Abstract
The abstract painting of the early 20th century was based on the creation of new structural art forms represented in non-mimetic, non-demonstrative, uniconic painting. However, regardless of the fact that the avant-garde art of the early 20th century with its artistic processes and theoretical postulates advocated the autonomy of art, some modern abstract artists did not abandon the realms of spirituality, religion and spirituality. Based on studies of heterodox religious movements of the mid and late 19th century (mainly the Theosophy of Helena Petrovna Blavatsky and Annie Besant, and Anthroposophy of Rudolph Steiner, as starting points for creation of abstract painting of the early 20th century) Wassily Kandinsky creates organic abstraction, Piet Mondrian develops geometric abstraction - Neo-Plasticism, Kazimir Malevich establishes the most radical form of modern abstract painting - Suprematism. We deal here with original self-reflective essays and theories of art of Kandinsky, Mondrian and Malevich, which serve as theories of abstract art (theories of Lyrical abstraction, Neo-Plasticism and Suprematism), and based on theories of these artists, this paper aims to explore the influence of Theosophy and Anthroposophy on the development of Kandinsky’s Lyrical abstraction, Mondrian’s Neo-Plasticism and Malevich’s Suprematism.
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