Abstract
Synesthesia is not only highly instrumental but primary in our figurative thought and expression. The overlapping of sensory modalities can be used to elucidate complex layers of perception through a universal type of metaphor. In regards to abstract expressionism, a visual strategy that is vague and vat, referring to alternative modes of perception to comprehend painting proves extremely useful when exercised with discretion. The research I have conducted includes psychological experiments, studies on color, gravity, physics, acoustics, architecture and art criticism. By analyzing gravity, volume, pitch weight and saturation in music, I have identified them in abstract expressionist Mark Rothko's art. Although these components are mutable in Rothko's career, they are consistently present.
Highlights
Mark Rothko once proclaimed " I became a painter because I wanted to raise painting to the level of poignancy of music and poetry."1 This tragedy which Rothko hoped to communicate through visual art is often experienced while listening to music
After assessing the elements of gravity, volume, pitch and tone i n the domain of visual art, it is evident that it is conductive to understanding particular aspects of abstract expressionist works
Most individuals will never experience a crossing of modalities as severe as a diagnosed synesthete, it is inevitable that we rely on multiple forms of perception to comprehend visual stimuli
Summary
" I became a painter because I wanted to raise painting to the level of poignancy of music and poetry.
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