If you’re looking for some unique ideas for a new painting, consider neutral abstract art. This type of art can include geometric abstraction, Concrete art, and non-representational works. Regardless of whether you’re looking for a piece that’s abstract, non-figurative, or geometric, there are many great pieces to choose from. Read on to discover more about these abstract forms. This article will help you choose the best neutral abstract art for your needs.
Non-figurative
What distinguishes non-figurative abstract art from figurative works? Quite simply, non-figurative art does not depict anything in particular. This type of art is non-representational in nature and is created by a creative process that combines form, color, texture, and pattern. While the subject matter may be non-representative, the process involved in creating non-figurative art is both highly creative and objective.
The fundamental difference between non-figurative abstract art and figuration lies in the process by which the artist creates their work. Rather than fighting with outside impressions and emotions, non-figurative artists use mechanical processes to create their work. This means that they suppress any sentiment in themselves or the spectators. However, non-figurative art does not simply retrench into the world of neutral abstract art, and they have to draw their objectivity from the visible reality.
Kandinsky is considered the father of abstract art, and his work can be traced back to the early twentieth century. The artist studied economics and law and began painting life-size drawings at age thirty. The artist was an early champion of non-figurative art, and his paintings were associated with the concepts of emotion, linear forms, and music. As a result, Kandinsky’s work has become associated with a wide variety of genres and subject matter.
Many cultures have continued to create important symbols and customs through non-figurative representation. By the nineteenth century, Western modern art began to align with abstract painting. This trend was triggered by the scientific revolution and medical advances. At this time, art became more widely accessible to the general public, and European artists were no longer exclusively commissioned by the church and court. This freedom translated into a wide variety of subjects and techniques.
Non-representational
The term non-representational art means that there is no clearly identifiable subject. It challenges the viewer to make up their own meaning by combining processes of color, form, and pattern. Non-representational art can take on any subject and can be quite flexible in commissioning space. The buyer and artist must blend their criteria to create the perfect piece. Non-representational abstract art can be described as a form of neutral abstract art, or it can be an expression of feelings or thoughts.
Abstract art often aims to disorient and distort the real world. Some artists, like Pablo Picasso, distorted people or animals to create works that were unrecognizable. Non-representational art begins with no subject and works from there. Its creation does not begin with a specific subject and is, in fact, what the artist intended. Some examples include splashes of color or a square that is color-blocked.
If you want your art to redefine the space, select transformative art. Otherwise, choose a piece that works well with your existing design. You can always change or add more abstract art later, too. If you want to change the look of your home, neutral abstract art can help you do that. So, don’t be afraid to mix and match colors and styles. Just be sure to choose neutral colors when buying non-representational paintings.
This art style originated in the early 1900s. It was introduced by Russian artist Alexander Rodchenko, who presented his Black on Black series. Other notable artists who pioneered the non-representational movement are Wassily Kandinsky and Piet Mondrian. The latter was perhaps the most influential. This style is based on color relationships and reflects a sense of utmost importance.
Geometric abstraction
The development of geometric abstraction in art has been characterized by its emphasis on experimentation and spatial relationships between compositional elements. The term was coined to distinguish it from its Cubist counterpart and reflects its historical context. This neutral abstract art movement emerged following decades of figurative painting. Its basic characteristics are geometric shapes and subjective compositions that do not reference the real world. The idea behind this movement was to say that painting is something that one does.
The origins of geometric abstraction are in ancient cultures. The Arabic culture forbade the depiction of human figures in their art. This trend began before the European cubism movement. Mondrian influenced this trend by copying paintings in the Rijksmuseum and making illustrations for books. When visiting Spain, he was shocked by the brutality of bullfights. His search for a new order resulted in the development of geometric abstraction in neutral abstract art.
While the term non-objective art is not always synonymous with neutral abstract art, it can serve as a great addition to modern home decor. Geometric abstract art often reflects a minimalist aesthetic, a contemporary aesthetic. Having a geometric motif in your home will set the tone for the room. This type of abstract art can serve as a great addition to any modern decor. But don’t forget to check the source of the art before you make any final decisions.
A great deal of work involving geometric abstraction in modern art is in the Dutch tradition. A number of Hard-Edge painters from this period, such as Frank Stella and Piet Mondrian, embraced this style. However, unlike Mondrian, they did not seek to convey a deeper spiritual message through geometric abstraction. The style is based on a deep understanding of the formal elements of art.
Concrete art
Many people think that Concrete Art is completely neutral, but this is not necessarily the case. Modernist art, on the other hand, tends to be more esoteric. This style tends to be geometric in nature, and its roots lie in Neoplasticism. As such, it is closely linked to Neo-plasticism, which means that its aesthetics are rooted in the use of concrete materials. This type of art includes works by artists such as Theo van Doesburg, Otto G. Carlsund, Leon Arthur Tutundjian, Jean Helion, and Marcel Wantz, all of whom were also members of Neo-plasticism. The group published a single issue of Revue Art Concret, which featured a joint manifesto.
The term “concrete art” was coined in the 1930s to describe abstract painting with geometrical forms. The geometric forms of abstract painting were already common in Islamic and Celtic art, and they were used extensively during the 20th-century movements of the Bauhaus Design School and Kandinsky. In 1930, the group was well represented in the Armory Show, as well as the Manifesto of Concrete Art issued in Paris by Van Doesburg.
The term “concrete art” was first coined by the Dutch artist Theo van Doesburg in 1930. He used the term to describe his art style, and it was later popularized by Max Bill in the 1940s. His works are considered precursors of minimalism in sculpture, and there is a museum dedicated to the work of this artist in Zurich. The work of Max Bill can be found throughout the world.
Op-Art
The earliest examples of Op-Art are those by Vincent van Gogh, Victor Vasarely, and Pablo Picasso. These artists made use of sculptural materials, motors, and lights to create a distorted sense of space. These artists believed that the value of art lies in the meaning that it conveys, rather than its appearance. In addition to Van Gogh, other prominent Op-Art artists include Yaacov Agam, José de Goya, and Carlos Cruz-Diez.
Op-Art is often categorized as neutral abstract art because its neutral palette and lack of color are intended to be aesthetically pleasing. Its colors and patterns are meant to evoke the human imagination by creating optical illusions. In fact, the most famous Op-Art painting by Riley, after the works of Victor Vasarely, shows the distorting checkerboard that creates an illusion of depth and movement.
Riley’s work confounds the foreground and background arrangement of pictorial space by avoiding prioritizing either. Though Riley has resisted the label, her work does produce optical illusions. Moreover, Riley has consistently stated that her paintings are not mechanical, depersonalized, or “neutral”. Rather, Riley emphasizes the subjectivity of her decision-making process. If Op-Art is not for you, then you should not buy her work.
After the 1960s, Op-Art began to fade from the art world. The Japanese-born Tadasky did not have a solo show in New York until 2008. In spite of his approval from Judd, Tadasky’s work remained represented in MOMA with two circular paintings from 1964. Julian Stanczak also experienced a similar decline in popularity. Meanwhile, Victor Vasarely remained popular even during the 70s and 80s, when he began to produce increasingly tacky, outmoded Op-Art.
