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Traditional art is based on conventions of resemblance between the
work and that which it is a representation "of". Abstract art, in
contrast, either adopts alternative modes of visual representation
or reconfigures mimetic convention. This book explores the relation
of abstract art to nature (taking nature in the broadest sense-the
world of recognisable objects, creatures, organisms, processes, and
states of affairs). Abstract art takes many different forms, but
there are shared key structural features centered on two basic
relations to nature. The first abstracts from nature, to give
selected aspects of it a new and extremely unfamiliar appearance.
The second affirms a natural creativity that issues in new,
autonomous forms that are not constrained by mimetic conventions.
(Such creativity is often attributed to the power of the
unconscious.) The book covers three categories: classical modernism
(Mondrian, Malevich, Kandinsky, Arp, early American abstraction);
post-war abstraction (Pollock, Still, Newman, Smithson, Noguchi,
Arte Povera, Michaux, postmodern developments); and the broader
historical and philosophical scope.
Traditional art is based on conventions of resemblance between the
work and that which it is a representation "of". Abstract art, in
contrast, either adopts alternative modes of visual representation
or reconfigures mimetic convention. This book explores the relation
of abstract art to nature (taking nature in the broadest sense-the
world of recognisable objects, creatures, organisms, processes, and
states of affairs). Abstract art takes many different forms, but
there are shared key structural features centered on two basic
relations to nature. The first abstracts from nature, to give
selected aspects of it a new and extremely unfamiliar appearance.
The second affirms a natural creativity that issues in new,
autonomous forms that are not constrained by mimetic conventions.
(Such creativity is often attributed to the power of the
unconscious.) The book covers three categories: classical modernism
(Mondrian, Malevich, Kandinsky, Arp, early American abstraction);
post-war abstraction (Pollock, Still, Newman, Smithson, Noguchi,
Arte Povera, Michaux, postmodern developments); and the broader
historical and philosophical scope.
The artists of the Organic School of the Russian avant-garde found
inspiration as well as a model for artistic growth in the creative
principles of nature. Isabel Wunsche analyzes the artistic
influences, intellectual foundations, and scientific publications
that shaped the formation of these artists, the majority of whom
were based in St. Petersburg. Particular emphasis is given to the
holistic worldviews and organic approaches prevalent among artists
of the pre-revolutionary avant-garde, specifically Jan Ciaglinski,
Nikolai Kulbin, and Elena Guro, as well as the emergence of the
concept of Organic Culture as developed by Mikhail Matiushin,
practiced at the State Institute of Artistic Culture, and taught at
the reformed Art Academy in the 1920s. Discussions of faktura and
creative intuition explore the biocentric approaches that dominated
the work of Pavel Filonov, Kazimir Malevich, Voldemar Matvejs, Olga
Rozanova, and Vladimir Tatlin. The artistic approaches of the
Organic School of the Russian avant-garde were further promoted and
developed by Vladimir Sterligov and his followers between 1960 and
1990. The study examines the cultural potential as well as the
utopian dimension of the artists' approaches to creativity and
their ambitious visions for the role of art in promoting human
psychophysiological development and shaping post-revolutionary
culture.
The artists of the Organic School of the Russian avant-garde found
inspiration as well as a model for artistic growth in the creative
principles of nature. Isabel Wunsche analyzes the artistic
influences, intellectual foundations, and scientific publications
that shaped the formation of these artists, the majority of whom
were based in St. Petersburg. Particular emphasis is given to the
holistic worldviews and organic approaches prevalent among artists
of the pre-revolutionary avant-garde, specifically Jan Ciaglinski,
Nikolai Kulbin, and Elena Guro, as well as the emergence of the
concept of Organic Culture as developed by Mikhail Matiushin,
practiced at the State Institute of Artistic Culture, and taught at
the reformed Art Academy in the 1920s. Discussions of faktura and
creative intuition explore the biocentric approaches that dominated
the work of Pavel Filonov, Kazimir Malevich, Voldemar Matvejs, Olga
Rozanova, and Vladimir Tatlin. The artistic approaches of the
Organic School of the Russian avant-garde were further promoted and
developed by Vladimir Sterligov and his followers between 1960 and
1990. The study examines the cultural potential as well as the
utopian dimension of the artists' approaches to creativity and
their ambitious visions for the role of art in promoting human
psychophysiological development and shaping post-revolutionary
culture.
The Routledge Companion to Expressionism in a Transnational Context
is a challenging exploration of the transnational formation,
dissemination, and transformation of expressionism outside of the
German-speaking world, in regions such as Central and Eastern
Europe, the Baltics and Scandinavia, Western and Southern Europe,
North and Latin America, and South Africa, in the first half of the
twentieth century. Comprising a series of essays by an
international group of scholars in the fields of art history and
literary and cultural studies, the volume addresses the
intellectual discussions and artistic developments arising in the
context of the expressionist movement in the various art centers
and cultural regions. The authors also examine the implications of
expressionism in artistic practice and its influence on modern and
contemporary cultural production. Essential for an in-depth
understanding and discussion of expressionism, this volume opens up
new perspectives on developments in the visual arts of this period
and challenges the traditional narratives that have predominantly
focused on artistic styles and national movements.
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