Inside our often chaotic world, geometric abstract art creates a sense of balance and structure. To the everyday observer, yet , it can sometimes seem to be too mental and detached from the natural world. It is often judged to be lacking in emotion, while the grand gestures of the abstract expressionist group of painters convince viewers more easily of their passion for life. However, to write off it in this way is to accomplish a great disservice and that we need only to consider the determination behind the work of some of the great geometric abstract artists to find evidence of this. interior design
Kasimir Malevich and Piet Mondrian are a couple of the earliest geometric abstract artists and both embraced the utilization of order and geometry in their paintings to share sentiment in its purest form. The boundaries they created in their abstract geometric paintings celebrate spiritual areas of the human experience and go far beyond the world of our immediate understanding.
For Malevich, geometric abstraction was the perfect way to strip backside the clutter of life and get to the heart of what really mattered: the communication of pure artistic feeling. This kind of ‘supremacy’ of feeling was fundamental to his work. (Malevich and his enthusiasts were known as Suprematists). He decided to use a simple black square against a white background to convey this. The african american square expressed the sense and the white adjacent it expressed the emptiness beyond.
For Mondrian, a pattern of strong african american lines encasing blocks of primary colour on a white background was the perfect visual language to convey his belief in a world beyond our reality. Theo van Doesburg, a co-founder with Mondrian while others of the Para Stijl movement, was evenly inspired by this être of reality and use of geometric shapes and patterns.
Wassily Kandinsky, awarded with producing the first abstract painting, using only shapes and form to express his visceral reactions to music and coloring, also embraced geometric cast off art, particularly during his period as an instructor at the Bauhaus.
These types of artists had none of the visual images of the geometry in character so acquireable now yet they had an inborn understanding of the way in which geometric styles and patterns were so fundamental to the composition of the world. Geometric abstract art was the equivalent of the universal image and artistic language.
That they demonstrated that triangles, verger, circles and straight lines carefully put and regular with precision will take all of us beyond the boundaries of our perceived reality. Their very own work offers the person an urgent level of psychological engagement that is both moving and hypnotic.
A new generation of summary geometric artists emerged in the 1950s and collection out to dispense with the overspill of feeling they perceived in the work of the hypothetical expressionists of the time. Artists such as Kenneth Noland, Frank Stella and Al Held took on geometric abstraction as a means of producing their art less subjective. Colour is central for their work, as is their use of hard edges and the eradication of all indications of brushwork. Their paintings replicate the purity of sense that Kasimir Malevich desired to convey. There is simplicity and beauty in this approach and few artists demonstrate this better than Ellsworth Kelly whoever large geometric shapes in vivid primary colours build a powerfully engaging visual experience.
The best geometric cast off art assures us that all is well with the world and displays back to us something we innately understand: which our world is not the chaotic, disorganised place it sometimes seems but alternatively an exquisitely designed, well-ordered and balanced environment we can only marvel at.