Concrete art

Concrete art and design or concretism is an abstractionist movement that evolved in the 1930s out of the work of De Stijl, the futurists and Kandinsky around the Swiss painter Max Bill. The term "concrete art" was first introduced by Theo van Doesburg in his "Manifesto of Concrete Art" (1930) published in the first and only issue of magazine Art Concrete:

1. Art is universal;

2. The work of art must be entirely conceived and shaped by the spirit execution. It does not receive data from the formal nature, or sensuality, or the sentimentality. We want to exclude lyricism, dramatism, symbolism, etc;

3. The canvas is to be built entirely with purely visual elements, his plans and colors. A pictorial element has no meaning other than "himself" in the canvas the consequence is "himself";

4. The construction of the canvas, also controllable visually;

5. The technique should be mechanics, anti-impressionist;

6. Effort to absolute clarity.

In his understanding, this form of abstractionism must be free of any symbolical association with reality, arguing that lines and colors are concrete by themselves.

Ever since the cave age, man has been painting still lives, landscapes, and nudes. These artists do not wish to copy nature. They do not wish to reproduce but to produce. But then nothing is less abstract than Abstract art. This is why Van Doesburg and Kandinsky have suggested that Abstract art should called Concrete art.

Artists should not sign their works of Concrete art. These paintings, sculptures, objects should remain anonymous and form part of nature’s great workshop as leaves do, and clouds, animals, men. Yes, once again become part of nature. These artists should work communally as did the artists of the Middle Age.

The Swiss artist Max Bill later became the flag bearer for Concrete art organizing the first international exhibition in Basle in 1944. He stated that the aim of Concrete art is to create 'in a visible and tangible form things which did not previously exist to represent abstract thoughts in a sensuous and tangible form'. In practice Concrete art is very close to Constructivism and there is a museum of Constructive and Concrete art in Zurich, Switzerland.

The movement came to fruition in Northern Italy and France in the 1940s and 1950's through the work of the groups Movement of art concrete (MAC) and Space.

Bauhaus

Like no other institution in Germany, the Bauhaus represents the modern age in the 20th century. The cultural heritage of the Bauhaus is preserved in Germany by three institutions, which are located at the historic sites of its work. The Bauhaus-Archiv / Museum für Gestaltung in Berlin, the Bauhaus Dessau Foundation and the Foundation of Weimar Classics are joint publishers of the bauhaus-online.de web portal.

Bauhaus 1919-1933

The Bauhaus occupies a place of its own in the history of 20th century culture, architecture, design, art and new media. One of the first schools of design, it brought together a number of the most outstanding contemporary architects and artists and was not only an innovative training centre but also a place of production and a focus of international debate. At a time when industrial society was in the grip of a crisis, the Bauhaus stood almost alone in asking how the modernisation process could be mastered by means of design.

Founded in Weimar in 1919, the Bauhaus rallied masters and students who sought to reverse the split between art and production by returning to the crafts as the foundation of all artistic activity and developing exemplary designs for objects and spaces that were to form part of a more human future society. Following intense internal debate, in 1923 the Bauhaus turned its attention to industry under its founder and first director Walter Gropius (1883–1969). The major exhibition which opened in 1923, reflecting the revised principle of art and technology as a new unity, spanned the full spectrum of Bauhaus work. The Haus Am Horn provided a glimpse of a residential building of the future.

In 1924 funding for the Bauhaus was cut so drastically at the instigation of conservative forces that it had to seek a new home. The Bauhaus moved to Dessau at a time of rising economic fortunes, becoming the municipally funded School of Design. Almost all masters moved with it. Former students became junior masters in charge of the workshops. Famous works of art and architecture and influential designs were produced in Dessau in the years from 1926 to 1932.

Walter Gropius resigned as director on 1st April 1928 under the pressure of constant struggles for the Bauhaus survival. He was succeeded by the Swiss architect Hannes Meyer (1889–1954) whose work sought to shape a harmonious society. Cost-cutting industrial mass production was to make products affordable for the masses. Despite his successes, Hannes Meyer’s Marxist convictions became a problem for the city council amidst the political turbulence of Germany in 1929, and the following year he was removed from his post.

Under Ludwig Mies van der Rohe (1886–1969) the Bauhaus developed from 1930 into a technical school of architecture with subsidiary art and workshop departments. After the Nazis became the biggest party in Dessau at the elections, the Bauhaus was forced to move in September 1932. It moved to Berlin but only lasted for a short time longer. The Bauhaus dissolved itself under pressure from the Nazis in 1933.

Bauhaus and German modernism

Defeat in World War I, the fall of the German monarchy and the abolition of censorship under the new, liberal Weimar Republic allowed an upsurge of radical experimentation in all the arts, previously suppressed by the old regime. Many Germans of left-wing views were influenced by the cultural experimentation that followed the Russian Revolution, such as constructivism. Such influences can be overstated: Gropius himself did not share these radical views, and said that Bauhaus was entirely apolitical. Just as important was the influence of the 19th century English designer William Morris, who had argued that art should meet the needs of society and that there should be no distinction between form and function. Thus the Bauhaus style, also known as the International Style, was marked by the absence of ornamentation and by harmony between the function of an object or a building and its design.

However, the most important influence on Bauhaus was modernism, a cultural movement whose origins lay as far back as the 1880s, and which had already made its presence felt in Germany before the World War, despite the prevailing conservatism. The design innovations commonly associated with Gropius and the Bauhaus—the radically simplified forms, the rationality and functionality, and the idea that mass-production was reconcilable with the individual artistic spirit—were already partly developed in Germany before the Bauhaus was founded. The German national designers' organization Deutscher Werkbund was formed in 1907 by Hermann Muthesius to harness the new potentials of mass production, with a mind towards preserving Germany's economic competitiveness with England. In its first seven years, the Werkbund came to be regarded as the authoritative body on questions of design in Germany, and was copied in other countries. Many fundamental questions of craftsmanship vs. mass production, the relationship of usefulness and beauty, the practical purpose of formal beauty in a commonplace object, and whether or not a single proper form could exist, were argued out among its 1,870 members (by 1914).

The entire movement of German architectural modernism was known as Neues Bauen. Beginning in June 1907, Peter Behrens' pioneering industrial design work for the German electrical company AEG successfully integrated art and mass production on a large scale. He designed consumer products, standardized parts, created clean-lined designs for the company's graphics, developed a consistent corporate identity, built the modernist landmark AEG Turbine Factory, and made full use of newly developed materials such as poured concrete and exposed steel. Behrens was a founding member of the Werkbund, and both Walter Gropius and Adolf Meier worked for him in this period.

The Bauhaus was founded at a time when the German zeitgeist ("spirit of the times") had turned from emotional Expressionism to the matter-of-fact New Objectivity. An entire group of working architects, including Erich Mendelsohn, Bruno Taut and Hans Poelzig, turned away from fanciful experimentation, and turned toward rational, functional, sometimes standardized building. Beyond the Bauhaus, many other significant German-speaking architects in the 1920s responded to the same aesthetic issues and material possibilities as the school. They also responded to the promise of a "minimal dwelling" written into the new Weimar Constitution. Ernst May, Bruno Taut, and Martin Wagner, among others, built large housing blocks in Frankfurt and Berlin. The acceptance of modernist design into everyday life was the subject of publicity campaigns, well-attended public exhibitions like the Weissenhof Estate, films, and sometimes fierce public debate.

Weimar

The school was founded by Walter Gropius in Weimar in 1919 as a merger of the Grand Ducal School of Arts and Crafts and the Weimar Academy of Fine Art. Its roots lay in the arts and crafts school founded by the Grand Duke of Saxe-Weimar-Eisenach in 1906 and directed by Belgian Art Nouveau architect Henry van de Velde. When van de Velde was forced to resign in 1915 because he was Belgian, he suggested Gropius, Hermann Obrist and August Endell as possible successors. In 1919, after delays caused by the destruction of World War I and a lengthy debate over who should and socio-economic reconciliation of the fine arts and the applied arts (an issue which remained a defining one throughout the school's existence), Gropius was made the director of a new institution integrating the two called the Bauhaus. In the pamphlet for an April 1919 exhibition entitled "Exhibition of Unknown Architects", Gropius proclaimed his goal as being "to create a new guild of craftsmen, without the class distinctions which raise an arrogant barrier between craftsman and artist." Gropius' neologism Bauhaus references both building and the Bauhütte, a premodern guild of stonemasons. The early intention was for the Bauhaus to be a combined architecture school, crafts school, and academy of the arts. In 1919 Swiss painter Johannes Itten, German-American painter Lyonel Feininger, and German sculptor Gerhard Marcks, along with Gropius, comprised the faculty of the Bauhaus. By the following year their ranks had grown to include German painter, sculptor and designer Oskar Schlemmer who headed the theater workshop, and Swiss painter Paul Klee, joined in 1922 by Russian painter Wassily Kandinsky. A tumultuous year at the Bauhaus, 1922 also saw the move of Dutch painter Theo van Doesburg to Weimar to promote De Stijl ("The Style"), and a visit to the Bauhaus by Russian Constructivist artist and architect El Lissitzky.

From 1919 to 1922 the school was shaped by the pedagogical and aesthetic ideas of Johannes Itten, who taught the Vorkurs or 'preliminary course' that was the introduction to the ideas of the Bauhaus. Itten was heavily influenced in his teaching by the ideas of Franz Cižek and Friedrich Wilhelm August Fröbel. He was also influenced in respect to aesthetics by the work of the Blaue Reiter group in Munich as well as the work of Austrian Expressionist Oskar Kokoschka. The influence of German Expressionism favoured by Itten was analogous in some ways to the fine arts side of the ongoing debate. This influence culminated with the addition of Der Blaue Reiter founding member Wassily Kandinsky to the faculty and ended when Itten resigned in late 1922. Itten was replaced by the Hungarian designer László Moholy-Nagy, who rewrote the Vorkurs with a leaning towards the New Objectivity favored by Gropius, which was analogous in some ways to the applied arts side of the debate. Although this shift was an important one, it did not represent a radical break from the past so much as a small step in a broader, more gradual socio-economic movement that had been going on at least since 1907 when van de Velde had argued for a craft basis for design while Hermann Muthesius had begun implementing industrial prototypes.

Gropius was not necessarily against Expressionism, and in fact himself in the same 1919 pamphlet proclaiming this "new guild of craftsmen, without the class snobbery," described "painting and sculpture rising to heaven out of the hands of a million craftsmen, the crystal symbol of the new faith of the future." By 1923 however, Gropius was no longer evoking images of soaring Romanesque cathedrals and the craft-driven aesthetic of the "Völkisch movement", instead declaring "we want an architecture adapted to our world of machines, radios and fast cars." Gropius argued that a new period of history had begun with the end of the war. He wanted to create a new architectural style to reflect this new era. His style in architecture and consumer goods was to be functional, cheap and consistent with mass production. To these ends, Gropius wanted to reunite art and craft to arrive at high-end functional products with artistic pretensions. The Bauhaus issued a magazine called Bauhaus and a series of books called "Bauhausbücher". Since the country lacked the quantity of raw materials that the United States and Great Britain had, they had to rely on the proficiency of its skilled labor force and ability to export innovative and high quality goods. Therefore designers were needed and so was a new type of art education. The school's philosophy stated that the artist should be trained to work with the industry.

Weimar was in the German state of Thuringia, and the Bauhaus school received state support from the Social Democrat-controlled Thuringian state government. From 1923 the school in Weimar came under political pressure from right-wing circles, until on December 26, 1924 it issued a press release accusing the government and setting the closure of the school for the end of March 1925. In February 1924, the Social Democrats lost control of the state parliament to the Nationalists.The Ministry of Education placed the staff on six-month contracts and cut the school's funding in half. They had already been looking for alternative sources of funding. After the Bauhaus moved to Dessau, a school of industrial design with teachers and staff less antagonistic to the conservative political regime remained in Weimar. This school was eventually known as the Technical University of Architecture and Civil Engineering, and in 1996 changed its name to Bauhaus University Weimar.

Dessau

Gropius's design for the Dessau facilities was a return to the futuristic Gropius of 1914 that had more in common with the International style lines of the Fagus Factory than the stripped down Neo-classical of the Werkbund pavilion or the Völkisch Sommerfeld House. The Dessau years saw a remarkable change in direction for the school. According to Elaine Hoffman, Gropius had approached the Dutch architect Mart Stam to run the newly-founded architecture program, and when Stam declined the position, Gropius turned to Stam's friend and colleague in the ABC group, Hannes Meyer.

Meyer became director when Gropius resigned in February 1928, and brought the Bauhaus its two most significant building commissions, both of which still exist: five apartment buildings in the city of Dessau, and the headquarters of the Federal School of the German Trade Unions (ADGB) in Bernau. Meyer favored measurements and calculations in his presentations to clients, along with the use of off-the-shelf architectural components to reduce costs, and this approach proved attractive to potential clients. The school turned its first profit under his leadership in 1929.

But Meyer also generated a great deal of conflict. As a radical functionalist, he had no patience with the aesthetic program, and forced the resignations of Herbert Bayer, Marcel Breuer, and other long-time instructors. As a vocal Communist, he encouraged the formation of a communist student organization. In the increasingly dangerous political atmosphere, this became a threat to the existence of the Dessau school. Gropius fired him in the summer of 1930.

Berlin

Although neither the Nazi Party nor Hitler himself had a cohesive architectural policy before they came to power in 1933, Nazi writers like Wilhelm Frick and Alfred Rosenberg had already labeled the Bauhaus "un-German" and criticized its modernist styles, deliberately generating public controversy over issues like flat roofs. Increasingly through the early 1930s, they characterized the Bauhaus as a front for communists and social liberals. Indeed, a number of communist students loyal to Meyer moved to the Soviet Union when he was fired in 1930.

Even before the Nazis came to power, political pressure on Bauhaus had increased. The Nazi movement, from nearly the start, denounced the Bauhaus for its "degenerate art", and the Nazi regime was determined to crack down on what it saw as the foreign, probably Jewish influences of "cosmopolitan modernism." Despite Gropius's protestations that as a war veteran and a patriot his work had no subversive political intent, the Berlin Bauhaus was pressured to close in April 1933. Emigrants did succeed, however, in spreading the concepts of the Bauhaus to other countries, including the “New Bauhaus” of Chicago: Mies van der Rohe decided to emigrate to the United States for the directorship of the School of Architecture at the Armour Institute (now IIT) in Chicago and to seek building commissions. Curiously, however, some Bauhaus influences lived on in Nazi Germany. When Hitler's chief engineer, Fritz Todt, began opening the new autobahn (highways) in 1935, many of the bridges and service stations were "bold examples of modernism" — among those submitting designs was Mies van der Rohe.

Architectural output

The paradox of the early Bauhaus was that, although its manifesto proclaimed that the ultimate aim of all creative activity was building, the school did not offer classes in architecture until 1927. The single most profitable tangible product of the Bauhaus was its wallpaper.

During the years under Gropius (1919–1927), he and his partner Adolf Meyer observed no real distinction between the output of his architectural office and the school. So the built output of Bauhaus architecture in these years is the output of Gropius: the Sommerfeld house in Berlin, the Otte house in Berlin, the Auerbach house in Jena, and the competition design for the Chicago Tribune Tower, which brought the school much attention. The definitive 1926 Bauhaus building in Dessau is also attributed to Gropius. Apart from contributions to the 1923 Haus am Horn, student architectural work amounted to un-built projects, interior finishes, and craft work like cabinets, chairs and pottery.

In the next two years under Meyer, the architectural focus shifted away from aesthetics and towards functionality. There were major commissions: one from the city of Dessau for five tightly designed "Laubenganghäuser" (apartment buildings with balcony access), which are still in use today, and another for the headquarters of the Federal School of the German Trade Unions (ADGB) in Bernau bei Berlin. Meyer's approach was to research users' needs and scientifically develop the design solution.

Mies van der Rohe repudiated Meyer's politics, his supporters, and his architectural approach. As opposed to Gropius's "study of essentials", and Meyer's research into user requirements, Mies advocated a "spatial implementation of intellectual decisions", which effectively meant an adoption of his own aesthetics. Neither van der Rohe nor his Bauhaus students saw any projects built during the 1930s.

The popular conception of the Bauhaus as the source of extensive Weimar-era working housing is not accurate. Two projects, the apartment building project in Dessau and the Törten row housing also in Dessau, fall in that category, but developing worker housing was not the first priority of Gropius nor Mies. It was the Bauhaus contemporaries Bruno Taut, Hans Poelzig and particularly Ernst May, as the city architects of Berlin, Dresden and Frankfurt respectively, who are rightfully credited with the thousands of socially progressive housing units built in Weimar Germany. In Taut's case, the housing he built in south-west Berlin during the 1920s, is still occupied, and can be reached by going easily from the U-Bahn stop Onkel Toms Hütte.

Impact

The Bauhaus had a major impact on art and architecture trends in Western Europe, the United States, Canada and Israel (particularly in White City, Tel Aviv) in the decades following its demise, as many of the artists involved fled, or were exiled, by the Nazi regime. Tel Aviv, in fact, has been named to the list of world heritage sites by the UN due to its abundance of Bauhaus architecture in 2004; it had some 4,000 Bauhaus buildings erected from 1933 on.

Walter Gropius, Marcel Breuer, and László Moholy-Nagy re-assembled in Britain during the mid 1930s to live and work in the Isokon project before the war caught up with them. Both Gropius and Breuer went to teach at the Harvard Graduate School of Design and worked together before their professional split. The Harvard School was enormously influential in America in the late 1920s and early 1930s, producing such students as Philip Johnson, I.M. Pei, Lawrence Halprin and Paul Rudolph, among many others.

In the late 1930s, Mies van der Rohe re-settled in Chicago, enjoyed the sponsorship of the influential Philip Johnson, and became one of the pre-eminent architects in the world. Moholy-Nagy also went to Chicago and founded the New Bauhaus school under the sponsorship of industrialist and philanthropist Walter Paepcke. This school became the Institute of Design, part of the Illinois Institute of Technology. Printmaker and painter Werner Drewes was also largely responsible for bringing the Bauhaus aesthetic to America and taught at both Columbia University and Washington University in St. Louis. Herbert Bayer, sponsored by Paepcke, moved to Aspen, Colorado in support of Paepcke's Aspen projects at the Aspen Institute. In 1953, Max Bill, together with Inge Aicher-Scholl and Otl Aicher, founded the Ulm School of Design (German: Hochschule für Gestaltung - HfG Ulm) in Ulm, Germany, a design school in the tradition of the Bauhaus. The school is notable for its inclusion of semiotics as a field of study. The school closed in 1968, but the ′Ulm Model′ concept continues to influence international design education.

One of the main objectives of the Bauhaus was to unify art, craft, and technology. The machine was considered a positive element, and therefore industrial and product design were important components. Vorkurs ("initial" or "preliminary course") was taught; this is the modern day "Basic Design" course that has become one of the key foundational courses offered in architectural and design schools across the globe. There was no teaching of history in the school because everything was supposed to be designed and created according to first principles rather than by following precedent.

One of the most important contributions of the Bauhaus is in the field of modern furniture design. The ubiquitous Cantilever chair and the Wassily Chair designed by Marcel Breuer are two examples. (Breuer eventually lost a legal battle in Germany with Dutch architect/designer Mart Stam over the rights to the cantilever chair patent. Although Stam had worked on the design of the Bauhaus's 1923 exhibit in Weimar, and guest-lectured at the Bauhaus later in the 1920s, he was not formally associated with the school, and he and Breuer had worked independently on the cantilever concept, thus leading to the patent dispute.)

The physical plant at Dessau survived World War II and was operated as a design school with some architectural facilities by the German Democratic Republic. This included live stage productions in the Bauhaus theater under the name of Bauhausbühne ("Bauhaus Stage"). After German reunification, a reorganized school continued in the same building, with no essential continuity with the Bauhaus under Gropius in the early 1920s. In 1979 Bauhaus-Dessau College started to organize postgraduate programs with participants from all over the world. This effort has been supported by the Bauhaus-Dessau Foundation which was founded in 1974 as a public institution.

American art schools have also rediscovered the Bauhaus school. The Master Craftsman Program at Florida State University bases its artistic philosophy on Bauhaus theory and practice.

Art at the Bauhaus

The first masters appointed to the Bauhaus were artists. “Countless ideas produced by modern painting once it shed its old constraints now lie fallow, awaiting their implementation in the trades,” Walter Gropius wrote in 1923. Wassily Kandinsky, Paul Klee and other Bauhaus artists had departed from the traditional concept of images, turning to abstraction in the years leading up to World War I, and started to analyse the laws of artistic design with new theories and doctrines of art. Many of their works made a highly organised impression, contrasting sharply with a contemporary reality that was perceived as chaotic.

The initial years at the Bauhaus in particular witnessed heated controversies about the value of art and its place in the general order of things and the school’s training programme. Wassily Kandinsky responded in the first issue of the Bauhaus magazine in 1926, alluding to the pivotal role of the basic design course taught by the fine artists: “Painting is seen as one of the organising forces.”

The controversy reached a new stage with the introduction of free painting classes in the winter semester of 1927/28. The workshops were being increasingly subordinated to functional and technological considerations, while the output of fine arts was greater than ever. The visionary unity of art and design in a modern, more humane society began to crack. In the late 1920s, the editor of the magazine "bauhaus", Ernst Kallai, remarked that the Bauhaus displayed an objectivity shaped by stereotype mass production and determined entirely by considerations of utility and construction, on the one hand, and a metaphysical attitude born of dreams, visions, pure inner commitment or paradoxical wizardry, on the other.

The fine art produced at the Bauhaus ranged from late expressionism and abstraction to figurative, concrete socially critical and surrealist works. There is no trace of any Bauhaus-specific style. This holds true for the works of masters like Johannes Itten, Wassily Kandinsky, Paul Klee and Oskar Schlemmer, who were famous painters even at that time, and also for the students’ artistic output.

The Bauhaus stage, run by Oskar Schlemmer, played a special role. The study of the relations between man and space formed the starting point for experiments drawing on the elementary theatrical components of space, form, colour, light, movement, sound and language. The products of the “experimental stage for dancers, actors and directors” in the late 1920s included the “Bauhaus dances” in which the human form was reduced to an ideal type using masks and jerseys. Sociocritical plays developed after Schlemmer‘s departure in 1929 were no more than a passing episode.

Birch Gallery

Gallery Birch is the oldest Danish gallery for contemporary art founded in 1946 by Børge Birch, the father of Anette Birch who owns the gallery today.

Børge Birch became a leading European art dealer and was in particular recognized for his work with the COBRA movement with artists such as Asger Jorn, Pierre Alechinsky, Karel Appel and Corneille.

In the 1950’s the gallery also had several one man exhibitions by major French and international artists such as Georges Braque, Poliakoff, Pablo Picasso, Leger, Laurens, Nolde and Pierre Soulages already in 1951.

Denise René Gallery

Art is first of all a question of choice. At the end of the Second World War, when five years of German occupation had reduced cultural life to its strictest minimum, everything seemed possible for a young gallery. The first exhibitions organized by Denise René, as early as June 1945, bore witness to the fierce need for liberty and the desire to experiment, even when later channeled into geometric abstraction and then Kinetic Art, that are without doubt her most constant traits of character. From Max Ernst or Picabia to Atlan or Lapicque, during her first five years of activity, the pleasure of showing forgotten masters (and therefore unknown) from before the War, as well as new artists gave a new image to the already renowned Ecole de Paris. One common trait that was essential in the virulent debates shaking the world of all these "abstract" artists (even if today this title may be quite logically questioned by many of them), was that to create a new aesthetic they first of all refused any academism that could be tied to a figurative tradition.

Denise René took as her guiding principle the idea that art must invent new paths in order to exist; this was to be the basic intuition of her analyses. In this still confused grouping, that went under the term ‘abstract art’, where the non-figuration of a Manessier an Estève or a Bazaine was next to the informal research of Fautrier or Dubuffet, in order to keep the image subjacent she emphasized formal abstraction; that which in developing the fundamental ideas of Cubism transforms the painting into a purely plastic act, where emotion is born not from narration but finds its inspiration in the combination of the forms and colours. Having chosen this path, Denise René gathered together historical artists and young creators in a dialogue that the Gallery has always kept alive. In this way, from the early years, she put together Arp and Magnelli, Sophie Taeuber and Herbin, all first generation abstract pioneers, with young artists that she discovered and introduced, like Vasarely, Jacobsen, Dewasne or Mortensen. In the context of her work to highlight the pioneers of abstract art, she was also the first to manage what no French museum had ever done: in 1957, with the help of Dutch museums, she showed Mondrian, who had lived in Paris from 1919 to 1938 but had never had his own "personal exhibition".

This dialogue between the generations, this feeling of continuity in art history, and the idea that the work of a gallery is to discover and make familiar until museums take over, is the basis of the historical exhibition that Denise René and Vasarely held in 1955: Le Mouvement. In seeking historical antecedents, like Marcel Duchamp or Calder, and in recalling the articulations represented by the works of Vasarely or Jacobsen, the exhibition provided a framework and justified the research of young artists like Tinguely, Soto, Agam, Pol Bury who were unknown at the time, although this is difficult to imagine today, and who were laying the foundations of Kinetic Art.

Denise René developed this task of putting the different generation of abstract art into perspective by introducing to Paris the historical figures of the concrete avant-gardes of Eastern Europe. This tradition was unknown in Paris up until then and was highlighted by the retrospective of the Hungarian Lajos Kassak, Stazewski from Poland and the exhibition "Précurseurs de l’Art Abstrait en Pologne" (Precursors of Abstract Art in Poland) in 1957, with Malevitch, Kobro, Strezminski, Berlewi…(just as today she is showing the young Russian artist Jeltov). At a time when international exchanges were far less frequent than today, the gallery wanted to be open to creators from all over the world.

The Denise René Gallery became a natural gathering point for artists from the Latin American continent who preferred plastic research to narration: people like Cicero Dias from Brazil, Sot and Cruz Diez from Venezuela and the Argentinians Le Parc, Tomasello or Demarco are all witnesses to this. This privileged relationship with Latin America began in 1956 when Denise René published "Vénézuela", a Vasarely album that echoed the painter’s experience with the architect Carlos Raul Villanueva. A Vasarely exhibition organised and presented by the Gallery in 1958 in Buenos Aires, Montevideo and Sao Paulo furnished the opportunity for new encounters during its inaugurations, and many exhibitions.

Denise René had not only been one of the first French art dealers to understand that a gallery must review international creation and not limit itself only to those artists who came to live in Paris, she also knew, rapidly, that after the War information had a tendency to be world-wide in character and that it was not sufficient to wait until foreigners took advantage of a trip to Paris to discover new artists. The militant Denise René Gallery sought out and found new structures, a new public and made the most contemporary creation available to them. From April 1948 she organised exhibitions in Denmark, finding partners in the big, local galleries (Birch, Tokanten, and Rasmussen) who could continue her action to make constructed art known. In 1951 the organization of the Klar Form exhibition that toured the museums of Scandinavia and Belgium for a year was the concrete result of this visionary conception of the work of a gallery.

From time to time a dealer who accompanies the art of his or her time becomes a part of it; this was the case with Kahnweiler and Cubism, Herbert Walden and German Expressionism, Castelli and Pop Art. In 1955, when Denise René organized the exhibition "Le Mouvement" she instigated a new artistic concept and created a movement at the same time as she revealed a new generation of artists. Kinetic Art, to use the term coined in 1955 by Vasarely, followed by the development of Op Art, became one of the major tendencies in international contemporary art for fifteen years. The rapid public success of Kinetic Art, and its immediate echo in Europe and the United States should perhaps be seen as the natural and indispensable counterpoint to Pop Art. Where the latter restored the image and its power to bear witness to the social world, the Kinetic artists questioned art again, interrogated vibration, virtual colour, and all that in a fixed image calls upon the optic nerve or, on the contrary, introduced with real movement a dimension of duration that modified the approach to visual arts by bringing them nearer to the developments in time offered by the cinema and music. The immediate echo of these ideas, the influx of new artists who joined them, bore witness to the correctness of the intuition of the initiators of the movement, and also swept away the seeds of academisation. Multiples, a generous social idea that consisted of putting art within the reach of the greatest number of people rather than only that of the rich collectors, in diffusing the artists’ works by the hundred, made these consumer goods little different from those that Pop Art boasted about. The Grand Prix for Painting at the Venice Biennale in 1966 was given to Julio le Parc and showed official recognition of Kinetic Art, as the prize conferred on Rauschenberg two years previously had done for Pop Art, making Optical Art a fashion phenomenon. As is always the case with art, however, public recognition of a movement sounds its death toll. Denise René was not just a witness to the second half of the Twentieth century, but was a leading actor. Without her a part of the art of this century would have taken many more years to be discovered. Certain artists may not even have found the means to continue their creation without her support. In retrospect, one can take an inventory of that which the Gallery did not take into account, ask oneself why Bridget Riley or Takis did not find their place there, be surprised that Minimal Art was not the logical follow-up to the line of thought maintained by Denise René.However, aside from these lacuna, what remains is the admirable fidelity of a dealer with a guideline, the capacity to resist fashion’s sways and the financial or media ebb and flow that goes with them. If everybody agrees today with the severity and the importance of the choices made, what is perhaps most impressive is the moral dimension that Denise René gave to a profession of which few imagine that this is its major quality.

Abstraction in Poland

In neighboring Poland, where we saw waving a current avant-garde, expressionist and "formists" constructivism led to the creation of the group "Blok" (1924-26), inspired by M. Szezuka that evolved from Suprematism Constructivism commitment to communism. The group's magazine Praesens "(which, with its" Unism "resume line malevitchean purified), would, in 1929, the group "RA" ("revolutionary artists"), with H. Stazewski and the sculptor K. Kobro, a new way by profit, while H. Berlewi was engaging in an online "Mecano-making, " the study of optical vibrations. In all this turmoil has resulted, in 1931, creating the first museum of abstract art and avant-garde in Europe, in Lodz, which might last.

Abstraction in U.R.S.S.

These were years of ferment within the framework of the Soviet revolution in plant heritage by baking a politicized before, we observe - as we have seen its impact on architecture. The Department of Plastic Arts of the People's Commissariat for Education, IZO, Lucacharsky excited by the workshops free Svonsas, which replaced the Academy of St Petersburg in 1918 and professed where Malevich, as in the UNOVIS Vitebok, Institutes of Culture Arts, here in Moscow, the Inkhuk where Kandinsky taught in 1920, passing away To the "Bauhaus" since losing its tendency, and Suprematism and Constructivism where doctrines were necessary, the Vikhutein, Technical Institute of Moscow, dominated by Tatlin that there, rather monotonously made many disciples, among them the brothers G. and V. Stenberg and K. Medunetsky - were so many bodies active propaganda of an art, or an "agit-prop" in the theater, with its sets, played an important role, as the poster and the most graphic arts, abstract formulations which would otherwise also took to the streets in festive decorations, or in trains (and boats) that advertising across the vast country. In 1922, an exhibition of Soviet avant-garde in Berlin, was to some extent, the swan song of such action.

In reality, the USSR, beyond its immediate turmoil, the abstraction was not more than an accident, between the naturalist tradition more or less a modernized neoplasticism popular, nationalist, and his recovery as early as 1920, scholars adhering to the new political , which eventually annihilate, soon, the revolutionary vanguard.

Vitatline Vladimir (1885-1953)

In 1919, Vitatline (1885-1953) declared that Suprematism was "the sum of all the mistakes of the past", it expresses its opposition to personal and ideological Malevich. Disciple Larianov, marked by a structured and whose colorful expressionism was not unconnected with the interest in traditional icons. Tatlin had an adventurous youth who took him to Paris in 1913, there admiring the buildings raised by Picasso, based on their own "counter-reliefs" which, with experiences of materials and applications in the corners of rooms, modifying its spatiality, created the constructivist movement in 1927, enriched by a new flying machine invented organic, "Latatlin" - but especially in 1919-20, the project of the monument to the Third International, we already know helical construction of a fleeting expression "Komfuturism. Artistic animator, teacher, victorious defender of the principle of "production art" against the "art lab" (which represented Suprematism) a "productivist" politicized, proclaimed in 1921, with rejection of easel painting, and that led to his craft, poster, the theatrical decor already practiced in youth (and who was prominent field of action of his movement, thanks primarily to the enactments (V. Mayerhold) - none of this prevented the misfortune of Tatlin, compared to the realism in the official 30 years. The his part, Mr Rodechenko (1881-1956), coming more or less of futurism, the author of geometric designs consisting of animated games curves made in step, methodically (1915-16), and a painting "Black on black," presented polemically against Malevich in 1919, he practiced construction surprises, mobile and linear metal with which participated in 1917, with Tatlin and the disciple of G. Yakulov at the famous Coffee Pitoresque decor, lively artistic center of Moscow, in these years fermentation. Reduced, like Tatlin, applied arts and design, "he devoted himself to photomontage and typesetting. In these areas stood out El Lissitzky (1890 - 1941), engineer and architect, for that matter, a disciple of Malevich, who went from Suprematism to constructivism, the "History of two squares" (1922) and their "prouns”, geometric constructions in space, originally painted. In large photomontage, made the decoration of the Soviet pavilion at the International Exhibition of Printing, Cologne, 1930 - and so too, as in 1920-24, the famous “Lenin Tribune”, we have seen, represented the dictator of an imaginary construction of the high iron. In 1926, El Lissitzky wrote the interior architecture of the "abstract case" to the International Exhibition in Dresden, which he considered his major work. Schwittors friend and collaborator and Arp, and V. Doesbourg, related to the "Bauhaus", as we know, it was for you to connect more regularly between the Russian and the current world West over the years 20.

Kazimir Malevitch (1878-1935)

K. Malevich (1878-1935), from Impressionism and Symbolism and Art Nouveau, Cezanne, Matisse and Derain's, national painter of rustic scenes, composed in 1911-12 figures in a geometric cylindrical, cube-futurist ("Grinder” , 1912-13, Yale University, USA), influenced by Léger, to the ends of abstractization of geometric bodies of revolution, painted with careful modeling in 1912-13, the year he adopted a cubist imagery to a syntactic "transnational "(" Zaorum ", as we saw), or" alogic, compositions, not without humor confused with the spirit "given" ("An Englishman in Moscow, 1913-14, Amsterdam," Partial Eclipse with Mona Lisa " 1914, col. part. Leningrad). But in 1915, Malevich said he made the first works "suprematists," based on the elementary forms of square, circle and cross vertical-horizontal rectangles. The famous "square black on white" (Tretyakov Museum, Moscow), shown in 1915, is emblematic of this phase, possibly marked the work of decorating the Futurist opera "Victory Over the Sun" (1913), with music by M. Matinchine, translator of "Du Cubisme" of Gleizer - which would, in 1917, the painter of "realism in space," in large colored bands, interested in psycho-physiological research on the art visible.

The "Suprematism" as a supreme aesthetic state "monumental", "not objective" deduction based on a conceptual level, is rooted in the philosophical thought of the post-Kantian metaphysics P. D. Ouspenki (“Tercium Organum”, 1911) who, referring to a" higher form of existence" and announcing a "language of the future”, regardless of the real world, exercise (perhaps through Matinchine) great influence on the painter, also interested in "the fourth dimension" (Ouspenki, 1908, on "space-time continuum" of mathematics of Minkowski, 1908) - and still fascinated by the symbolist rhetoric inherent in that thought. "All they're ready to lose all hold new findings (Ouspenki, 1913) applies to the diligence of whom Malevich" Black Square "was" a flat-surface alive, now even born "(" From Cubism and Futurism and Suprematism, a new pictorial realism, 1916); test would be resumed in 1920, as we know, in From Cezanne to Suprematism, the first semantic unit building free pair of systems "flat surfaces" in space, unconditional freedom of movement (cf. A. B. Nakov, 1975) - "zero," which since 1915 has defined its pictorial experience, was a full, equal to the infinite and absolute, the "harmony, rhythm and beauty" (Mirror Suprematist, 1923 ), not the end of a speech earlier aesthetic, a kind of nillyism (cf. D. Valle, 1967). It always defended Malevich, a work that has consistently been to the "square white on white" (1918, MAM, New York), after three or four years of multiple compositions that have the volume, as those architectural possible, the "planitis ". Numerous texts by Die Welt Gegentandslose ("The world has no purpose," published by the Bauhaus, 1927), proclaim or defend a polemical aesthetic and philosophical doctrine that the painter was able to teach in Vitebsk, against the wishes of Chagall, and won, the group UNOVIS, which created in 1920-21, and within two years, the Institute of Artistic Culture in Leningrad - but that already attacked in 1919 by the Constructivists was supposed by idealism, contrary to official line aesthetic and hardly tolerated, as in 1927. Since 1930, the year he was arrested by secret police, conducted a Malevich painting figurative landscapes and portraits that are not without bitter irony - and, in 1935, was buried in a coffin suprematist that he had intended, causing painted on a white background a circle and a black square.

Mikhail Larionov (1881-1964)

The Russian avant-garde, extremely varied and controversial, early Cubism fascinated adapted to a cube-Futurism, as seen, produced the first abstract works in 1910-11, with M. Larionov (1881-1964) and N. Gontacharova (1881-1962), the movement of "Lucism” ("Rayonnism" – "rayonisme" in French), presented in 1913 as a synthesis of Cubism, Futurism and Orphism, controversy and paradoxically organized against Western culture - although Apollinaire to defend his Paris show in the following year. The forms are painted "spatial forms obtained by the crossing of reflected rays of various objects"; located "outside of time and space", want a "fourth dimension" that had met the Cubist more speculative. The career of pictorial Larionov, coming a expressionist painting, popular and anecdotal, for ideological nationalism, and past, as seen by profuse decanted and pioneering activities in the founding of the groups "Jack of Diamonds" (1910), "Donkey Tail" (1912) and "The Target" (1913), ended in 1915, leaving Russia to integrate, set designer and costume designer as brilliant in the company of Diaghilev. Gontacharova, he followed his destiny, though, around 1955, he was reminded in Paris, retracing screens "Rayonnist" of recent cosmic inspiration.

But two other abstract movements, and violently opposed, would occupy more significantly the scene Soviet and then Russia since 1915: the "Suprematism" of Malevich (and Leporskaia A., V. Ernrolaeva, L. Khidekel, N. M. Suetine, G. Kluza, IG Ghaschuik, I. Kliuns, I. Puni, M. Menkov and futuristic O. Rezanov), as manifest in that year published, and "constructivism" of Tatlin and Rodchenko (and Yakulov G., J. Annenkov , W. Ermilov, V. Stepanova and earlier Cubist and Suprematist Vdaltsova and L. N. Popova, as Klium Vernine architects and brothers) and, between two situations (besides A. Exter, coming from the cube-futurism ), the movement "proun" Ed Lisitzky since 1919. Also in this range of options (and parties) realistic Manifest of Prevsner and Galv, in 1920 came forward, constructivist side, a proposal that would have more lasting effect on the sculpture.

Wassily Kandinsky (1866-1944)

The simultaneity of the abstract Delaunay discs in 1912 (and the "timing" of his disciples), the compositions of varied root cubist and futurist Picabia in 1912-13, the practice of "force-lines" of the Futurists and their "states soul" in Boccioni, Balla and Severini, provide many other situations aesthetic that integrate abstraction, as historically necessary conclusion. And if, "in the background, the Cubist movement and was wanted on a referral to abstraction" (L. Degand, 1953), this can be thought of experimentalism, from Van Gogh to Kandinsky. W. Kandinsky (1866-1944), lawyer qualified in its native Russia, was soon attracted by the folk art that made him "get into the paint and in 1896 went to Munich where the new art attracted him in the "Phalanx " who founded (1901-04) and in which he created his own school, a practice remembered pictorial color in landscapes of Moscow and "romantic paintings, something Symbolists (" Lancer in the landscape”, 1906; “Scream", 1907). Was through that landscape, improvising, Kandinsky activated your palette by Fauve and expressionist influence, coming from Jawlensky, his companion in Murnane where he settled in 1908, and which soon abandoned, to found "Der Reiter Blane" with F. Mara, in 1911. It was here that the painting Kandinsky developed into the abstract, through an ever greater uncertainty and a formal tone in color ("Landscape with bell tower”, 1909, MAM, Paris; "Improvisation on auburn”, 1910, MAM, Paris).

Kandinsky's influence was decisive in the evolution of German painting in Munich from his essay Uber geistig in der Kunst ("On the Spiritual in Art", written in 1910) defined a new aesthetic that situation anthroposophy R. Steiner scored. The artwork is a "living being" with an "inner life" from an "inner necessity of the soul expressed through the symbolic meaning of shapes and colors and communicating the arrival of the "Kingdom of the Spirit" on "time of great spirituality". For these statements, the author has prepared a new chance in artistic creation that a first abstract watercolor, composition of blemishes and fine calligraphy (MAM, Paris), proposed in 1910 - not without that, this year, and until 1913 in "Improvisations" and "Compositions", reference figuratively landscaping continued alternately present. In "With the black bow" (1912, MAM, Paris) in his great shock of ways, where "chaotic cosmos is born", Kandinsky made a definitive work that in 1914, "Table with a Red Spot" (MAM, Paris), "Escape" (Guggenheim Museum, New York), and the four panels made for a collector of New York ("Compositions" which have been designated by the names of four seasons, 1914, MAM, New York and the Guggenheim Museum, No. 1) complete, in its vigorous and colorful forms of conflict euphoric. That same year, with the war, Kandinsky left Munich to Moscow, leaving there his former student and colleague G. Munter (donation to the Municipal Museum in Munich), whose art influenced, along with Jawlensky. A new period of its production took place there, rather fruitful given the difficulties of war and occupation officials after they had as a teacher, founder of a foiled Institute of Artistic Culture (1919) and an Artistic Academy of Sciences in 1921, the year left Russia for Germany. Kandinsky's participation in the Soviet artistic policy was, however, enthusiastic, by temperament more isolated, that remained on the sidelines of a vanguard of committed groups and, in a revolutionary and Berlin Dada, its activity was also reduced. The "Bauhaus", appeared to him as a solution and there was an invite to assume there teaching, along with Klee that was already there. Since 1921, but the painter made frames where strict geometric shapes were articulated with others, calligraphy and free spots ("White Background", 1920, Leningrad, "Red Spot II", 1921, Basel, "Chess", 1921, Guggenheim Museum, New York), on what it was intended to mark constructivist view, to some extent acceptable, but of which the art of Kandinsky defended by denial of the mechanistic principle (cf. W. Grohmann, 1958). It was, rather, an investigation into the relationship between figures and background, located beyond the romanticism of the Munich period. And in this way the painter had to follow in subsequent years.

The encoding of a "new aesthetic that could only score when the signs become symbols", now under pure geometric shapes, circles, straight lines crossed and serpentine curves and distinct from each other within a determined color, reflected the renewed commitment of Kandinsky observation of structural forms in their relations or their "laws of supply". A new test, Punk und Linie zu Flach, "published in 1926, now notes on 1914, reflecting on these" preliminary problems, a science of art, "notes a number of pleadings that served the school professed in the "Bauhaus" however transferred to Dessau, it is also an "organic continuity" test of 1912. The pictures painted then continue to put the problem of space through various combinations of formal, more stringent or more flexible, from key figures used, circle, triangle and square, in a game serious or gay, between "The black circle" (1923, col. part., Paris) and 'Quiet Tension" (1924, MAM, Paris), "Some circles" (1926, Guggenheim Museum, New York) and "Yellow, Red, Blue" (1925, MAM, Paris).

In 1923, the Nazis closed the “Bauhaus" Kandinsky and forced into exile in Paris-Neville, where he died. ”Development in brown" (1933, MAM, Paris) was the last painting in Germany, sad in his allusion; Relations, 1934, (col. part. New York), with its fairy-like joy, is already a framework in Paris, a new period in which, amid considerable difficulties, because his art, then isolated, was met with reluctance and the painter has innovated a greater sense of "baroque exuberance " (W. Grohmann, 1958) that "Composition IX" (1936, MAM, Paris) is a noted example in its profusion of dancing figures on diagonal bands of colored light, or "dominant Curve" (1936, Museum Guggenheim , New York), or "Medium accompanied" (1937, col. part., Paris) in scenes that played at the end of his work, are subject to flight and the rise in spiritual symbolism. "The last frames are the echo of a transitory and transparent world" (W. Grohmann, 1958), which resemble primitive pre-Columbian so married to the memory of Russian folklore itself. The last frame done, "Enthusiasm tempered" (MAM, Paris), makes sail in a pink background, strange life forms, the life of an embryo again.

The "end of theory" that Kandinsky explained in his essay of 1926 was actually of his painting, "1. Find life, 2. Make visible your pulse, 3. Establish the laws that govern life." This organic phase showed a romantic source of Abstract Expressionism to near 1920, and phase equilibrium in a constant and wisdom never denied that, at its points of contact with the art of Klee, does not give up as a spiritualist convention does not forget folk art of his country, received the first invitation to the adventure of painting.

History of Western Art (1750-2000)

The Abstraction

Developing in parallel to cubism and futurism, expressionism and Dada, and surrealism as well, receiving inflows of them revolutionary, a new aesthetic situation is defined, between 1910 and 1917, in Western art that dominate long, sooner or later : the abstraction.

Mental attitude and sensitivity whose roots lie in the Neolithic as the Romanesque art of the steppes and in the western Irish twists of the illuminations of the Middle Ages and the Renaissance rhythmic concerns, under Pythagorean lesson, she realizes that a spirit of abstraction to figuration spirit offers compensation, but the historical alternation, responding to cultural and indexes at the beginning of the nineteenth century erupted in mutation, in favor of an extreme evolution of contemporary aesthetic discourse - and already we've seen of Impressionism in the divide, but deny themselves fundamentally naturalism figurative earlier.
Reflection on the colors of Goethe (Zur Farbenlehre, 1810) unwelcome at the time, its psychological effect against the physical theories of Newton, the theory of pure visuality K. Fiedler (who died in 1895, with only collected writings in 1914: Shriften uber Kunst) adopted H. Hilderbrand (Problem der Form, 1893), with recovery of the sense "formal" non-free of classic criterion, and the thesis W. Worringer on Abstraktion und Einfühlung, prepared in German cultural circles in Munich especially (but not the French, who ignored such works), an awareness of the problems posed by an artistic creation "tautogoric" (Schlegel) - only to itself, contrary to due diligence "allegorical" of all figurative formulation. Or an awareness of the infinite as opposed to a finite implies that the naturalistic representation. The abstraction would thus be an "antifiguration" (C. P. Brue, 1955) that is sufficient in itself without external boundaries.

The aesthetic and philosophical speculations such must be added, in Germany, too, in the context of theorizing psychologistic call school in Berlin, around 1912, the influence of "Gestaltheorie" (theory of form, structure) with works of M. Wertheimer, K. Koffka and W. Kohler (Gestaltpsychology, published in the United States in 1929) that, opposed to analytical psychology, define the behavior of the set, in correspondence organized and interdependent components, which are just formal expression and formalizing in the field of aesthetics.

If Cézanne, in 1904, reported in the treatment codable geometric models of nature, and M. Denis, already in 1890, remembered that a framework is a priority, "a flat surface covered with colors" on it pointing to the fundamental situation of abstract painting to Worringer, the "abstraction" reflected the desire of separating hostile nature, and not "communion" in an anguished isolation or changed, that intellectual and sensitively, defended himself, as alien to the everyday world, but it also tended to "access to the underlying archetypal forms that random variations introduced the world today (H. Read, 1955 ), imparting a sense of this, through a pedagogical action. The demand thus rendered metaphysics leads, finally, amid a crisis mythology of the Western world, an "ultramitologie" (J.-A. France, 1959) of perfect geometric expression by one of two major ways in which art abstract was stabilized.

The other is located in, exacerbation of feelings - and its root expressionist (or surrealistic) Cubist corresponds to the root (or cube-futurist) of the first.

The names, descriptive or controversy, which received the abstraction, sometimes reflect their own rootedness, now a timing of steps walked or aesthetics than formulated. The "abstract expressionism" or "lyrical abstraction" marking the first situation to the borders of "informality" (M. Tapio, 1951) or "action painting" ("action painting" or "gestural") and "gesturalism "H. Rosenberg, 1952) or "tachisme" (from tache, "spot, C. Estienne, 1954). But theoretical situations or particularistic movements of geometric abstraction rooted in Cubist, are the names of Russian constructivism "and" Suprematism, "or the Dutch" neoplasticism "and" elementarism "- but they joined a new concept of Concrete "(TV Doesbourg, 1951), which sought to oppose the abstraction, considering it" over the period of research and experience speculative.” For G. Mathieu (1951), these situations (also known as "cold abstraction" as opposed to the expressionistic embellishments) fit into the generic term "aformalism. Later, around 1960, an art-based optical effects will take the name of American "op'art" while investigations led to the mechanical "kinetic art", and another in a geometric framework or formalistic.

The classification of "non-figurative" rather vague, sought to oppose the type geometric abstraction, ignoring the "figures" of this geometry and only thinking about the nature of what we thought were not well founded their own experiences. In the immediate postwar period, however, a new school of Paris "has adopted this name, rooting on her accepting an impressionist, retained by the emotion of the original natural subject. "No goal", for its part, label was proposed by H. Rebay, the United States in 40 years, a recovery that had not fortune.

In the two trunks herd of abstraction we thus define themselves both situations, a sentimental expression and expression of mental or other geometric, with that priority, immediately taken up in 1910 and 1920 by Kandinsky, after long experience figurative expressionist, while the second is exemplified in Malevich and Mondrian in 1913-14, in 1917 - both coming from Cubism to Suprematism or the neoplasticism, respectively.

The larger or more charismatic historical importance of Mondrian is the exemplary logic of his diligence as much of their persistence, one possible action that cannot benefit Malevich in the Stalin Soviet Union s. The forwarding logic of both objected to the accident that lies at the base of the abstraction of Kandinsky, unable to read figuratively a "Meda" Monet in 1895, and, surprised by a suddenly seen his own composition instead, leaning against a wall of his studio in 1908.

But beyond the current two or more channels of abstraction, it should be noted, with a focus on time (although other relations of reading should be made in various artists), the interpretation of a musical inspiration in visual terms of a universe of sounds, rhythmic affinity. In 1942 the Czech F. Kupka (1871-1957) exhibited in Paris (where he installed in 1895) a screen titled "Disks of Newton" with, by caption, "Amorphous, escape in two colors" (Prague), probably 1910. Then the painter traveled a long way to Fauvism and symbolism to expressionism, influenced by bright, dynamic, having illustrator acerbic humor ("L'Assiette au Beurre") and also attended the group's "Golden Section". The series of their "vertical planes" in 1912-13 (MAM, Paris, etc...), also represents a planned museum already detectable in "piano keys – the "lake of 1909 (Prague) with its vertical listing “planes of color." In the '30s, Kupka inspire would jazz ("Jazz-hot No. 1, 1935, MAM, Paris), a work illegally in many curiosities that changed the cosmic sciences such as music and led the test Creations dans les arts plastiques (1923), in a situation of isolated pioneer. In a similar musical inspiration can subscribe to the Lithuanian painter and composer M. K. Ciurhouris, who died in 1911, working in S. Petersburg since 1906, abstract compositions that mark since 1904, with arabesques of geometric shapes in the "Sonatas of stars, allegro and andante" (1908, Kaunas, Lithuania) took a diluted symbolic figuration, mentioned above. The Russian S. Charchouse, in turn, come and experience "given", he also drew on Bach or Beethoven, to compositions of fine monocronism, a painting so that the symbolism lurks.

Abstract Art Collection Millennium bcp

In 2003 she launched the Millennium bcp brand, the result of successive mergers of several financial institutions in one group, linking history and heritage in a unique collection. Became part of him that came via the Portuguese Commercial Bank, line matrix and renewed based institution, New Network, Atlantic, and through him, Bank Commercial de Macau Bank Mello and Bank Pinto & Sotto Mayor. But the unique collection of artistic goods have passed over the years, also to make part of many goods that were incorporated as a result of mortgages, donations or purchases.

It is also the perception of multidimensional long narrative that is told through works of art, embodied in the choices of the works gathered here today and not by chance, under the theme of Abstraction, released through the core issue of works by Vieira da Silva and his contemporaries but that allowed a strengthening of visibility and dialogic reading with other nuclei present in the collection copyright Millennium bcp. Although it is notoriously absent in the collection of artists such as Fernando Lanhas for a more detailed review of the concept, it can create many situations of encounter between an approach borrowing from the experience of geometry, in which the rigor of the strokes to be confused with the symbolism of the vocabulary and appearance of the most convulsive gesture. Accordingly, and based on the suggestion to build in the works of Vieira da Silva, its landscapes meticulously organized or emotionally dysfunctional in raptures trace energetic and creative, was divided into two and the choice of exhibition space. Having such a prominent figure of geometric abstraction Nadir Afonso, brought to the route experiences grounded in the use of geometric symbols, the texture of its rhythms, chromatic and formal work that organizes. These proposals will reshape years later, in works such as Fernando Aguiar, making these elements of a vocabulary building visual poetry, or of Pedro Casqueiro in structure jarring screens.

The construction of meshes compositional element as the founder of painting or drawing is a recurring element that we find a suggestion in urban TOM graphics, support unstable equilibrium in the austere Angelo de Sousa, optical generator rhythms Eduardo Nery or inquiring of building space image with Artur Rosa. Among them were two key moments in this core work. One that brings together three paintings by Fernando Lemos, an artist whose pictorial intervention and its exposure was diluted in the face of photography and applauded their approval. Works are not seen for so long and which have had an accurate restoration work by specialized techniques and students of the Faculty of Science and Technology, New University of Lisbon in a fruitful partnership between the university and the Millennium bcp. The other, also operated upon for this exhibition brings together the work of Jorge Pinheiro, an artist of uncommon erudition in the seventies that embodies screens as large, chromatically uniform across the length over which scores are suspended fragile, as if a mapping or coded language of songs and silences it were. In connection with these works, we can still find works of Antonio Palolo, Eduardo Batarda and Manuel Cargaleiro.

But if the abstraction is generated in relation to the real, the desire to rescue the action on immobility, crossing the recognizable, the mimetic, the paradigm of figuration and to the environment that operates with an engine-building image, she has the greatest expression of the idea go. That is what is on the screens of Vieira da Silva or Nadir Afonso. But also on chromatic explosions Manuel D'Assunpção, dramatized in the visions of Nikias Skapinakis. A whirlwind of intensity gesture which acknowledges the work of Arpad Szenes, the delicate constructions of Andrew Lanskoy, paintings by Paula Rego accumulation in lacerations of Mário Cesariny envisioned in asparagus Antonio Areal.

There is, in many of these works, a landscape slowly disorganized or suggestion instead, recomposed away from what is recognizable. A sort of meeting between the visible and the inward journey with maximum expression in the exploration of matter of the painting. Zao Wou-Ki when they do happen the day of registration in a pictorial diary of sorts, in compositions of major and vibrant color palette, which is observed has the ability to focus on themselves a long history (personal and political, pictorial, graphic) in brief boost. The same applies to Manessier, even with the structural character of the spot stroke made it presents a mix weight that Zao Wou don’t have. It is one of the most important works of this core, built in the image of retable panel at the height of a moment of spiritual ecstasy. Another is the composition of Serge Poliakoff, great work, as in the formal ingenuity of its composition, the way the material and color are worked. It was one of the paintings restored for this show, the pair of Augusto Barros and Luís Demée.

At the tension between figuration and abstraction, making this productive meeting ground of creation, are the paintings of Louis Dourdil. But the figures also abstracts Júlio Resende Júlio Pomar or, here put into dialogue with the dark visions of Justino Alves and landscapes of blazing Menez and Teresa Magalhães.

Rather than create watertight compartments in reading the works were concerned with making the space as organic as possible, open to the discoveries of the viewer, suggesting more than a tight timeline, and unpredictable encounters mutual meanings.
Les chemins (paths) from Vieira da Silva, entry, set the tone...

Woman

Manuel Pereira da Silva
Woman, 2001
Plaster on aluminum structure
78cmx185cmx50cm

Family

Manuel Pereira da Silva
Family, 1958
Plaster on aluminum structure
52cmx128cmx30cm

Volume

Manuel Pereira da Silva
Volume, 1961
Plaster on aluminum structure
58x83x35

Untitled

Manuel Pereira da Silva
Untitled, 1962
Plaster on aluminum structure
58x83x35

Maternity

Manuel Pereira da Silva
Maternity, 1965
Plaster on aluminum structure
10x105x50

Photos of the exhibition "Shared Art Millennium BCP - Abstraction"

Video of two sculptures by Manuel Pereira da Silva

In this video we can see two sculptures by Manuel Pereira da Silva, "Volume I" 1961 and "Woman" of 2001.

Video of the exhibition "Shared Art Millennium BCP - Abstraction"

In this video we see the Director of the Casa-Museu Teixeira Lopes, Delfim Sousa, presenting three sculptures of Manuel Pereira da Silva to de President of Millennium BCP Bank, Carlos Santos Ferreira, the Secretary-General of the Foundation's Millennium BCP, Fernando Nogueira and art historian and curator of this exhibition "Shared Art Millennium BCP - Abstraction" Raquel Henriques da Silva.

Exhibition "Shared Art Millennium BCP - Abstraction"

Casa-Museu Teixeira Lopes, after a period of closure for major refurbishment supported by EU funds, opens its doors on November 16, 2010 with the inauguration, by 18 hours of the exhibition "Shared Art Millennium BCP - Abstraction".

In this exhibition will be on display some sculptures of Manuel Pereira da Silva.

This exhibition, sponsored by a prestigious bank institution, which aims to highlight the important national artistic heritage, as well as contribute to the cultural enrichment of the country, brings together a selection of 74 paintings representing the abstraction Portuguese and foreign.

Covered with great interest by the diversity of exhibited works, of which highlights a significant core of copyright Portuguese painter Maria Helena Vieira da Silva, with twelve paintings. Beyond this, we stress the presence of works by the following artists: Alfred Manessier, Andrew Lanskoy, Angelo de Sousa, António Areal, Antonio Palolo, Arpad Szenes, Bual Artur, Artur Rosa, Augusto Barros, Eduardo Batarda, Eduardo Nery, Fernando Aguiar, Fernando Lemos, Jorge Pinheiro, Júlio Pomar, Júlio Resende, Justin Alves, Luis Demée, Dourdil Luis Manuel Cargaleiro, Manuel D 'Assumpção, Cesariny, Menez, Nadir Afonso, Nikias Skapinakisl, Paula Rego, Peter Casqueiro, Serge Poliakoff Teresa Magalhães, Zao Wou-TOM-Ki.

The Art Shared Exhibition don’t leave out the youngsters. Millennium BCP, Casa-Museu Teixeira Lopes and Gaianima, EEM, launched a contest called "Discovering Collection Millennium BCP" which proposes the creation of creative works from the works on display at the exhibition. The top three entries will be awarded individual and team prize will be for the Class of school work to do in presenting creations of "Shared Art".

The show will be open to the public until January 30, 2011 and admission is free, and where the guided tours on Tuesdays, from 14:00 to 17:00, Wednesday to Friday, 10:00 to 17 h00 and Saturday Sunday and holidays from 10:00 to 17:00.

Mirror of the world: a new history of art

Julian Bell, himself a painter, interprets art from the standpoint of the creator, trying to establish a rapport between the viewer and the artist. Its purpose is to encourage the viewer to, first, look at the artwork, and only then, equate the essence and meaning. Challenge us here to look at art as a reflection - mirror - the human condition.

Mirror of the World traces the evolution of visual arts through time and space, breaking down boundaries between tribes, nations and religions, giving us an analysis - and cross-cultural - the diversity of works of art and how these may relate to from or even rooted in each other and in their social and political contexts.

Humans tell stories, and humans make objects to dazzle the eyes. Sometimes, these stories relate to those objects. This kind of narrative, which is called history of art, born from the desire to imagine how someone would live in another time, and be amazed at what these hands have done. Art historians have also tried to explain why objects are made of different ways, depending on the time and place. That is what this book intends to do.

But a report of this type has an inherent difficulty. A work of art seeks to capture and hold our attention: a story of art pushes forward, paving the way through the territories of the imagination. In an art history of general scope, like this, the voltage can be constant. At each step, the narrator and the listener will feel the desire to have a little more and look longer.

Why then insist on this model? We live smothered by images. Worldwide, streets and screens offer a diverse jumble of visual information and rambling. We are confronted with an amalgam of quotes art - Japan century. Nineteenth-century France, Thirteenth-century Rome XVI, Aboriginal Australia - and it would be good to know the vocabulary where it came from what. And it would be good to understand your grammar. How they interact images? How are rooted in the experience of others? What we have in common with the perpetrators?

Questions like these lead stories, not scientific certainty. The story below is told by someone in England in the early twenty. XXI, which tries to encompass thousands of items of clothing on six continents, hoping that on this basis, the reader can continue their own stories. It's more a general introduction to objects and subjects of art history than a comprehensive set of conclusions about them. Do not want to define or redefine what constitutes art, but describes its range of content commonly accepted. The aim is more amplitude than the depth, the opening than be precise.

However, the method of this work could be considered to be relatively thorough. The narrative is woven around objects that have a large reproduction seems good result on the page. The art is not just a question of image compact and easy to fit, although the reader may have that impression here. In this respect, I must admit a personal bias.

I undertook this task after a lifetime of painting. As such I have a habit of being in a room before a given subject that I hope will have a life and stick to a speech of their own. In this work, I see the images the same way: the kind of art on which it focuses less on what is around us - an environment, buildings, decorations, utensils, clothes, jewelry - than what we face, from painting up to the statues and monuments. The immobility of each image introduces another limitation to the discussion.

In writing this report, I worked under three general rules. First, if there is no way to show one thing, it is better not to refer. Choose something like three hundred and fifty works to encompass the history of world art means a difficult balancing act. Many will be disappointed with what was left out, others upset that I mention too many names, without giving them a face. When necessary proved to mention the name of some important figure or phenomenon that cannot be illustrated, I opted for a policy of "looks a lot like". In other cases, preferred to ignore what I cannot offer.

Second, keep the chronological sequence. This directive advantageous for the reader not always proved possible at all, because the analysis varies from one country to another, but I hope that, if working, have a perspective of contrasts from region to region, as well as the affinities between cultures.

My title, Mirror of the World, suggests a third of my premises. I understand the history of art as a frame within which we continually reflected universal history in all its breadth - and not as a window that opens to an independent aesthetic realm. I admit that the records of the changes are related to artistic records of social changes, technological, political and religious, however reversed or reconfigured show that these reflections.

The mirrors can only work with the light they receive, although they may show us things in a different way. My title also indicates what I believe - that the works of art can reveal otherwise invisible realities and act as frames of truth. However, it is mostly the way these objects are made, not its final status, which will dominate the story. The main reason why I got interested in the history of art is the fact that she seemed to make me closer to some extraordinary things and the people who made them.

Questions, confluences

Europe, 1909-1914

Because in reality, the art consists of objects created so refined, is not it? Objects that demonstrates its intrinsic value: that is not what the market wants? Thus, any artist should create a niche for professional products, whatever their mode of expression.

The "imitation of nature", an old European recipe for paint, no longer relevant.

The doctrines of the "new era" gained momentum and visibility with the arrival of the century. XX. By 1910, several raids were on the march in pure visual music, the "abstraction," among the artists of Eastern and Western Europe - the Czech and Lithuanian Frantisek Kupla Mikalojus Ciurlionis, to mention just two. The moment of rupture of Kandinsky, as he describes it, occurred when he entered the studio one night and saw a bridge over the "image of elusive and glowing beauty who posed no identifiable subject." Did not recognize one of his vibrant landscapes, which was on its side. From that moment on, filed Kandinsky, the painting could go without representation. The visual elegance that pervades composition VII his masterwork of 1913, undoubtedly inspired by the Russian folk ornaments, with its lovely colors, however, he insisted, all the elements dictated by the spirit, and were filled with symbolic intent.

The visible world is not simply evaporated in the new art. Their essences had been distilled and freed, as formulas with which one could build a new pictorial universe. They were not only those things that the eye loves to do: recognize contrasts discern images and limited ways, wander, focus and twist, dip in intensity of color, rush and jump to the side. During a concentrated period of four days, the brush of Kandinsky raged on the huge canvas of three meters, with the joyful innocence of a bee to explore a flower.

Short of sight, beyond sight

Europe, USA, 1920-1940

So then, these were some of the tears of the world's leading artists after traumatic wars and revolutions of the 1910s: a series of new - and mostly "harder" and leaner - colors, meaning open. The hypnotic power of what came to be known as the "culture industry": Hollywood, advertising, photojournalism, etc. Plans progressive reduction of visual, the idea of revolution of the masses on the Left, the uncompromising desire to break with all previous forms of human experience. And in contradiction with this, or blending with it, the yearning for stability, restoration and tradition. In this part and the following will make a visit to the ways in which a few artists and groups have made their way through all these pressures.

Other initiatives of the twenties reflected the Russian constructivism. In the Netherlands, formed a group of avant-garde design around the magazine De Stiff in 1917, while in Germany Walter Gropius created the seminal progressive and social design when he founded the school known as the Bauhaus in Weimar in 1912. In both projects participated painters. Piet Mondrian was one of the most important members of the Dutch group, like many visitors to Paris for ten years, this landscape and theosophy had been inspired by the experiments of the Cubists. Than Picasso and Braque had done suggested one could systematically examine the clues that gave us the vision. Was willing to cut the components of the images of landscapes such as Brancusi silhouetted their figures, and with similar intent: the closer one is its simplicity, is closest to a spiritual ideal. In 1920, he was with an absolutely minimal signs of grammar: vertical lines, horizontal lines and primary colors. The sequence of the holdings that led to this abstraction seemed to proceed with an inexorable logic reduction.

Piet Mondrian, Composition I: with red, black, blue and yellow, 1921

From that moment the only way forward was to start building again. In Composition I: with red, black, blue and yellow, 1921, Mondrian asked the eye that has focused in their own ability to judge the relationships and balances, and their own desire for clarity. Initially, the exercise seems vigorous, fresh, stunningly cold (like this old Dutch resurfaces by austerity that we saw earlier in Vermeer). And then slyly begins to conquer. The closed rectangle in the center and its larger cousin in the upper left of the address space to dance, and everything seems to revolve around him, as if they were catalyzing a chemical reaction, an explosion of order. The red, black and yellow open to the world beyond the edge of the frame, projecting through redesigned the dream that you liked De Stijl was undefined spaces that are out. Perhaps the abstraction was in fact a parallel with the newly created figurative painting, a more potent to induce illusions.

The Bauhaus in Germany, had hoped to get an honest progressive and established standards for a clean design lines, ergonomically efficient than would be replicated across the world. However its internal history, over 12 years of operation and change of location, varied because of the excruciating tension between the charismatic host of innovators who were there. One was Vasily Kandinsky, who joined them with a friend who had met in Munich before the war, Paul Klee. Klee - a dry and obstinate presence personnel - carried out a visual investigation honored with enormous implications. Would give the democratic aspirations of the school a whole new level of resilience.

Paul Klee, Twittering machine, 1922

Like Kandinsky, Klee mattered to him relate the painting to music, but brought a more analytical intelligence to the subject. Like Mondrian, Klee separated and isolated the fundamental components of conducting a painting. But in your hands is converted in a box of playthings. Played by testing many things without limits. In his drawings and watercolors, logical thinking academic stretched a hand and communed with the anomalies of the imagination alone, who discovered the dignity and scribbles a resonant power in the fragile and wobbly. Klee's investigations were on par with those of psychology, a science that was expanding. From 1900 onwards, the researchers had opened his eyes to the children's art and the mentally ill. A kind of empathy turns the charm of a crazy experiment, pen and watercolor as machine chatter: in a sense, anyone take a chance to put their imagination on paper, whether skilled or not, is venturing into the absurd. The title contains that Klee had found himself doing: a device that geometric flowers organically, by clicking on a song. In fact, this sheet of 1922 is installed with a reciprocity between the hard and soft that it had begun to resonate through the field of "advanced" art. It is a masterpiece of innocent echo much wider and infinitely cooler than the absurd sexual mechanical Duchamp devoted his ingenuity between 1915 and 1923, called the Large Glass, one of the great black hole that absorbs all of the interpretation of modern art.

Klee and Mondrian, with his desire to re-educate the eye, seem to cast doubt on any possibility of painting based on observation.