Geometric Abstraction

The term 'abstractism' indicates the will to renounce any reference to recognizable real objects. This trend, which has become a true artistic avant-garde since 1910, has always existed in art.

From the origins of human expression through signs, in fact, it is possible to trace a tendency to reproduce animals, people, landscapes in a probable way (naturalism) and another trend, stylistic, geometric, schematic, which consists in expressing itself through 'abstract' signs from reality. The common goal of abstract painters is to seek harmony, and harmony for them, as with Renaissance painters, is the mathematical measure. Abstract painters are at the center of their interest in the study of some perceptual processes: in particular they analyze the relationship between form and color, focus on visual arrangements that settle between colors, investigate compositional rhythm. Through abstract painting, the artist has total freedom of expression by which he extrinsic his own interiority, sensibility and spirituality, as well as the observer who in these works is also free to interpret them with his subjective judgment.

Within Architecture we can distinguish two strands: Lyrical and Geometric. The lyrical abstraction leaves ample room for the artist's imagination and personal universe. The term 'lyrical' refers in fact to a poetic attitude that is also trapped by signs and colors lying on the canvas. The greatest exponent of this current is Paul Klee. Geometric Abstraction is dominated by rigor and rational control of absolute expression.

Mathematics and geometry understood as a survey of numerical relationships and the study of proportions and measurements between shapes and colors, are central and irreducible points of reference for the painters who follow this path. Major representatives are Malevich and Mondrian.

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