of Suprematism constructivism, which united architects (K.S. Melnikov, A. A. Vesnin, etc.), sculptors (V. E. Tatlin, N. Gabo, A. Pevzner), graphics ( El Lissitzky, A.M. Rodchenko). The essence of the direction was outlined by Vesnin: “Things created by contemporary artists should be pure structures without the ballast of representation.” An important role in the development of constructivism was played by the Bauhaus, an artistic association founded in 1919 in Germany by the architect V. Gropius (P. Klee; V.V. Kandinsky, El Lissitzky, etc.). In 1930, the French critic M. Seyfor created the Circle and Square group in Paris. In 1931, the association “Abstraction – Creativity” arose in Paris, founded by emigrants from Russia N. Gabo and A. Pevzner. A particularly radical movement was tachisme (from the French tache - stain). Tachists (P. Soulages, H. Hartung, J. Mathieu, etc.) did without brushes. They splashed and splashed paint onto the canvas, then smeared or trampled it. They mixed soot, tar, coal, sand, and broken glass with paints, believing that the color of dirt was no less beautiful than the color of the sky. With the beginning of World War II, the center of abstract art moved to the USA (J. Pollock, A. Gorky, W. Kuning, Fr. Klein, M. Tobey, M. Rothko). In the 1960s a new rise of abstract art began. This direction in art remains relevant today, but no longer occupies a dominant position, as in the beginning. 20th century

(Source: “Art. Modern illustrated encyclopedia.” Edited by Prof. Gorkin A.P.; M.: Rosman; 2007.)

See what “abstract art” is in other dictionaries:

- [Dictionary of foreign words of the Russian language

Abstract art Dictionary of Russian synonyms. abstractionism noun, number of synonyms: 2 abstract art (1) ... Synonym dictionary

abstractionism- a, m. abstractionnisme m., English. abstractism.1926. Ray 1998. An extremely formalist movement in painting, sculpture and graphics. SIS 1985. Unlike abstractionism, realism is always concrete. Zalygin Features of documentary. Lex. SIS 1964 ... Historical Dictionary of Gallicisms of the Russian Language

ABSTRACTIONISM, huh, husband. In the visual arts of the 20th century: a direction, followers of this movement depict the real world as a combination of abstract forms or color spots. | adj. abstract, oh, oh. Ozhegov's explanatory dictionary. S.I. Ozhegov, N.Yu... Ozhegov's Explanatory Dictionary

- (Latin abstractio - distraction) - a direction in the art of the twentieth century, primarily painting, which abandoned the depiction of the forms of reality. The aesthetic credo of abstractionism was set out by V. Kandinsky. Abstract art –… … Encyclopedia of Cultural Studies

- (lat. abstractio removal, distraction) the direction of non-figurative art, which abandoned the depiction of forms close to reality in painting and sculpture. One of the goals of abstract art is to achieve... ... Wikipedia

Abstractionism- (from Latin abstractus abstract) abstract, pointless, non-figurative claim; movement in the 20th century, which put forward the idea of ​​​​refusing to depict the forms of reality. The goal is to create compositions with different emotions. content with... ... Russian humanitarian encyclopedic dictionary

abstractionism- a, only units, m. A movement in painting, sculpture, and graphics of the 20th century, whose followers reproduce the real world in the form of abstract forms, color spots, lines, etc. Since the time of Apollinaire, the parallel between music and so on has become a habit … … Popular dictionary of the Russian language

abstractionism- (from Latin abstractio removal, distraction) a direction in the art of the 20th century, whose adherents fundamentally refuse to depict real objects and phenomena (mainly in painting, sculpture and graphics); the ultimate expression of modernism... Terminological dictionary-thesaurus on literary criticism

Abstractionism- (lat. abstrahere) – 1. formalistic direction in painting, founded by V. Kandinsky (1910 1914), which later embodied in the main trend in the development of other movements of fine art, mainly in Western culture (cubism, ... ... Encyclopedic Dictionary of Psychology and Pedagogy

Books

• Currents in art. From Impressionism to the Present Day, Georgina Bertolina. This volume of the encyclopedia is a logical continuation of the book “Styles in Art” and covers the whole variety of processes that took place in the world of artistic creativity, starting with…

“When the acute angle of a triangle touches a circle, the effect is no less significant than that of Michelangelo, when the finger of God touches the finger of Adam,” said V. Kandinsky, the leader of avant-garde art of the first half of the 20th century.

– a form of visual activity that does not aim to display visually perceived reality.
This direction in art is also called “non-objective”, because. its representatives rejected the image, which was close to reality. Translated from Latin, the word “abstraction” means “removal”, “distraction”.

V. Kandinsky “Composition VIII” (1923)
Abstract artists created certain color combinations and geometric shapes on their canvases in order to evoke various associations in the viewer. Abstractionism does not aim to recognize an object.

History of abstract art

The founders of abstract art are considered to be Wassily Kandinsky, Kazimir Malevich, Natalya Goncharova and Mikhail Larionov, Piet Mondrian. Kandinsky was the most decisive and consistent of those who represented this direction at that time.
Researchers say that it is not entirely correct to consider abstractionism a style in art, because it is a specific form of fine art. It is divided into several directions: geometric abstraction, gestural abstraction, lyrical abstraction, analytical abstraction, Suprematism, Aranformel, Nuageism, etc. But in essence, a strong generalization is an abstraction.

V. Kandinsky “Moscow. Red Square""
Already from the middle of the 19th century. painting, graphics, sculpture are based on what is inaccessible to direct depiction. The search begins for new visual means, methods of typification, increased expression, universal symbols, and compressed plastic formulas. On the one hand, this is aimed at displaying the inner world of a person - his emotional psychological states, on the other hand, at updating the vision of the objective world.

Kandinsky's work goes through a number of stages, including academic drawing and realistic landscape painting, and only then it enters the free space of color and line.

V. Kandinsky “The Blue Rider” (1911)
Abstract composition is that last, molecular level at which painting still remains painting. Abstract art is the most accessible and noble way to capture personal existence, and at the same time it is a direct realization of freedom.

Murnau "The Garden" (1910)
The first abstract painting was painted by Wassily Kandinsky in 1909 in Germany, and a year later here he published the book “On the Spiritual in Art,” which later became famous. The basis of this book was the artist’s thoughts that the external can be accidental, but the internally necessary, spiritual, constituting the essence of man, may well be embodied in a picture. This worldview is associated with the theosophical and anthroposophical works of Helena Blavatsky and Rudolf Steiner, which Kandinsky studied. The artist describes color, the interaction of colors and their effect on humans. “The psychic power of paint... causes spiritual vibration. For example, the color red can cause mental vibration similar to that caused by fire, since red is at the same time the color of fire. Warm red color has a stimulating effect; such a color can intensify to a painful, excruciating degree, perhaps also due to its resemblance to flowing blood. The red color in this case awakens the memory of another physical factor, which, of course, has a painful effect on the soul.”

V. Kandinsky "Twilight"
“... the color violet is a cooled red, both in the physical and mental sense. It therefore has the character of something painful, extinguished, has something sad in itself. It is not for nothing that this color is considered suitable for old women’s dresses. The Chinese use this color directly for mourning garments. Its sound is similar to the sounds of the English horn, flute and, in its depth, to the low tones of woodwind instruments (for example, bassoon).”

V. Kandinsky “Grey Oval”
“Black color internally sounds like Nothing without possibilities, like dead.”
“It is clear that all the given designations for these simple colors are only very temporary and elementary. The same are the feelings that we mention in connection with colors - joy, sadness, etc. These feelings are also only material states of the soul. The tones of colors, as well as music, have a much more subtle nature; they cause much more subtle vibrations that cannot be expressed in words.”

V.V. Kandinsky (1866-1944)

An outstanding Russian painter, graphic artist and theorist of fine arts, one of the founders of abstract art.
Born in Moscow into the family of a businessman, he received his basic musical and artistic education in Odessa, when the family moved there in 1871. He brilliantly graduated from the Faculty of Law of Moscow State University.
In 1895, an exhibition of French impressionists was held in Moscow. Kandinsky was especially struck by Claude Monet’s painting “Haystack” - so at the age of 30 he completely changed his profession and became an artist.

V. Kandinsky “Motley Life”
His first painting was “A Variegated Life” (1907). It represents a generalized picture of human existence, but this is already the prospect of his future creativity.
In 1896 he moved to Munich, where he became acquainted with the work of the German Expressionists. After the outbreak of the First World War, he returned to Moscow, but after some time he again left for Germany, and then to France. He traveled a lot, but periodically returned to Moscow and Odessa.
In Berlin, Wassily Kandinsky taught painting and became a theorist of the Bauhaus school (Higher School of Construction and Artistic Design) - an educational institution in Germany that existed from 1919 to 1933. At this time, Kandinsky received worldwide recognition as one of the leaders of abstract art.
He died in 1944 in the Parisian suburb of Neuilly-sur-Seine.
Abstract art as an artistic movement in painting was not a homogeneous phenomenon - abstract art united several movements: Rayonism, Orphism, Suprematism, etc., about which you can learn in more detail from our articles. Beginning of the 20th century - a time of rapid development of various avant-garde movements. Abstract art was very diverse, it also included cubo-futurists, constructivists, non-objective artists, etc. But the language of this art required other forms of expression, but they were not supported by figures of official art, moreover, contradictions were inevitable among the avant-garde movement itself. Avant-garde art was declared anti-people, idealistic and was practically banned.
Abstractionism did not find support in fascist Germany, so the centers of abstractionism from Germany and Italy moved to America. In 1937, a museum of non-objective painting was created in New York, founded by the family of millionaire Guggenheim, and in 1939, the Museum of Modern Art, created with funds from Rockefeller.

Post-war abstract art

After World War II, the “New York School” was popular in America, whose members were the creators of abstract expressionism D. Pollock, M. Rothko, B. Neumann, A. Gottlieb.

D. Pollock "Alchemy"
Looking at the painting of this artist, you understand: serious art does not lend itself to easy interpretation.

M. Rothko “Untitled”
In 1959, their works were exhibited in Moscow at the exhibition of US national art in Sokolniki Park. The beginning of the “thaw” in Russia (1950s) opened a new stage in the development of domestic abstract art. The studio “New Reality” opened, the center of which was Eliy Mikhailovich Belyutin.

The studio was located in Abramtsevo, near Moscow, at Belutin’s dacha. There was a focus on collective work, which the futurists of the early 20th century strived for. “New Reality” united Moscow artists who held different views on the methodology of constructing abstraction. Artists L. Gribkov, V. Zubarev, V. Preobrazhenskaya, A. Safokhin came out of the “New Reality” studio.

E. Belyutin “Motherhood”
A new stage in the development of Russian abstraction begins in the 1970s. This is the time of Malevich, Suprematism and Constructivism, the traditions of the Russian avant-garde. Malevich's paintings aroused interest in geometric forms, linear signs, and plastic structures. Modern authors discovered the works of Russian philosophers and theologians, theologians and mystics, and became familiar with inexhaustible intellectual sources that filled the works of M. Shvartsman, V. Yurlov, E. Steinberg with new meaning.
The mid-1980s marked the completion of the next stage in the development of abstraction in Russia. End of the 20th century outlined a special “Russian path” of non-objective art. From the point of view of the development of world culture, abstractionism as a style movement ended in 1958. But only in post-perestroika Russian society did abstract art become equal to other movements. Artists were given the opportunity to express themselves in not only classical forms, but also in forms of geometric abstraction.

Modern abstract art

The color white often becomes the modern language of abstraction. For Muscovites M. Kastalskaya, A. Krasulin, V. Orlov, L. Pelikh, the space of white (the highest color tension) is filled with endless possibilities, allowing the use of both metaphysical ideas about the spiritual and the optical laws of light reflection.

M. Kastalskaya “Sleepy Hollow”
The concept of “space” has different meanings in modern art. For example, there is a space of a sign, a symbol. There is a space of ancient manuscripts, the image of which has become a kind of palimpsest in the compositions of V. Gerasimenko.

A. Krasulin “Stool and Eternity”

Some trends in abstract art

Rayonism

S. Romanovich “Descent from the Cross” (1950s)
The direction in Russian avant-garde painting in the art of the 1910s, based on the shift of light spectra and light transmission. One of the early areas of abstractionism.
The basis of the creativity of raymen is the idea of ​​“the intersection of the reflected rays of various objects,” since what a person actually perceives is not the object itself, but “the sum of the rays coming from the light source, reflected from the object and falling into our field of vision.” The rays on the canvas are transmitted using colored lines.
The founder and theorist of the movement was the artist Mikhail Larionov. Mikhail Le-Dantu and other artists of the “Donkey’s Tail” group worked in Rayonism.

Rayonism received particular development in the work of S. M. Romanovich, who made the coloristic ideas of Rayonism the basis of the “spatiality” of the colorful layer of a figurative painting: “Painting is irrational. It comes from the depths of man, like a spring flowing from underground. Its task is to transform the visible world (object) through harmony, which is a sign of truth. Work - write in harmony - can be done by the one in whom it lives - this is the secret of man.”

Orphism

A movement in French painting at the beginning of the 20th century, formed by R. Delaunay, F. Kupka, F. Picabia, M. Duchamp. The name was given in 1912 by the French poet Apollinaire.

R. Delaunay “Champs of Mars: Red Tower” (1911-1923)
Orphist artists sought to express the dynamics of movement and the musicality of rhythms through the interpenetration of the primary colors of the spectrum and the intersection of curved surfaces.
The influence of Orphism can be seen in the works of Russian artist Aristarkh Lentulov, as well as Alexandra Ekster, Georgy Yakulov and Alexander Bogomazov.

A. Bogomazov “Composition No. 2”

Neoplasticism

This style is characterized by clear rectangular forms in architecture (“international style” by P. Auda) and abstract painting in the arrangement of large rectangular planes, painted in the primary colors of the spectrum (P. Mondrian).

"Mondrian style"

Abstract expressionism

A school (movement) of artists who paint quickly and on large canvases, using non-geometric strokes, large brushes, sometimes dripping paint onto the canvas to fully reveal emotions. The artist's goal with this creative method is the spontaneous expression of the inner world (subconscious) in chaotic forms not organized by logical thinking.
The movement gained particular momentum in the 1950s, when it was headed by D. Pollock, M. Rothko and Willem de Kooning.

D. Pollock “Under different masks”
One of the forms of abstract expressionism is Tachisme; both of these movements practically coincide in ideology and creative method, however, the personal composition of the artists who called themselves Tachistes or abstract expressionists does not completely coincide.

Tachisme

A. Orlov “Scars in the soul never heal”
It is painting with spots that do not recreate images of reality, but express the unconscious activity of the artist. Strokes, lines and spots in tachisme are applied to the canvas with quick movements of the hand without a pre-thought-out plan. The European group "COBRA" and the Japanese group "Gutai" are close to tachisme.

A. Orlov “Seasons” P.I. Chaikovsky

The emergence of Abstract Art:

Abstractionism as a movement arose at the beginning of the 20th century. simultaneously in several European countries. The recognized founders and inspirers of this movement are the artists Wassily Kandinsky, Kazimir Malevich, Piet Mondrian, Frantisek Kupka and Robert Delaunay, who outlined the main principles of Abstract Art in their theoretical works and policy statements. Differing in goals and objectives, their teachings were united in one thing: Abstractionism, as the highest stage of development of visual creativity, creates forms inherent only to art. “Freed” from copying reality, it turns into a means of conveying through various pictorial images the incomprehensible spiritual principle of the universe, eternal “spiritual essences”, “cosmic forces”.

As an artistic phenomenon, Abstractionism had a huge influence on the formation and development of modern architectural style, design, industrial, applied and decorative arts.

Features of Abstract Art:

Abstractionism (from the Latin Abstractus - abstract) is one of the main artistic movements in the art of the 20th century, in which the structure of the work is based solely on formal elements - line, color spot, abstract configuration. Works of Abstract Art are detached from the forms of life itself: non-objective compositions embody the subjective impressions and fantasies of the artist, the stream of his consciousness; they give rise to free associations, movement of thought and emotional empathy.

Since the advent of Abstract Art, two main lines have emerged in it:

• First – geometric, or logical abstraction, creating space by combining geometric shapes, colored planes, straight and broken lines. It is embodied in the Suprematism of K. Malevich, the neoplasticism of P. Mondrian, the orphism of R. Delaunay, in the work of masters of post-painterly abstraction and op art;
• The second is lyrical-emotional abstraction, in which compositions are organized from freely flowing forms and rhythms, is represented by the work of V. Kandinsky, the works of masters of abstract expressionism, tachisme, and informal art.

Masters of Abstract Art:

Wassily Kandinsky, Kazimir Malevich, Frantisek Kupka, Paul Klee, Piet Mondrian, Theo Van Doesburg, Robber Delaunay, Mikhail Larionov, Lyubov Popova, Jackson Pollock, Josef Albers and others.

Paintings by artists: