Non-Objective Painting Research Articles

The Aesthetic Theories of Wassily Kandinsky and Their Relationship to the Origin of Non-Objective Painting

The Aesthetic Theories of Wassily Kandinsky and Their Relationship to the Origin of Non-Objective Painting

Some Differences between Abstract and Non-Objective Painting

Some Differences between Abstract and Non-Objective Painting

The Old and the New in Non-Objective Painting

The Old and the New in Non-Objective Painting

Topics of Interest to Mathematics Teachers: Mathematics and Art

Claude Bragdon once observed that to some people, any juxtaposition of the idea of mathematics and the idea of art would seem far fetched. Devotees of modern non-objective painting apparently feel the same way. To he sure, artistic creations do not invariably stem from mathematical concepts, nor does the execution of works of art depend solely upon mathematical considerations. But basically, pure mathematics and creative art share certain common characteristics: both admit of unlimited use of the imagination; both are creations for the sake of creation; both are pure invention; both reveal abstract orderliness imposed by the human mind. And when the artist portrays reality, he takes into account the mathematical aspects of real objects, be they the works of man, or found in Nature.

Aesthetic Limitations of Non-Objective Painting

Aesthetic Limitations of Non-Objective Painting

Aesthetic Limitations of Non-Objective Painting

Non-Objective art has an ancient and continuous history. Decorative patterns—patterns whose forms bear no conscious or recognizable similarity to specific objects extant in the material world, or even to unnatural combinations and distortions of such objects—have been found on burial urns, clasps, belts, knife handles, tomb walls, clothing and other such useful objects created throughout every millennium and in every major area in which an artistic tradition has survived. The fact that a large number of such forms may refer to specific objects or concepts in the material world, not through similarity but through established symbolism, cannot be ignored. But it is sufficient to recognize that in recent centuries elaborate literary documentation demonstrates the existence of a large body of non-objective art used to decorate useful objects and devoid of any conscious symbolic intent. Widespread and continuous acceptance of such forms, usually among all levels of society, demonstrates that these forms give p...

Art and Reality

The physical realities of painting are limited to rhythmic movements of line and inter-relations of areas of color on a flat surface—the rest is illusion. The grand rhythm of a design is a reality; the depicted scene is not.This may be the explanation of the complete satisfaction which many find in abstract or non-objective painting. Their real world is about them, to see and experience at first hand; they desire no pictorial illusions of it. As part of that real world however, they recognize color and design and the inventive genius of the artist. When these are combined to give life to a rectangle of canvas within a frame, a new object—a totally real object—has come into existence for the decoration of a wall. Its freedom from illusion, its concentration on the great realities of rhythm and color relations, become for them the source of a greater esthetic delight than an imitation of nature.

A Definition of Non-Objective Painting

A Definition of Non-Objective Painting