An Artist’s Impression of Abstract Art

This is a article about abstract art, it’s a subject that can be as heavy auras of light as you like for me, it’s just natural because I’m always doing it so, thinking about it all the time but I also think about basic questions that many people have.

How do we respond to abstract art?

Is it supposed to be hard or easy?

Is it about something or does it exist entirely on its own see abstract artists chucking paint around?

Why be so vague, but then, when their precise, how does that help?

These could seem unanswerable questions but abstract art has been around 400 years now and is an ongoing thing.

Abstract, Art

By exploring the private world of living abstract artists and looking at some key figures from abstract art history. I’m going to show you that in fact, there are answers amid complicated and potentially confusing works there are hidden rules you might not expect.

You know what, no matter how lovely can see abstract art to be, you will see its meaning, no gap okay?

Abstract, Art

I’m going to get you to take some of it all in and work in your environment. Every day in a studio, I paint abstract paintings based on patterns, together with my painting partner, Mr Biggs, you know how sometimes you get scraped into it!

Abstract Art can get you in some great head space.  I like that, okay?  The noise is really the generator mixing the colors she thinks it should be. The mark as the paint is called is physically mixed. She mixes up the paint and she places them on.

I’m the applier, it’s a kind of double act which most of the time the main emphasizes on what comes out of his head.

Abstract, Art

The history of abstract art is really a history of experiments so you try a lot of things, come up for experimentation, you know you’ve got color theory, art people who do very honorable and serious types of art based on scientific ideas of what makes colorizing, together then you’ve got abstract art which is all about accident, but, all of them are trying to find some kind of visual metaphor.

This will be rich enough for what one might call reality art is partly ideas and theories, but it’s really only anything at all because of how it looks.

Looking is something you must get used to here, there are some abstract squares, the kind of thing people often glance at and then turn away from.

Joseph Mallord William Turner, ‘Light and Colour (Goethe’s Theory)  - the Morning after the Deluge - Moses Writing the Book of Genesis’ exhibited 1843

I have battled the one on the left as it is by Mondrian a famous figure. The one on the right is by LubeOff Popover who is a less well-known artist. We’ll be meeting both these artists later.

Each painting as shapes that echo the basic shape of the thing they appear on the square shape.  

Wassily Kandinsky, ‘Cossacks’ 1910–1

The canvas in hers you’re seeing squares stretched out, fragmented, morphed into triangles tilted, so they seam flying or full of movement. In his abstract squares, that color is stark, based on contrast reverse the color and is continuous and sympathetic Gray.

The pink Kura, softer version of the harder black, red, white relationships the Gray, and the pink, take the I back gradually making space throughout.

Piet Mondrian, ‘No. VI / Composition No.II’ 1920

It seems three dimensional. So, opening to abstract values is an adventure and you start by being willing to look at the dynamism of the way in which shapes are placed.

This prevents you from reading that white as if it were home. It can be seen through the reeds clearly, as over the other colors it’s not easy to pull off, it depends on the minor displacement of angles.

Everywhere pink follows red and grey has a blue green character but also complements the red, it’s the color in proposals painting that contributes more than anything else to the difference between her squares and Mondrian squares.

Piet Mondrian, ‘Sun, Church in Zeeland; Zoutelande Church Facade’ 1909–10

If abstracts have got something to do with reality, but the artists, are going to picture reality. Why not and what reality are we talking about?

Art has been expected to picture reality according to approaches and styles that were acceptable to most people. A lovely landscape by Rosenstein, in the 19th century new ideas about reality.

He knew what he meant to say and could picture reality as patent shapes. In the early 20th century the cubist painter Brock, responded to Suzanne, by picturing reality as flattened space, a few years later abstract art responded to cubism with shapes and spaces.

 Only people can sense, what was real was up for grabs, because everyday existence is full of rapid change caused by science, artists or spirituality as both are a challenge to the power of science and a way of harnessing it. This counter intuitive idea came from the spiritual movement of theosophy, which was founded in New York in 1875 by Helena Blavatsky.


 About ski, Helena Blavatsky took aspects of Eastern religion and aspects of science, mostly evolution, and came up with a spiritual movement based on evolution of the soul.

Abstract art started at the very peak of theosophy, this popularity grew in people’s thoughts, spirituality was like x-rays or infrared radiation, or electricity, it could be revealed there were a lot of different artistic takes on the spiritual. But, the strangest was the earliest helmet of Clint who was born in 1862 and lived and worked in Sweden.

These are paintings by her from 1907. Yes, for decades nobody knew about them but recently they’ve emerged and started to be exhibited all over the world.

From totally invisible, she’s become the main excitement about historic abstract art. A woman, doing abstraction plus, doing it so it’s full of meaning. The kind of meaning abstract artists were into spirituality.

But I think Clint thought of herself as being in touch with actual spirits. She conducted séances in this room and received messages from spirits who were called the high masters.  

She produced twenty-three thousand pages of notes working out what the high masters were telling her to paint.

 It was all theosophical meaning, theosophy says colors and shapes can symbolize the soul’s journey to the tip of a colored pyramid.  Is the sole arriving within the golden circle of pure spirit?

Woman with a Hat (La femme au chapeau) by Henri Matisse

Are there pure spirit philosophy claims, when dark is balanced with light, masculine with feminine, all Afghans paintings are profoundly philosophical.

They are not the oesophageal thing about them is the general look and this doesn’t come from spirits.

 Because to risk controversy for a moment there is no such factual thing as a spirit. They are mental projections, that can create such a mental projection without suffering, debilitating mental illness, is a fantastic thing but when it comes to creating a work about a mental projection, this alone isn’t enough because art is a maid just from visions.

It’s made from visual traditions the other abstract artists, rooted in the visual traditions of painting explain themselves only partly by spirituality with her, it’s everything it was beamed down to her by a high master on the astral plane.

Who commissioned paintings from her she knew what the reason was, so that those down on the earthly plane if they’ve enlightened themselves enough might benefit from those that could be used to keep an open mind.

Oh, it was only recently decades after her death in 1944, that Africans became known. Now her work is categorized as the first abstract art, but, there’s very little evidence she thought of it as art at all rather than abstraction type of art that didn’t exist in 1907.

Umberto Boccioni - A strada entra nella casa

She thought it was direct meaning to us it looks like abstract art but, it’s really diagrams explaining theosophical ideas to see what else there is to abstraction.

You must look elsewhere, yes, the Russian artist Vasily Kandinsky is the lord of abstraction.  Yes, he said it was created from within, a necessity, and it didn’t need nature to picture.

It contained all of nature anyway, just in abstract art shapes and colors.

He meant the artist sensitivity and his feelings and memories are full of nature’s impressions.  He was able to paint this down onto the canvas in a completely abstracted way.

This is a painting by Kandinsky from 1912, its title Painting With Black Arch, encourages you to think about only what you’re seeing that black arch is unmistakable, but Kandinsky knows, that seeing art, is a heightened seeing, it’s made loaded by you being very visual.


Then also, a lot by your thoughts and expectations being primed by theory the book of the Lord is called on the spiritual in art and in ski published it in 1911 and it was read throughout Europe.

It was the first moment of abstract art becoming widely known like Hilmar Clint, Kandinsky was inspired by theosophy, these notions of our coming new age of the great spiritual convinced his artistic approach was different to Homer Africans, though she thought paintings were diagrams to be interpreted by study’.

He thought, the actual materials of painting, color, shape, line could be manipulated to affect the soul. His line moves across the paper it’s captured on.


Film in the 1920s, he’s in his sixties and has been painting abstractly since he was in his late forties.

Making a mark, in the abstract art world, he doesn’t know in advance, what was going to happen, because he did not copy anything. That is instinct, for making his art, guided by his experience, of judging what works and what doesn’t.

Researched by Judi Jaques.