![]() That principle, which Tatlin called "the civilization of materials," spurred the rise of the Russian avant-garde movement Constructivism (1918-21), which explored geometric form in two and three dimensions. These were assemblages of randomly found industrial materials whose geometric form was dictated by their inherent properties, such as wood, metal, or glass. The job of this avant-garde artist Kazimir Malevich (1879-1935), in style he termed Suprematism.Ĭreating nonobjective compositions of elemental forms floating in unstructured white space, Malevich tried to achieve "the absolute," the highest spiritual reality that he called the "fourth dimension." Simultaneously, his compatriot Vladimir Tatlin (1885-1953) originated a new geometric abstract idiom in an advanced three-dimensional form, which he dubbed "painterly reliefs" and then "counter-reliefs" (1915-17). Similar compositional principles underlie the work of the De Stijl artists, who implemented them with slight formal modifications to achieve their individual, personal expression. Expunged of all references to the actual world, and posited on the geometric side of the canvas through vertical and horizontal lines of varied thickness, complemented by cubes of primary colors, especially blue, red, and yellow. ![]() For the next thirty years continued to work in his characteristic geometric fashion. Mondrian's geometric design, which he termed " Neoplasticism," developed between 19. Mondrian's work was meant to convey "absolute reality," construed as the world of pure geometric forms according to the vertical-horizontal principle of direct lines and pure spectral colors. Along with other members of the De Stijl group- Theo van Doesburg (1883-1931), Bart van der Leck (1876-1958), and Vilmos Huszár (1884-1960). In Holland, the most important creator and the most famous proponent of geometric abstract language were Piet Mondrian (1872-1944). This process of purely pictorial reality constructed of elemental geometric shapes assumed different stylistic expressions in various European countries. Piet Mondrian Composition II in Red, Blue, and Yellow, 1930 Geometric abstraction, through the process of purifying art from visual reality, focused on the inherent two-dimensional features of the painting. Usually, it was combined with the freedom of experimentation with different materials and spatial relationships between various compositional parts, which also emphasized the flatness of the picture surface, as the carrier of applied elements, and the physical "reality" of the explored forms and materials. These three facets became the fundamental characteristics of geometric abstraction. The next phase- Synthetic Cubism, 1912-14-introduced the flatly painted synthesized shapes, abstract space, and "constructional" elements of the composition. The Analytic Cubist phase peaked in mid-1910 and made available to creators and artists the theory of planarity of overlapping frontal surfaces held together by a linear grid. Started by Georges Braque and Pablo Picasso in 1907-8, Cubism subverted the traditional depiction relying on the depiction of imitations of forms of the visual world. The style evolved as the logical conclusion of the Cubist deconstruction and reformulation of the established conventions of space and form. ![]() The pictorial language of geometric abstract art is based on the use of simple geometric forms and shapes placed in non-illusionistic space and combined into nonobjective compositions.
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