Peculiar Properties Of Abstract Art In XX Century.

Abstract art – is the most affordable and honorable way to capture the personal existence, like a facsimile stamp. At the same time it is a straight realization of liberty.

In the U.S. the rise of abstract art begins in mid-1940. The first prominent figures at that time, except of learner of P. Mondrian Dzh.Pollok were B. Diller, M. Tobay, B. W. Tomlin, and A. Hills. Among those whose work later influenced European painting – B. Newman, Rothko, F. Cline, R. Rauschenberg, U. Kooning, A. Reinhardt.

One of the first postwar French abstractionists, who absorbed the lessons of American painting – was P. Soulages. His not the best works resemble expressive abstraction F. Klin. Works of G. Hartung are closer to the primary source of European abstraction – Kandinsky. Among the European artists who came to abstractionism in the postwar years by themselves are J. Fotrie, J. Mathieu, Jean-P.Riopel, Dzh.Kapogrossi, M. Esteve, A. Lanskoy, S. Polyakov, R. and J. Bisser Bazin.

In 1950 in Paris there was the first workshop in which artists J. Devaney and E. Peel teach young people to get rid of a realistic vision, to create a picture exceptionally by pictorial means and use in the composition no more than three colors as “color defines the form” (it is necessary strive finding the exact color). In the early 50′s abstract compositions created Matisse. An abstract painting of Devaney Apotheosis of Marat (1951) was greeted with great enthusiasm. Critics wrote that it was not only an intellectual portrait of the fiery tribune, but also the “feast of pure color, dynamic games of curves and straight lines,” this thing – is a proof that abstraction expresses not only spiritual values, but as a figurative art may apply to the historical and political events. “

In the early 50′s in France it is becoming popular “lyrical abstraction” of J. Mathieu. His statement reflects a new approach to art: “The laws of semantics work on the principle of inversion: as a thing is given, a sign is looked for it, if a sign is given, it confirms itself, if it finds incarnated.” The idea is a sign is created at first, then it is selected its meaning. In the classical art the sense is looking for the meaning.

The stylistics of American abstraction of 50-ies differs with straightforward geometrical: B. Diller, A. Reinhardt, W. Kooning, F. Cline, Rothko, Newman, B., R. Rauschenberg (exception – A. Hills, M. Tobay and partly A. Gottlieb). This stylistics is associated with the New York School, suddenly acquiring an international reputation.

Art has always been, to some extent, a means of expression. Personality, indirectly imprinted himself in regulatory structures of Big style, in Modern times creates such structures.

With beginning the abstraction, the creative person has got a freedom. Unrecoverable line, color, texture become an author’s facsimile imprint. Theoretically, nothing prevents the imprinting of personality in the plastic, graphic, pictorial projections, in which how and what merge.

On the other hand, the measure of exclusion, which abstraction allows, exceeds all that was before. Scenic designer of suprematism assumes unprecedented meet of the aesthetic requirements.

As a trailblazing factor, abstraction infinitely expands the possibilities of embodiment of two opposing entities – unique and universal. The texts, works of art of all times show that the author always talked about himself, but never so thoroughly consciously and openly, as in the XX century.

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