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Post by pjotr on Sept 4, 2010 8:20:35 GMT 1
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Post by tufta on Sept 4, 2010 14:18:47 GMT 1
Hi Pieter, I am personally not very fond of abstract art. I think some neuronal circuit, responsible for transition of abstract images into an artistic experience is not perfectly developed in my brain. Or maybe I just lack some theoretical background to be able to digest abstract images? Of course some abstract images cause a reaction in me, but it is rare and never to a degree images closer to reality elicit. Which is not to say that they have to be extremely close to reality to make my heart beat or may brain think, not at all. For instance I, as a total layman here, I am not sure how such works as for instance "Black square' of Kazimierz Malewicz can be treated as art. I think that not every creation of someone who does create objects of art are neccesarily art. So, to answer your question - I know very little about abstract art in Poland. If you think you may find time and feel like performing a short course entitled ' How to watch abstract art understand it'., that would be great!
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Post by tufta on Sept 4, 2010 14:39:02 GMT 1
I think that perhaps I am looking in a painting for something beyond purely estethic content, or otherwise inspiring content, too. Look at this picture From my early childhood I remember such milk bars in Poland. When I first saw this picture I felt warm and safe - probably a reaction in which my subconscious recalled visits in such bars with my grandmother, a lovely smell there, foods served there, which as a kid I loved and hated meat. And so on. This I miss in abstract. And as you see I am a very simply built consumer of art
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uncltim
Just born
I oppose most nonsense.
Posts: 73
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Post by uncltim on Sept 4, 2010 16:53:26 GMT 1
Abstract art can be interesting to me but I find myself looking more to the artists intent, or what they were trying to convey. After learning their intent I often find the work interesting. Its just not always obvious to me.
A short course could be very helpful.
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Post by pjotr on Sept 4, 2010 23:13:04 GMT 1
Tufta, Thanks for your honest reply. Art is free in the Western-world and other parts of the world as well. In the past art was related to tribal cultures (the early hunt images found in caves), religion (The Roman Catholic church was one of the first large employer, instructing party, ordering customer, and life long client of great artists. The first great European art was Christian after the great ancient art of the Greeks, Romans and Etrusks. Realistic art has a long tradition, development and great quality in Europe. Kazimierz Malewicz was a great realistic painter and abstract painter. He was good in both directions. And in his later abstract work realism was never far away. Self-Portrait, 1933The Black square was a revolutionairy painting, because it was a radical statement, which went further then anyone had gone before. It is in my view an anarchistic painting wich was in the same time a comment on his time and a reaction on art history and the dominance of ' realistic art' in the European art heritage. Suprematism Black Circle (Malevich, 1913), State Russian Museum, St. PetersburgSuprematism (Russian: Ñóïðåìàòèçì) was an art movement focused on fundamental geometric forms (in particular the square and circle) which formed in Russia in 1915-1916. It was not until later that suprematism received conventional museum preparations[dubious – discuss]. It was founded by Kasimir Malevich. EstablishmentKasimir Malevich originated Suprematism in 1915 when he was an established painter having exhibited in the Donkey's Tail and the Der Blaue Reiter (The Blue Rider) exhibitions of 1912 with cubo-futurist works. The proliferation of new artistic forms in painting, poetry and theatre as well as a revival of interest in the traditional folk art of Russia provided a rich environment in which a Modernist culture was born. In his book The Non-Objective World, which was published abroad as a Bauhaus Book in 1927, Malevich described the inspiration which brought about the powerful image of the black square on a white ground: I felt only night within me and it was then that I conceived the new art, which I called Suprematism. He created a suprematist ' grammar' based on fundamental geometric forms; in particular, the square and the circle. In the 0.10 Exhibition in 1915, Malevich exhibited his early experiments in suprematist painting. The centerpiece of his show was the Black Square, placed in what is called the red/beautiful corner in Russian Orthodox tradition ; the place of the main icon in a house. " Black Square" was painted in 1915 and was presented as a breakthrough in his career and in art in general. Malevich also painted White on White which was also heralded as a milestone. " White on White" was a breakthrough from polychrome to monochrome SuprematismInfluences on the movementMalevich also ascribed the birth of suprematism to Victory Over the Sun, Kruchenykh's Futurist opera production for which he designed the sets and costumes in 1913. One of the drawings for the backcloth shows a black square divided diagonally into a black and a white triangle. Because of the simplicity of these basic forms they were able to signify a new beginning. Another important influence on Malevich were the ideas of the Russian mystic-mathematician, philosopher, and disciple of Georges Gurdjieff; P. D. Ouspensky who wrote of " a fourth dimension or a Fourth Way beyond the three to which our ordinary senses have access". Suprematism (Supremus No. 58), Krasnodar Museum of Art (Malevich, 1916)Some of the titles to paintings in 1915 express the concept of a non-euclidian geometry which imagined forms in movement, or through time; titles such as: Two dimensional painted masses in the state of movement. These give some indications towards an understanding of the Suprematic compositions produced between 1915 and 1918. AssociationThe Supremus group, which in addition to Malevich included Aleksandra Ekster, Olga Rozanova, Nadezhda Udaltsova, Anna Kagan, Ivan Kliun, Liubov Popova, Nikolai Suetin, Ilya Chashnik, Lazar Khidekel, Nina Genke-Meller, Ivan Puni and Ksenia Boguslavskaya, met from 1915 onwards to discuss the philosophy of Suprematism and its development into other areas of intellectual life. There was some crossover with Constructivism, with Suprematists such as Popova and especially El Lissitzky working on propaganda and industrial design. Lissitzky spread Suprematist ideas abroad in the early 1920s. Architecture Nikolai Suetin used Suprematist motifs on works at the St. Petersburg Lomonosov Porcelain Factory where Malevich and Chashnik were also employed, and Malevich designed a Suprematist teapot. The Suprematists also made architectural models in the 1920s which offered a different conception of socialist buildings to those developed in Constructivist architecture. Malevich's architectural projects were known after 1922 Arkhitektoniki. Designs emphasized the right angle, with similarities to De Stijl and Le Corbusier, and were justified with an ideological connection to communist governance and equality for all. Another part of the formalism was low regard for triangles which were " dismissed as Ancient, pagan, or Christian". Social context This development in artistic expression came about when Russia was in a revolutionary state, ideas were in ferment, and the old order was being swept away. As the new order became established, and Stalinism took hold from 1924 on, the state began limiting the freedom of artists. From the late 1920s the Russian avant-garde experienced direct and harsh criticism from the authorities and in 1934 the doctrine of Socialist Realism became official policy, and prohibited abstraction and divergence of artistic expression. Malevich nevertheless retained his main conception. In his self-portrait of 1933 he represented himself in a traditional way — the only way permitted by Stalinist cultural policy — but signed the picture with a tiny black-over-white square.
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Post by Bonobo on Sept 4, 2010 23:29:10 GMT 1
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Post by pjotr on Sept 4, 2010 23:44:47 GMT 1
Tufta,
Abstract art is mainly an esthetical expression in non-figurative artistic expression. Artist started to look for simple and clear forms in the early 20th century when abstract art started. In the Islamic culture and Mosaics you can see abstract ornaments. Abstract art can have an intellectual rational base if it is developped from clear ideas like 'PROUN' (El Lissitzky) and 'Suprematism' (Malevich) in Russia, De Stijl in the Netherlands, Cubism in France and Spain and Futurism in Italy. That was in the early 20th century. Later abstract-expressionism developped itself in Europe (the Cobra group in the Netherlands, Belgium and Denmark. Cobra stands for Copenhagen, Brussels and Amsterdam) and the USA with Jackson Pollock, Willem de Koning and others. After that Colorfield painting, pop art, Minimal art, Optical art and Land art developped itself in the USA and Europe. In abstract art everything is connected to stile, form, material, color or black and white, content, material (oil or acrylic on canvas, mixed media or sculpture). Robert Rauschenberg developped his 'combine painting', and Andy Warhol his ecriture automatique, which means objective Penmanship.
Abstraction can be related to realism when forms from an realistic environment are 'isolated' and used in a solistic way or when various 'objects' or 'subjects' are used in an empty neutral space like a canvas, three dimensional environment, room or installation/sculpture.
Abstract art like other art forms developped itself, because one generation of artists (the late nineteenth and early 20th century artists) inspire(d) new generations of artists. Cézanne had a great influence on for instance Picasso. Van Gogh inlfuenced the expressionists. From fairly spontanious or impulsive abstract art like Dadaism, Futurism and abstract expressionism (action painting) to very strict and nearly dogmatic forms of Abstract art like 'De Stijl', Bauhaus, Constructivism, Minimalism and Colorfield painting, you had manny differant forms of abstract art and artists.
I love abstract art from a rational-analythical perspective, in the sense of stile and content, esthetics, form and color, and the constructivist geometric pleasure behind watching and making it.
It is hard to explain Tufta, if you are yourself part of the Abstract art world, because I make abstract paintings myself. With great dedication, patience, concentration, joy and purpose. For me it is important to make it.
Pieter
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Post by tufta on Sept 5, 2010 8:30:31 GMT 1
Pieter, I know you love abstract art and perform it youself. That is why it is great to have a chance of you telling us how it all works in your head. I think Uncletim has put it in a great manner - looking for an intent before he digests it. That's one of the reasons I prefered art closer to reality - the intent is usually more obvious. Am I right? Yes the black square by Malewicz is at least understandable when the background is known. But this does not change the fact that anyone could draw it. Just like anyone can write a simple two rhymed verses. For instance the world is unjust and bad it makes me feel sadBut is it art already? Or would that be art even if William Shakespeare wrote it? Isolating objects from reality in abstract art. This is something I have recognized too. I thought it is because there is nothing beyond reality for artists to 'work with'. I am not sure if it is understandable what I want to say? Human mind cannot create objects, visions which are not somehow rooted in what the senses have brought into the brain. And this experience is common to us all - everything is based on reality around us. Another remark. Ok, let's honour Malewicz for the breakthrough and presenting a black square. But what am I to think about the followers? And something marginal but quite funny I saw in Wikipedia while following the links on abstract art: Polish version of Wikipedia pl.wikipedia.org/wiki/Kazimierz_MalewiczNarodowość polska (nationality Polish) Russian version of Wikipedia ru.wikipedia.org/wiki/%D0%9C%D0%B0%D0%BB%D0%B5%D0%B2%D0%B8%D1%87,_%D0%9A%D0%B0%D0%B7%D0%B8%D0%BC%D0%B8%D1%80_%D0%A1%D0%B5%D0%B2%D0%B5%D1%80%D0%B8%D0%BD%D0%BE%D0%B2%D0%B8%D1%87 Гражданство: СССР (Citizenship - USSR) Ukrainian version of Wikipedia uk.wikipedia.org/wiki/%D0%9C%D0%B0%D0%BB%D0%B5%D0%B2%D0%B8%D1%87_%D0%9A%D0%B0%D0%B7%D0%B8%D0%BC%D0%B8%D1%80_%D0%A1%D0%B5%D0%B2%D0%B5%D1%80%D0%B8%D0%BD%D0%BE%D0%B2%D0%B8%D1%87Національність український радянський художник білоруського походження (Nationality - Ukrainian Soviet artist of Belarusan descent)
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Post by pjotr on Sept 5, 2010 11:53:39 GMT 1
Tuftabis, Not anyone could draw the Black square in that period, because it was unusual in that time and not accepted in many countries and societies. Every new art form received resistance from the society it was rooted in. Les Impressionists was a degratory term used by art critics in the 19th century, and it was addopted as a 'nom de guerre' by the impressionist artists. Criticism of abstract art and abstract artists has often been in my country, 'even my child could make that'. I don't think a child can make a complicated, geometrical abstract designed painting or a 'mature' abstract expressionist painting, which has a history of layers, a process of making. But in the same time abstract artists were fascinated by the art of children (because of the spontanious, impulsive nature, the purity of it), psychiatric patients (who have no borders and are therefor radical or extreme in their artistic expression), and the so called 'primitve art' of Africa ( the Masks), Papua New Guinea and other parts of the world (the tribal Indian culture for instance). The African Masks, childrens drawings and paintings and psychiatric art had it's influence on the abstract art of the early and late 20th century. In the same time realistic or figurative art never stopped and was carried on by photography and realistic artists like Edward Hopper, Francis Bacon, Pablo Picasso, Bruno Schulz ( pl.wikipedia.org/wiki/Bruno_Schulz ), Nikifor Krynicki ( pl.wikipedia.org/wiki/Nikifor_Krynicki ), Gerhard Richter, Lucian Freud and Alex Katz. 432 × 303 - Alex Katz: Amanda, 1973 - Painting559 × 382 - SunWorship - Edward Hopper, 1952395 × 600 - ... Francis Bacon's masterpieces.Pablo Picasso, 1937, Oil on canvas, dimensions 349 cm × 776 cm (137.4 in × 305.5 in) Location Museo Reina Sofia, Madrid Bruno Schulz drawing300 × 466 - Gerhard Richter, Ema Nude on Staircase, 1964Selfportrait of Lucian Freud471 × 660 - ... as Nikifor Krynicki and Epifaniusz Nikifor Krynicki
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Post by pjotr on Sept 5, 2010 12:16:16 GMT 1
Pieter, I know you love abstract art and perform it youself. That is why it is great to have a chance of you telling us how it all works in your head. I think Uncletim has put it in a great manner - looking for an intent before he digests it. That's one of the reasons I prefered art closer to reality - the intent is usually more obvious. Am I right? Yes the black square by Malewicz is at least understandable when the background is known. But this does not change the fact that anyone could draw it. Just like anyone can write a simple two rhymed verses. For instance Tufta, There is great old and new realistic art and I love it next to abstract art, in fact there is no border between realistic and abstract art. There is only one fine art and realistic and abstract art form the same world. Realistic artist can understand and love abstract art, and abstract artists are fond of realistic art and inspired by it. If you compare realistic art and abstract art, abstract art has a very short history of maybe one century, while realistic art has pre-historic and ancient roots. The development of abstract art continues, and today you see crossovers, fusions or mergers of abstract and realistic art which are very interesting. That started in the time of Dada, Surealism and expressionism, and continuated during the times of Pop-art and today with new media, subcultures, genres and artistic development of individual artists, movements and stiles find new forms and expressive languages for that. The Underground, street art of Grafitti became legalised and exhibited in art galleries and museums, the tags and pieces of grafitti entered canvasses of oil paintings. And traditional academical fine art artists started to paint murals or cooperate with Grafitti artists on streets, squares, walls inside and outside buildings and etc. The old art is preserved in Museums and continues to impress and inspire new contemporary artists. The Italian Renaissance painters, the Dutch and Flemish painters, the realistic German, Russian, Polish, Scandinavian, American, Chinese, Japanese, Indian, and ancient Egyptian, Greek, Roman, Etrusk, Persian and Southern-American Indian (Mayan and Aztek) paintings, sculptures, architectures and cultures. The art of today has a world soul, is connected to the planet, is international and not limited to one country. A painter paints a painting for the world, because his painting is understandable or valuable, filled with meaning for every nationality. The same with sculpturists, photographers, moviemakers, musicians and poets (they have the limitation of their national language, but their poetry is translated into many languages). Tufta, I make realistic drawings of cities and landscapes too. Pieter
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Post by tufta on Sept 5, 2010 19:30:08 GMT 1
Pieter, thank you for this interesting reading! Respecting what you say, as a devil's advocate here only let me add my objection to things like "black square'. I understand that not anyone could draw the Black square in that period. I understand the courage, the hidden meaning behings it and so on. But the point for me is that anyone can do it, technically.
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Post by pjotr on Sept 5, 2010 21:37:18 GMT 1
Pieter, thank you for this interesting reading! Respecting what you say, as a devil's advocate here only let me add my objection to things like "black square'. I understand that not anyone could draw the Black square in that period. I understand the courage, the hidden meaning behings it and so on. But the point for me is that anyone can do it, technically. You are right ofcourse Tufta, and the Black square of Malevich is not my favorite abstract painting. And esthetically I don't like easy, lazy (my subjective art objective or view) or indifferant paintings. I doubt a lot of abstract art, like I have my objections or criticism towards some figurative or realistic art. There is a lot of mediocre, bad or uninteresting art in the world too. For a long time I thought that Contemporay art was or is in a crisis sinds the mid seventees. Because the eightees, ninetees and early 21 th century did not produce a lot of great art. Last years I see a grater focus on material and technical skills in the art education in the Netherlands, and the last three years or so better students graduated from the Arnhem art academy and other art academies then before. Central- and Eastern Europe already had the benefit of very traditional art academies who layed more emphasis on technical skills, the realistic fundament, knowledge of paint, working materials and art history knowledge. Post-Modernism, Conceptualism, the anarchism of free experiment without basic knowledge did some damage in Western-Europe. Luckily there were always autodidactic artist too who developped themselves and students who developped themselves in technical, realistic skills. In my view even an abstract painter or sculputurist must know the basics of realistic or figurative drawing, painting and scuplture. Every artist must know the basics of form, perspective, the color sceme, 3D, anatomy of the body and space, distance, black - white and grey next to color. Today you have an interesting cross over period of Modernism, Post-Modernism, Minimalism, design, mixed media, new audio-visual media, Modern computer software and programs (adobe indesign, illustrator, and Premiere and Photoshop, and other 3D design and draw programs) next to old fashionate painting, drawing, sculpture (wood, metal -bronze, stone, plaster and other materials). Artisticly and cultural we are living in an interesting time of transformation of societies. Multi-culturalism and a new form of Cosmopolitanism or Internationalism in the West, and a transformation and Modernisation process in central Europe and Eastern Europe. The tension in the Western-European societies due to the Clash of civilizations ( Samuel Huntington) is interesting and exciting for the art, because in the confrontation, in the negative and positive feelings, influences and processes energy is released and produced which generates new work and creates new ideas. The vulnerability and uncertaintey of this time is good for Contemporary art and the creation of new work (by artists. New paintings, new sculptures, new photography, new architecture, new designs, new media, new movies, new literature, new poetry, new Avantgarde, new music, new subcultures which will merge with art in the near future, new psychology, new sociology, new forms of organisation and cooperation, new ideas, new forms, new places of exchange and creation and transfers and new ways of communication). It is all about the quintessence, the quality of things, of art, of ideas, of products. The content and intentions of the artists must be good, the exchange must take place in new forms of showing art and communicating about art. Cities, towns and villages change, subburbs change, the relationship between work and private time changes, the spiritual lives of people change. Art and culture today also fill a gap where religion was in secular societies. Churches in the West became Museums, art galleries, places of cultural debate, art ciriticism, literature and poetry festivals and gathering grounds for the intellectual academic groups of larger Western-European cities. The State and commercial companies replaced the Roman Catholic church, who in the past was the largest employer for artists. From a christian art and culture the Western Art became an a-political secular, atheist or humanistic movement or element in society. Pieter
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Post by tufta on Sept 6, 2010 8:13:11 GMT 1
Interesting!
(Pieter, I have very serious doubts about the profoundness of multiculturalism out of the biggest cities.)
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Post by pjotr on Sept 6, 2010 8:48:34 GMT 1
Interesting! (Pieter, I have very serious doubts about the profoundness of multiculturalism out of the biggest cities.) Tufta, Your doubts are very correct. There are serious questions in our societies about the multi-cultural position not only our larger cities are in, but our society in general. Also towns, subburbs and smaller communities are already multi-cultural. The only ethnic Dutch islands are the rural, agricultural area's, the villages and some rural towns. Probably the same is the case in Denmark (a country very simular to the Netherlands in culture, people, politics and society, the only differance is that they have Lutheranian roots and we Calvinist and Roman-Catholic roots. In both countries secular-humanism is dominant and both countries were liberal countries who turned towards secular conservatism, and both countries have a strong rightwing Populist party), Flanders (Belgium), Germany, Great-Britain, France, Austria, Sweden and Norway? What I meant to say is that sometimes in times of turmoil and larger changes in a society and country that is a fruitful ground for art and culture. Some artists in my city Arnhem, and in Amsterdam and other Dutch cities think that the crisis is good for fine art, because there are spaces (studio) that can be rent, which they could not afford in prosporous times. It is a time of recovery, production, reflection, inner strength (no good sells, probably a bit less exhebitions and clients who buy work, but a very good time for work and to live from savings that were created, the financial buffer for difficukt times). The Multi-cultural tensions and political polarisation is fruitful ground for art, for cartoons, for theatrical plays, for poetry, literature, good essays, art critics, art historians, curators who must do their upmost best to make good exhibitions. It is a good time for art and culture, because it is a difficult time in which people start to think, look for their heritage (their roots, their foundation), and think about culture, an art exhibition to escape the reality of the day for a moment, art to be suprised, art for the pleasure of the esthetic value or form and content of it, art to get new ideas or to become in a melancholic or nostaligic mood. Art to be enjoyed, consumed, hopefully bought by the few who want to pay for it and art to comment on the time it is created in. Art must reflects it's time in form, stile, content, meaning, the ideas behind it. But agian Tufta, that is just my subjective meaning, an opinion from a fellow from Arnhem from the Netherlands. Pieter
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Post by tufta on Sept 6, 2010 12:01:12 GMT 1
The Multi-cultural tensions and political polarisation is fruitful ground for art, Pieter, how would you describe politically involved art in Netherlands? When I think of art 'dwelling' on politics in Poland the first thing which comes to my mind is socrealism. This kind of art I had in deep disrespect, only lately I have discovered that estethic part of it wasn't that bad at all. But I always liked Plac Konstytucji in Warsaw, which was built from a scratch in socrealistic stile. This photos don't show the specif charms of this square, but unfortunately i don't haave any of my own near me ;D ;D
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Post by pjotr on Sept 6, 2010 20:19:22 GMT 1
The Multi-cultural tensions and political polarisation is fruitful ground for art, Pieter, how would you describe politically involved art in Netherlands? When I think of art 'dwelling' on politics in Poland the first thing which comes to my mind is socrealism. This kind of art I had in deep disrespect, only lately I have discovered that estethic part of it wasn't that bad at all. But I always liked Plac Konstytucji in Warsaw, which was built from a scratch in socrealistic stile. This photos don't show the specif charms of this square, but unfortunately i don't haave any of my own near me ;D ;D Tufta, The majority of artists aren't political, and most of them dislike political art. You have art philosophy, the sociological aspect of art, because art and artists are used in education (some artists are teachers at primary schools and high schools). I even know artists who are clearly against the mixing of art and politics, because art should be autonomous, free and a-political. Artists are concerned about stile, form, esthetics, cultural organisation (art movements, art festivals, group exhebitions) and how to communicate their work to the outside world (the society, the people who see their work). Most of them don't have the time and interest to be involved in politics. Some of them were or are active in leftwing political parties or organisations. But those folks often did not have enough time for their art production and became political activists (militants). Artists often have leftwing political views, but ofcourse there are rightwing, liberal or conservative artists too. Artists who make commercial work, who sell well or who have conservative or traditional views. Like most people in a people artists have differant kind of political orientations. Tufta, I hated the Social realist art of the Sovjets, Nazi Germany, North-Korea and Maoist China, but I have to admid that I like some Social realistic art and architecture too, because the artists and architects were good, not because of the ideolgical ideas or background of these people. I like Plac Konstytucji in Warsaw too and the Palace of Culture also. Pieter
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Post by tufta on Sept 6, 2010 20:31:28 GMT 1
I agree , it is good and normal for an artist, to have political views. But introducing the views into the artwork somhow decreases the art. However, I think there is exception to this rule - at least I see it like that. It is music.
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Post by pjotr on Sept 10, 2010 16:43:02 GMT 1
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Post by pjotr on Sept 10, 2010 16:54:22 GMT 1
Islamic Geometric abstract art Pakistan artAbbyjean: medieval Islamic artGeometry in Islamic designcommon feature of Islamic art is the covering of surfaces with geometric patterns. This use of geometry is thought to reflect the language of the universe and help the believer to reflect on life and the greatness of creation. Among the most important aspects of Islamic geometric design are repetition and variation. A series of tiles, for example, may consist of only one or two shapes but the patterns of the tiles may all be different. In other designs, a few different shapes may be combined to create a complex interlocking pattern. Geometry is seen to be spiritual because circles have no end, they are infinite and so they remind Muslims that Allah is infinite. Complex geometric designs create the impression of unending repetition, and this also helps a person get an idea of the infinite nature of Allah. The repeating patterns also demonstrate that in the small you can find the infinite, a single element of the pattern implies the infinite total. Symmetry also plays a part in most Islamic patterns. There may be a single line of reflective symmetry, usually from the top to the bottom, or there may be three or four lines of symmetry. Straight (translation) and turning (rotational) movements are also used. Sometimes these, as well as reflective symmetry, are found in the same design. 866 × 846 - 'Islamic' GeometryPatchwork and spirit of geometry part
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Post by tufta on Sept 10, 2010 20:31:39 GMT 1
Islamic Geometric abstract art Very much resembles some azulejos in Iberian pennisula. No wonder.
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uncltim
Just born
I oppose most nonsense.
Posts: 73
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Post by uncltim on Sept 10, 2010 21:30:12 GMT 1
Islamic art reminds me of fractal geometry. repetitious, logarithmic, and scalar.
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Post by pjotr on Sept 11, 2010 0:44:51 GMT 1
Islamic Geometric abstract art Very much resembles some azulejos in Iberian pennisula. No wonder. Yes, the Mores of Spain in Cordoba and Sevilla! Córdoba
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Post by tufta on Sept 13, 2010 20:36:49 GMT 1
Pieter, it is not geometric abstract art in Poland. It is rather pragmatic (so to say) earthly art in Czech Republic. My question is simply what do you think of it. Or maybe - what do I miss here (if I do) thinking it is a joke?
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Post by pjotr on Sept 14, 2010 1:16:51 GMT 1
It is a reference to a ready make of the French artist Marchel Duchamp. Fountain 1917
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