![]() ![]() His art was not specifically associated with any religion, but there was something overtly spiritual about it. Kandinsky 's lyrical abstraction contrasted with many of the other abstract art trends of the 1920s and 1930s. Despite all this, many abstract painters of the time were members of one or more of these sub-movements, and as a result, it is almost impossible to authoritatively identify the paintings belonging to each of these movements. All artists sought to create a new and spontaneous style of painting, free from past theories or present conventions. All of these schools were abstract or at least semi-abstract, all rejecting geometric abstraction as well as naturalism and figurative genres. In theory, Art Informel was the main movement encompassing numerous sub-styles and subgroups, such as Forces Nouvelles, CoBrA, Tachisme, Art Brut, Art Non Figuratif, and Lyrical Abstraction. "Fired Men", Taro Okamoto (1955), National Museum of Modern Art, Tokyo Characteristics of lyrical abstraction: confusion of styles His abstract paintings were imaginative, emotional, expressive, personal, passionate, and entirely subjective in other words, lyrics. Kandinsky compared his paintings to musical compositions, which communicated emotions in a completely abstract way. ![]() They hoped that simply by painting freely, without preconceived notions of aesthetics or the objective world, something unknown could be expressed through their work. ![]() This group, epitomized by Wassily Kandinsky, approached abstraction from the perspective that they did not know what meaning what they painted could have. Suprematist and Constructivist artists were working with recognizable forms in their art, but using them in an ambiguous or symbolic way, or in a way that tried to convey universalities.īut another group of artists approached abstraction from a completely different perspective than the rest. Cubist and Futurist artists worked with images from the real world and conceptually modified them to express abstract ideas. In the 1910s, several different groups of artists flirted with the concept of lyrical abstraction, each from a unique perspective. Looking for the lyrical in lyrical abstraction The current term "Lyrique Abstraction" was coined by the French painter and exhibition co-organizer Georges Mathieu (1921-2012), while his fellow curator Jose-Jean-Marchand wrote that some of the works exhibited displayed "a lyricism detached from all servitude.", meaning that the paintings were not derived or weighed down by the weight of intellectual theory. 4Īlthough the Russian painter Wassily Kandinsky (1866-1944) could be said to have pioneered the elegant combination of narrative, form, and color that is the basis of lyrical abstraction, the trend emerged in an exhibition entitled "L'Imaginaire," which It was held at the Galerie du Luxembourg in Paris in 1947 and included works by Hans Hartung, Wols (Alfred Otto Wolfgang Schulze), and Jean-Paul Riopelle, among others. Both uses of the term are they referred to art that was characterized by being free, emotional and personal compositions outside objective reality.īut those trends can be traced even further back, at least to the first decade of the 20th century in the work of Wassily Kandinsky. American art collector Larry Aldrich used the term in 1969 to define the nature of several works he had recently collected, which he felt indicated a return to personal expression and experimentation following minimalism.īut the French art critic Jean José Marchand used a variation of the term, Abstraction Lyrique, decades earlier, in 1947, to refer to an emerging European trend in painting similar to Abstract Expressionism in the US. Lyrical abstraction is a seemingly simple term, and yet its origin and meaning have been debated for generations. To discover the true roots and meaning of lyrical abstraction, and to understand how they interact with its tendencies in art, we must look to the early days of abstract art.
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