Purple. One of the most dynamic and impressive colors in the visible light spectrum, it continues to exude power and prestige. In many cultures, this hue has been used to identify a monarch. And that connection continues to the present day. Combining the cool presence of blue with the robust charisma of red, purple is one of the most enigmatic colors. It seems electric at times, at other times serene. It merges the strengths of both cool and warm colors, standing as an entity unto itself. To understand why purple has such a pull on us, we need to understand its long history — social, political, and artistic. The Early History of Making Purplerait of Empress Catherine the Great of Russia (circa 1780) by Fyodor Rokotov Part of the appeal and mystique of this color throughout the past few millennia has been the extreme difficulty we’ve had producing it. The first millennia BC saw one purple pigment emerge, but it came at a high price. (While manganese was used in the neolithic to make purple, it would not be common again until the modern era.) While today you can purchase purple paint for a few dollars at any craft store, it used to be an expensive and daunting task. One of the first ways we created it was through the murex shellfish. This creature could be used to produce a pigment called purpura, also known as Tyrian purple But hundreds of thousands of murex were required to make even a small amount, limiting its use to the richest and most powerful people in society. One famous lover of Tyrian purple was none other than Julius Caesar. And he got a taste for it while visiting Cleopatra’s palace. Caesar wasn’t satisfied with having a lot of purple, he made it illegal for anyone else to wear it. Nero would later become even more committed, making it a capital offense, meaning death for anyone who dared to wear the great leader’s favorite color. While Rome eventually fell, the status it gave purple survived. For European kings, this was the color to show your regal status. Even the Catholic Church used purple for the robes of bishops. But as it so often does, technology eventually came in to democratize access to purple. But while the economics of the color changed, it nevertheless continued its hold on the imagination. Purple for the Masses The Artist’sGarden at Giverny (1900) by Claude Monet It was the precocious William Henry Perkiin who created the first synthetic purple pigment in 1856 — he was only a teenager at the time. While working with coal tar as a potential cure for malaria, he couldn’t help but notice the purple patina the material gave his instruments. What once was a color reserved for the elite of society could be created with this inexpensive base. Soon after this pigment was discovered — creating what the inventor called mauve — a new generation of artists were seeking to capture natural light on their canvases. Called the Impressionists, this group fell in love with purple, and for the first time it was relatively easy to acquire it. They used it so much that they were accused of “violettomania” by art critics. With high demand meeting high supply, purple was everywhere. As the Impressionists came and went, new waves of artists continued to experiment with purple artworks. Some of the greatest names in 20th century art made extensive use of the color — none other than Mark Rothko, Francis Bacon, and Georgia O’Keeffe make up only a few of the masters transfixed by purple. Pop art picked up the color as well, finding its exuberance and, at times, tackiness a perfect choice for their works. In the 80s, industrial and graphic designers used the color frequently, especially the Memphis school which came to define the look of the era. Purple Today It is interesting to scroll through the visual culture today and see just how much the design of the 80s and 90s is being referenced. Those references often include heavy use of one color: purple. It seems that purple, more than any color, has left an indelible stamp on us. From its origins as a rare commodity, the exclusive hue of the emperor, to its status as the color du jour of fine art, to its ubiquitous presence in pop culture — purple has kept us captivated. As we move further into the 21st century, there is no doubt that we will make use of purple, but in what new ways? Only time will tell. Looking for a purple artworks for your living room? Browse now on RtistiQ a curated collection of artworks that celebrates the meaning of Purple.

RTISTIQ TEAM

10 Sep 2021

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In the urban landscape, vibrant forms of artistic expression emerge, challenging conventional notions of art and engaging with communities in unconventional ways. Two distinctive art forms that have garnered attention for their rawness and unfiltered creativity are graffiti art and Art Brut. Some of the most notorious names of contemporary art come from the world of graffiti. And while formal training and historic institutions still hold a massive presence in the art world, we are seeing more and more outsiders storm the gates and break through to become major names. That’s why we put together this guide to understand the types of graffiti art and art brut better. With this new knowledge, you’ll be able to better appreciate this diverse and dynamic realm of creative expression. What is Graffiti Art? Graffiti is a kind of art brut. It is any drawing or writing made on a surface, typically in public view. Graffiti itself is about as old as humanity. But beginning in the 1980s, graffiti began to be shown in fine art institutions, like galleries and museums. With the inclusion of many major graffiti artists into the formal art world, the lines have become more and more blurred. Graffiti art now refers to a thriving genre of art that uses the styles and techniques of street graffiti, but with finished products that are meant for more traditional art spaces. Some of the most well known artists of the last fifty years are graffiti artists, including the late Jean-Michel Basquiat. What’s the difference between graffiti and street art? The terms "graffiti" and "street art" are often used interchangeably, but they do have distinct characteristics that set them apart: Graffiti artists, like the famous Banksy, create and present their art in public spaces. Frequently, their art is not sanctioned by the owners of the property that the art is painted on. For this reason, graffiti art typically are revolutionary or otherwise transgressive themes. While graffiti can be seen as a subset of street art, the key difference lies in the legality and intent behind the creations. Graffiti is often associated with unauthorized markings and can be viewed as an act of rebellion or vandalism, whereas street art is generally more accepted and embraced by communities as a form of public art. However, it's worth noting that the line between graffiti and street art can be blurred, and there are artists who bridge both realms, incorporating elements of graffiti within their street art pieces. Ultimately, both graffiti and street art play vital roles in shaping the visual landscape of cities, sparking conversations, and challenging societal norms through artistic expression in public spaces. If you are still confused, see this helpful guide: Graffiti art is often associated with illicit, unauthorized markings made on public spaces using various tools like spray paint, markers, or etching tools. Historically, graffiti has been associated with acts of vandalism and considered a form of public defacement. Street art, on the other hand, encompasses a broader range of artistic expressions in public spaces. Street artists often create their works with the permission of property owners or as part of organized initiatives to beautify urban environments. Street art is typically more intricate, visually elaborate, and conceptually driven compared to traditional graffiti. How Graffiti Art Started Graffiti art began as street art, and people often use the words graffiti and street art interchangeably. But a few New York City gallerists in the 1980s saw graffiti as a blooming world of creative expression. And soon, they were exhibiting the work of graffiti artists. A particular hotbed was the East Village in Manhattan. Fun Gallery and Now Gallery helped lead the way in presenting graffiti art in a new light. By placing the work by these outsider artists in the context of a gallery, audiences began to appreciate the art on a deeper level. Artists like Keith Haring, Crash, Lady Pink, and Jean-Michel Basquiat became major names in the art world. They inspired new generations of graffiti artists to pursue the style — as street art, gallery exhibits, or both. Today, major corporations have hired graffiti artists to promote products . Major auction houses sell graffiti art. And you can buy graffiti art at countless galleries around the world. Famous Graffiti Paintings Curious to see some great graffiti art? We’ve put together a few of the most impressive and noteworthy examples. Untitled Skull (1982) by Jean-Michel Basquiat Copyright Jean-Michel Basquiat This painting is legendary not only as part of Basquiat’s skull series, but also because of the major headlines it made in 2017. It was that year that Sotheby’s New York sold it for a staggering $110.5 million dollars, blowing past its $57 million estimate. Ignorance = Fear (1989) by Keith Haring Copyright Keith Haring Foundation This work epitomized Haring’s use of art as a tool to raise political consciousness. As a gay activist, the AIDS epidemic was central to much of Haring’s work in the 1980s. This painting united his powerful pop and graffiti hybrid style to deliver an important message. The Breakdown Comes (1983) by Lady Pink Copyright Lady Pink This masterpiece of graffiti art by Lady Pink reveals the deep anxieties of the middle class in 1980s New York City as an empowering fantasy of the downtrodden in the same time and place. The vitality and playfulness of the artwork helps the complex themes go down enjoyably. Graffiti art is such an exciting realm of the art world. Now a few generations into its acceptance into the establishment, it still continues to push boundaries and grab our attention. Now that you know a little more about it, you can shop graffiti art from this fascinating genre that RtistiQ has put together for you to explore. What is Art Brut? Art brut is a term coined by French artist Jean Dubuffet in the 1940s, literally meaning raw art. Dubuffet used the term to describe the realm of artwork made outside of the formal and academic art world. Sometimes called outsider art, artbrut contains a broad spectrum of work. The term is often used with a bias toward Western art circles. For instance, artists in hunter gatherer tribes might be highly trained and create pieces inside a well codified tradition, but their work might still be considered art brut to some critics—so a reader has to consider who is using the term and how. Art Brut artists typically have no formal artistic training and often face societal marginalization or live with mental health challenges. Their works are characterized by their authenticity, unconventionality, and a lack of adherence to traditional artistic norms. Art Brut encompasses a wide range of styles and techniques. Artists often work with unconventional materials and mediums, using found objects, discarded materials, or natural elements. Their creations are deeply personal and reflect their individual experiences, inner worlds, and unique perspectives. Art Brut has provided a platform for artists who have been marginalized or overlooked by the art establishment. Figures such as Adolf Wölfli, Henry Darger, and Martín Ramírez have gained recognition posthumously for their extraordinary bodies of work. Art Brut challenges the boundaries of what is considered "art" and questions the prevailing criteria for artistic validation. Famous Art Brut Paintings Many Art Brut artists remain relatively unknown, with their works often discovered posthumously. However, there are a few notable Art Brut paintings that have gained recognition and influenced the art world. Here are a few examples: Adolf Wölfli's crazy controversial Art: Adolf Wölfli, a Swiss artist and psychiatric patient, produced an extensive body of work during his confinement. His intricate and highly detailed drawings depict fantastical landscapes, intricate patterns, and narratives from his own imaginary world. Prisoner Drawings is a series of densely packed compositions that reveal Wölfli's creative vision and psychological complexity. "Götter [gods]" by August Walla: August Walla, an Austrian artist with schizophrenia, created a range of powerful and expressive artworks. "Mystery Train" by Martín Ramírez: Martín Ramírez, a Mexican-American artist, created intricate drawings while institutionalized in psychiatric hospitals. His works often feature repetitive lines and motifs, including trains, figures, and animals. Conclusion: Graffiti art and Art Brut are two distinct forms of artistic expression that have captivated audiences with their rawness, authenticity, and unconventional approaches. Graffiti art, born from underground subcultures, challenges social norms and transforms the urban landscape into a vibrant visual tapestry. Art Brut, created by self-taught artists, provides a platform for marginalized voices and challenges established artistic conventions. Together, these art forms exemplify the power of artistic expression to transcend boundaries, spark dialogue, and redefine the notion of what art can be in our complex and diverse world. Check out the Graffiti and Art Brut Collection on RtistiQ to explore some of magnificent works in recent times.

RtistiQ

29 Jul 2021

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Indonesia demonstrates a pluralistic art culture where not only traditional and modern art forms are pursued in harmony, but also the evolution of art forms can be witnessed through varied influences of foreign cultures and religions. Evidence of spiritual art can be traced back to even 1500 B.C. in Indonesia through stone and wooden artifacts, which represented spiritual expression with aesthetics. These elements when combined with Hinduism effectuated Indonesian court art in 7th century. The rise of westernized art came later when the country became a Dutch colony in the 17th century. When the artists started traveling to European countries to study artduring 18th and 19th centuries, some of the modern forms of arts developed. Although the impact of religion and spiritualism still reflects in contemporary paintings, yet most of these artworks are a symbol of individual responses to social issues. This post outlines some of the prevalent forms of painting in Indonesia over the past two centuries, the most popular artists of that period, and discernment into the contemporary art scene with present-day artists. Romanticism – This art form was first used in Germany in 1700s, and is characterized by an emphasis on personal, subjective, imaginative, irrational spontaneous and transcendental. In simple words, a deepened sense of emotions and senses. One of the most famous artists who created paintings with Romanticism theme was Raden Saleh. He studied in Netherlands and traveled across Europe to enhance his skills. The following isa famous painting by Raden Saleh, called ‘Lion Hunt’ (source: commons.wikimedia.org) Expressionism – This is an art form where the artist focuses on expressing emotions subjectively through exaggeration, distortion, fantasy etc. The aim of the artist in painting here is to be expressive, not beautiful. Many modern artists use this spontaneous technique to depict their minds rather than the outside world. Affandi is a well-known name in Indonesian art scene who made use of Expressionism to create more than 2000 pieces of art, which are displayed in a museum at Yogyakarta. Although Affandi started painting as a realism artist, he later moved to expressionism since, in his own words, ‘ Afandi used an exceptional technique to paint by directly squeezing the paint from the tube to canvas. It is interesting to note that he discovered this technique by accident. The anecdote behind it goes like this. Once Affandi broke his brush and to continue to paint, he squeezed the paint directly from the tube to the canvas and then, used his hands as tools. He later started using this technique as his signature style as he believed it gave more dimension to his work. One of his paintings, created in 1950, called ‘The Artist and His Daughter’, shows a beautiful blend of realism and expressionism during the years when he was discovering his signature style. (source: www.affandi.org) Another painting by Affandi painted in 1967, called ‘Wisdom of the East’, shows the hand of God reaching across the ocean to the West,while holding wisemen of East – Gandhi, Lo The, and Semar. (source: www.affandi.org) Another prominent artist, who is generally rated amongst the five maestros of Indonesian modern art was Hendra Gunawan. His painting style was a combination of western techniques and Indonesian aesthetics. He was not only a painter, but also a guirella fighter during Dutch colonial rule. He later became an activist against the ruling government and was incarcerated from 1965-1978. He continued painting in prison, on small scraps of canvas he had available. Hendra’s paintings have a unique vibrancy to them, despite his life situation and his poverty. The paintings usually show workers in their day-to-day activities, and the background of the paintings seems to be in motion. His painting ‘Catching a Butterfly’ (source: https://www.cobosocial.com/dossiers/hendra-gunawan-revelations) shows a young girl in her innocence and purity, thus evoking emotional connection with admirers. Most of his paintings have this affect on viewers. Mooi Indie (“Beautiful Indies”) – This art style was developed in Indonesia during the Dutch regime in the 19th century. It was mainly a way for the Dutch government to increase the tourism appeal for Dutch East Indies. The colonial government at the time wanted to showcase a romanticized view of Indonesia and most artists were not allowed to express the reality, many artists believe that this style represents a slave mentality ofcolonial era. In fact, one of the most important visual artists before independence, Sindu Sudjojono (1913-1986) coined the term ‘Mooi Indie’ and rejected this movement as “an idealised view of the colonial period and not a true representation of Indonesian society”. Nevertheless, numerous magnificent paintings were produced which showed beautiful, serene, heavenly, and peaceful scenes like mountains, rivers, valleys, villages in Indonesia. Today, the artworks produced in this genre are amongst the most expensive in auctions. Abdullah Suriosubroto was a famous artist who painted Landscape art or Mooi Indie paintings. Notably, he had enrolled in a medical school in what is now Jakarta. But when he went to Netherlands, his interest shifted to fine arts, and thus was born a legendary name in Indonesia art history. The following painting of Priangan landscape by Abdullah Suriosubroto captures the exquisite beauty of landscape and immense talent of the artist (source: commons.wikimedia.org) Realism – This style of art, as the name indicates, depicts ‘real’ objects and scenes. Realism or naturalism, as it is often called, provides an accurate description of the anatomy of humans and animals, details of color and light, and resembles the real world closely. You could understand realism as photograph-like portrayal of objects, characters and scenes. However, it does not imply that the artist painting realism artwork did not paint imaginary characters like angels, demons, flying horses, or ghosts. The imaginary and intriguing stuff often finds its way into realism althoughthe proportions and details of the objects and characters are accurate like in real world. For example, the artist may paint an angel, however, the body will be human like and the wings would be proportionate to the body. A ghost, similarly, would not be blown out of proportion and there would be detailed light effects to indicate that it is a dead person. Some artists and scholars refer to this type of realism as ‘Illusionistic Realism’. Realism as an art form began as a reaction to romanticism, hence, principally they are opposites. There were two notable artists in this genre in Indonesia - Basuki Abdullah (Abdullah Suriosubroto’s son) and S. Sudjojono. Basuki Abdullah was a maestro artist and painted focusing on culture and tradition. He painted people, flora and fauna, themes of strugglesetc. He was known as a portrait painter, though he used to enhance the beauty of his subjects. An example of his work is – Fight between Ravana and Jatayu (source: art-indonesian-art.blogspot) This painting depicts a scene from the Hindu Epic Ramayana where Ravana is kidnapping Sita, wife of Lord Rama, and a bird called Jatayu istrying to save her from him. S. Sudjojono, on the other hand, was an activist. He wanted to depict social issues through his art and was the pioneer of socialist realism in Indonesia. His expressed his political views through his paintings and wanted them to provide historical and educational value. His painting ‘Comrade of Revolution’ is amongst his most famous artworks (source: archive.ivaa-online.org) Balinese Art – This form of art was introduced into Indonesia in the 14th century through the Majapahit’s conquest of Bali. The initial works of art in this style were usually wood carvings and stone carvings. Balinese art was originally carved, painted or woven into objects of daily use. But later, it expanded, and several beautifully refined and intricate paintings were created, which resemble baroque folk art. These paintings often have the theme of battles between good and bad forces, the narratives originating from Hindu-Javanese epics, Javanese folktales and Buddhist texts. Most of these paintings were created as a collaborative work and hence, the artists are anonymous. This painting is called ‘Wayan Kayun-Barong dance’. (source: tarigallery.wordpress) In current day, countless of galleries in Bali showcase phenomenal artwork from the famous modern artists as well as from the continually growing local art community. Some Indonesian paintings are displayed in museums and temples across the world. The oldest painting from the 15th century is a lotus painting with Ganesha’s figure and is now preserved at Pura Besakih. Author: Manisha Bhati

RtistiQ

26 Feb 2021

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Numerous theoretical ideas deal with abstract art. While some have taken the idea of “art for art’s sake,” others have implied that art should be like music; just as music is patterns of sound, art should be created by pure patterns of form, color, and line; there are those who see abstract art as carrying a moral dimension, abstract art can be seen to stand for virtues such as purity and spirituality; and finally, those using the term “abstract” formally, as a distinction from figuration in art (as in non-figurative). How Abstract Art impacts our mental process Abstract art seems to elicit different mental processes than figurative art. While representational art requires a more local and object-focused scan pattern, abstract art involves more globally distributed viewing patterns. Our brain adopts a more exploratory strategy for seeking visual clues while staring at abstract art. Hence more complex areas of our brain seem to be stimulated by abstract art. Appreciating abstract art To claim to understand abstract art is like pretending to understand the Universe; its complexity is beyond us. When it comes to abstract art, a more appropriate approach would be to learn to appreciate it. We can do this with an open mind and heart by looking for clues in the feelings and ideas it arises in us – the emotional approach. Nevertheless, art in general and abstract art in particular should and must be interpreted in its historical context. Despite claiming to be a universal form of art, the ideas behind abstract art were very much generated by a cumulus of factors converging at certain point in time – rational approach. First Experiments towards abstraction The big revolution in art and the journey towards Abstraction began with the Modernist artistic movements. The pioneering artists of the 19th century (Claude Monet, Paul Cézanne and George Surat among others) had a burning desire to innovate, not only because the Academic Art was not representative for an industrial society but they felt the menace of a new invention called daguerreotype. The growing popularity of the first photo camera was threatening the artists´ role of depicting reality, this is when the modern artists started to reject traditional three-dimensional space and instead used flat areas or patches of colour to create a new pictorial space. The Avant-garde - shapes and colours The following generation of Avant-garde artists proved to be even more radical and searched for inspiration far away from Europe, in the ancestral cultures of the African tribes. The Fauvists (like Henry Matisse or André Derrain) were interested in the scientific colour theories and in the use of complimentary colours for creating tension on the canvas. For many of the artists who adopted a fauvist approach it became a transitional stepping stone for future developments in their style, towards abstraction. The Cubists (George Braque, Pablo Picasso or Juan Griss) proposed a new way of depicting an object: multiple viewing angles layered on the canvas. The fragmentation and reassembling of the world proposed by the Parisian cubists had encouraged several other artists, especially from countries such as Holland and Russia, to push farther into a world of forms, leaving behind any reference to recognizable objects or scenes. The invention of these new kinds of abstract or "non-objective" art coincided with the cataclysm of World War I, and the artists involved explained their innovations in terms of contemporary revolutions in both society and consciousness or as the emergence of a changed human order. Inventing abstraction - Wassily Kandinsky “Colour is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul.” - Wassily Kandinsky Until the end of the 19th century, the value of a painting was judged by its ability to represent reality. For this reason, music was often regarded by artists as a pure form of art. One of these artists was the Russian born Wassily Kandinsky. The future inventor of Abstraction was born on December 4, 1866 in Moscow and had a formal training in law, economics and ethnography. However, by the age of 30 he had abandoned a career in law; he had fled his native country for Munich, in order to pursue his passion for art. While still living in Russia, Kandinsky found an important connection between colour and music. He is believed to have had synaesthesia, a condition that makes people perceive colour not only as a visual property of objects, but to associate colours with sounds of different qualities and intensities. He was convinced that painting, alike music, must fulfil a spiritual role. Although Kandinsky had developed the philosophical foundation for an abstract art as early as 1909, he had been hesitant to abandon representation. After hearing Arnold Schoenberg’s concert in January 1911, his work took a completely new turn. In the following days he made quick sketches of that performance and he further diluted these drawings until only traces of the original subject remained in his paintings. Composition V – first abstract painting? In the summer of the same year, Kandisnky began working on Composition V, a monumental painting in size, the most radical painting displayed at that time, announcing his ambitions for abstraction. Just a few months later, after being rejected by the official salon, he included the picture in the first exhibition of Der Blaue Reiter (the Blue Rider), a group co-founded together with Franz Marc (killed during the WWI at 36 years of age). Simultaneously, he published Concerning the Spiritual in Art, one of the first thesis to argue for artistic abstraction. His essay examines the purpose of art and how colours and forms impact the human soul. Since abstract art is freed from representation, colours and forms can display their own spirit and express the feelings of the artists. In his book, Kandinsky declares that the most advanced art offers “emotions that we cannot put into words”. The events of 1911 were equivalent to opening Pandora’s box in art. The invention of a non-objective form of art defined in manifestos as a reflection of the deep transformation in the society, anticipated the devastation of the WWI (1914-1918) but at the same time opened unknown paths for artistic explorations. 1. The Red Tree, 1908-1910, source: Gemeentemuseum den Haag 2. The Grey Tree, 1911, source: Gemeentemuseum den Haag 3. Flowering Apple Tree 1912, source: Tate Modern Piet Mondrian Other artists followed in Kandinsky’s steps on the path of abstraction but no other artist’s body of work can better illustrate the transformation from figurative depiction to abstraction as the Dutch painter Piet Mondrian. Mondrian’s fascination with trees developed out of his earlier landscape painting. After absorbing the influences of Cubism, Mondrian reworked the image of his trees to abstraction, and later on to primary colours. The trunk and branches were transforming into a network of verticals and horizontals. He acknowledged the inspiration of nature but added, “I want to come as close as possible to the truth, and I abstract everything from that until I reach the foundation of things”. No. 5, 1948, Jackson Pollock, sold in 2006 in a private sale for $135 million, according to The New York Times Abstract Expressionism - Abstraction in America “It seems to me that the modern painter cannot express this age, the airplane, the atom bomb, the radio, in the old forms of the Renaissance or of any other past culture. Each age finds its own technique.” Jackson Pollock - interview with William Wright, 1950 Prior to WWII, the art world has been dominated for centuries by Europe but the new geo-political reality was about to reshape dramatically the global art scene. The arrival in the United States of various immigrants associated with the Surrealist movement (André Breton, Max Ernst or Marcel Duchamp) fleeing the war was extremely well timed. The European Surrealist proved to be a great influence on the young artists active in New York at that time. The expanding group of artists including figures such as Jackson Pollock, Mark Rothko, Arshile Gorky, Willem de Kooning, Barnett Newman, Robert Motherwell, Clyfford Still and Adolph Gottlieb was soon labelled as “Abstract Expressionists” despite never being formally organized in an art movement. They were, however, unified to some extent by the patronage of a wealthy heiress, Peggy Guggenheim. She is the first to organize exhibitions for the young artists at her newly open gallery, Art of This Century. No other name could better describe the gallery where Abstract Expressionism would catch the interest equally of art critics and politicians. Jackson Pollock – the star of Abstract Art One of Jackson Pollock’s early works (Guardians of the secret, 1943) demonstrates how stylistic borrowings from the Cubist-derived abstraction, Expressionism and Surrealism were fused with the interest in myth and primitivism and powered by the idea of large scale painting (a symbol of the rebirth of Americana, intensely promoted through the Federal Art Project – part of Roosevelt’s New Deal). Pollock’s experiments didn’t stop at mixing various art influences but he took a very daring approach. His most accomplished works were produced in a dramatically different fashion, he rhythmically dripped and spattered industrial paints, by using a stick instead of a brush, all-over huge expanses of unstretched canvases placed on his studio floor – what became known as “drip painting”. His innovation lies in bringing the process of creation under the spotlights, his Action Painting was almost a mystic parade of gestures. Pollock is hailed by his main promoter, the art critic Clement Greenberg as the inheritor of the European abstract tradition. By the 1949, Pollock acquired appreciable market success so that Life magazine was asking rhetorically in a now famous editorial: “Is he the greatest living painter in the United States?”. The wealthy art-buying class that were Pollock’s enthusiasts incorporated the liberal intellectuals and politicians that were becoming increasingly interested in stepping-up the cold war against Communism. Abstract Expressionism and the Cold War The American administration began a cultural war against the Social-Realism (an art movement associated with the communist regimes) by exporting internationally Abstract Expressionism as a symbol of the western capitalism. Just as the Marshall Plan sought to extend America’s influence in Europe through much needed it economic aid, the touring exhibition organized by MoMA with the support of CIA, sought to gain influence over the hearts of minds of Europe. New York School of Art By the early 1950s, the idea of an art movement called Abstract Expressionism seem more of critics´ invention than a homogenous art movement. Under the umbrella New York School you had on one hand the painters whose work was based on a gestural approach (Gestural Abstraction): De Kooning, Jackson Pollock and Robert Motherwell, on the other hand, artists like Clayford Still, Mark Rothko and Barnett Newman who relied on large fields of colour (Colour Field Painting) to produce solemn effects on their canvases. These artists had an interest in archetype and anima and studied Kandisnky´s theories. Despite their sometimes bombastic spiritual claims and being often criticized for being egocentrics, we should not forget that Newman and Rothko were a response to the history of their times. Human dignity and spiritual aspirations have been completely crushed during the WWII and their art was a way of healing the trauma of this great tragedy of human kind. As Paul Klee remarked in 1915: “The more fearful the world becomes, the more art becomes abstract”. The Legacy Because of the huge influence of Abstract Expressionism in post-war America, other artists and movements are generally understood in relation to it. Ad Reinhardt in the early 1950s and then Frank Stella later in the decade painted abstract canvases, but rejected the Abstract Expressionist based on gesture They instead reinforced the essence of the painting as a physical object through precise geometric forms and smooth application of paint, anticipating the Minimalism art. Since the Abstract Expressionism painting was fundamentally “performative” it is regarded as the starting point for the Happenings (Allan Kaprow) of the 1960. Few decades later Abstract Art fell into semi-obscurity for a while only to be resuscitated and to coexist along a wide variety of art forms and ideas, so typical of our post-modern reality. “Abstraction allows man to see with his mind what he cannot see physically with his eyes… Abstract art enables to perceive beyond the tangible, to extract the infinite out of the finite. It is the emancipation of the mind. It is an exploration into unknown areas.” – Arshile Gorky Author: Floarea Baenziger Refrences: Books: 1. David Hopkins, After Modern Art 1945-2000, Oxford University Press, 2000, pp. 5-33; 2. Robert Hughes, The Shock of the New: Art and the Century of Change, Thames & Hudson Ltd, 2004; 3. Kirk Varnedoe, Pictures of Nothing: Abstract Art since Pollock, Princeton University Press, 2006; 4. Leah Dickerman, Inventing abstraction – How a radical idea changed modern art, 1910-1925, catalogue MoMA, New York, 2013; Articles: 1. Helen A. Harrison, Through a Glass Brightly: Jackson Pollock in His Own Words, The New York Times, Nov. 15, 1998; 2. Pepe Karmel, The Golden Age of Abstraction: Right Now, ARTnews, April 24, 2013; 3. Meyer Schapiro, Nature of Abstract Art, www.on-curating.org, October 2003; 4. Celia Durkin, Eileen Hartnett, Daphna Shohamy, An objective evaluation on the beholder’s response to abstract and figurative art based on construal level theory, PNAS, August 2020. Author: Floarea Bänziger, RtistiQ curator RtistiQ is a leading online art marketplace that features a wide curated selection of Abstract art created by emerging and established artists from all over the world. All artworks are original and blockchain powered so you can shop abstract art with an ease of mind. Discover all abstract artworks here.

FLOAREA BAENZIGER

19 Feb 2021

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When one brings up the topic of Unity in Diversity, India comes up in most of the conversations. This is not an anomaly per-se but India has been an example of different diverse cultures, languages, art forms, religions and a lot more existing in peaceful coexistence with each other within the same geographical boundaries. In a number of ways, these diverse elements fuse together to produce even more new hybrid elements. Keeping these cultural forces in mind India has been home to a number of schools and styles of paintings, which have evolved over a period of time since 1000’s of years, maybe even more. In their original forms these paintings were done mostly on flat surfaces like rock shelters, house walls, floors and murals. It was later that these styles were adapted on various other mediums like ceramics and fabrics. Each major school of painting has a unique story to tell and these paintings help art historians re-construct the past cultures. These paintings depict the past lives of the contemporary people who made them like their daily practices, religious rituals, favorite past times, festivals and many more anecdotes. Warli The earliest evidence of art comes in the form of Prehistoric Art, like one sees at the Rock Shelters of Bhimbetka. Warli Art derives its origins from this prehistoric art. It is widely prevalent in rural districts of Thane and Nasik and other small parts of Maharashtra. This is a monochromatic art style in which twigs are used with rice paste. Usually white and yellow color on red mud walls is seen on the walls of houses. These paintings depict the everyday life of the village dwellers like their religious rituals, hunting practices and their festivals. In the 1970's, this ritual art took a radical turn when Jivya Soma Mashe and his son Balu Mashe started to paint. They painted not for ritual purposes, but because of their artistic pursuits. Jivya is known as the modern father of Warli painting. Since the 1970s, Warli painting has moved onto paper and canvas. Courtesy: http://godivinity.org/quiz-time-warli-art/ Madhubani This art form has mythical origins. According to a lot of contemporary village based artists who have kept this tradition alive, this painting style originated under the great King Janak of Mithila, which is present day Bihar and regions of Nepal. Till 1934, the outside world was oblivious about this art form. It was British Officer William G. Archer who saw some illustrations on the walls of houses of Bihar that had broken down in an earthquake. This art form uses simple floral, geometric and Indian Mythical designs and illustrations on colorful, symmetrical backdrops. Even today, Madhubani is a very popular folk art form. There are five schools within this art form which are, Bharni, Katchni, Tantric, Godna and Kohbar, which were primarily done by Upper Caste women in India and Nepal. Nowadays the Art Form has received a global outlook, which has made the Art Form go above the Caste System and there is no difference in the style practiced. Madhubani painting received official recognition in 1969 when Sita Devi (Padma Shri) received the State award by Government of Bihar. Jagdamba Devi (Padma Shri) was the first artist from Mithila to receive a National Award in Mithila paintings. Satya Narayan Lal Karn, his wife Moti Karn, Mahasundari Devi (Padma Shri), Baua Devi, Yamuna Devi, Shanti Devi, Chano Devi, Bindeshwari Devi, Chandrakala Devi, Shashi kala Devi, Leela Devi, Godavari Dutta, and Bharti Dayal are the other Madhubani Artists who were adorned by National Awards for their contributions to the Art form. Courtesy: Wikipedia (Kohbar made by artist Padma Shri Sita Devi) Phad This painting style has questionable origins but a lot of scholars are of the opinion that origins of this school of art has its roots with the coming up of Princely States in present day Rajasthan. One can do an approximate dating as this style is only executed on cloth so an educated guess can be around the early medieval period. In this form one comes across horizontal paintings of the lives of Legendary Heroes, Kings and Princes with their wars and other adventures. The most common colors used in this style are red, yellow and orange. It is interesting to see how multiple stories are narrated on a horizontal scroll. Courtesy: Wikipedia (Pabuji Ki Phad, a Phad painting scroll at National Museum, New Delhi) The Joshi families of Bhilwara, Shahpura in Bhilwara district of Rajasthan are widely known as the traditional artists of this folk art-form for the last two centuries. Presently, Shree Lal Joshi, Nand Kishor Joshi, Pradip Mukherjee, Prakash Joshi , Ghanshyam Joshi and Shanti Lal Joshiare the most noted artists of the phad painting, who are known for their innovations and creativity. Kerala Mural Painting Around the same time as the Phad, deep in southern part of the country in Kerala originated a very distinct type of painting style known for its colorful, vivacious and bold strokes. This art form is dated to around 8 th century A.D. so it can actually be put before the Phad in the chronological timeline. This art form developed as a medium of depicting spiritual and religious themes of Shiva, Shakti, Krishna and Mythology. All natural colors are used while executing this art form also known as panchavarna, most common being Ochre-Red, Yellow-Ochre, Bluish Green, Black and White. Courtesy: Yourstory By finding space for mural art outside the temples, it was the late Mammiyur Krishnan Kutty Nair, doyen of modern mural art in Kerala, who gave a new life to it during the last quarter of the twentieth century. Over the past several centuries, the pigments, glues and brushes for the Kerala mural tradition have been derived from natural sources, but now the newer promoters are utilizing modern pigments and colors for the art form Gond Painting This school of painting derives its name from one of the largest, forest dwelling tribal group called the Gonds. The Gonds are found mostly in present day regions of Madhya Pradesh, Vidarbha and Chhatisgarh. This art form is a very unique and intricate style where the painter uses dots and dashes to complete the painting and the painting is executed in such a way that one feels that it is made of straight lines and colors. Lines are used in such a way that it conveys a sense of movement to the still images. In the historic period the colors were naturally extracted from charcoal, cow dung, seed saps and flowers. The Gonds are known for their close affinity with mother nature and hence their paintings mostly depict natural landscapes, wildlife and parts of their stories passed on from generation to generation in the form of Oral Bardic Traditions. Courtesy: Isha Foundation Today, many talented Gond artists' works including Suresh Kumar Dhurve's can be seen on canvases in art galleries internationally. One of the distinctive elements is the use of signature patterns that are used to infill the larger forms on the canvas. Due to the scarcity of natural colors in the current age, Gond artists have started to use poster colors. This combined with the use of canvas has made modern Gond paintings much more vivid than its traditional counter parts. Kalamkari Painting This is one of the most famous art styles of India and it has made a mark in the international art spheres as well thanks to a lot of patronage from people all around the globe. This art style like Madhubani has a very rich antiquity but in material record it appears for the first time on the temple walls of the Sri Kalahasteshwar Temple in Sri Kalahasti, Andhra Pradesh under the Pallava Rulers. Later this temple was further renovated under the Later Cholas and finally new additions like the Gopuram and the thousand pillared hall were made by the famous Vijayanagara Monarch Sri Krishnadevaraya. It was in Sri Kalahasti under the Vijayanagara Patronage that this art form reached its zenith. This painting style started as a temple wall decoration style where themes of mythology and festivities were depicted. Later this art form was adapted on fabric which gave it a huge international market. There are two variants in this style, namely, Srikalahasti and the Machilipatnam style. The Srikalahasti style of Kalamkari, in which the pen or the “kalam” is used for freehand drawing and filling in the colors, is a complete handwork art. Machilipatnam style of Kalamkari craft involves vegetable-dyed block-painting of a fabric. Miniature Paintings During the 10th and 11th Centuries along with the advent of Persian-ate Rule in the Indian Subcontinent a number of Persian-ate elements were introduced by painters from Central Asia like Turks, Persians and Afghans. They introduced what we now call the Miniature Paintings where illustrations are executed from natural stone based colors on paper based ‘wasli’. This painting style reached its zenith under the Mughals and it is known for the intricacy, brush strokes and symbolism. Interesting this painting has affinity with the European Renaissance art in the form of realism that is shown in these paintings. The most common example of these painting style is use of portraits of Kings and Queens to show their heroism and glamour. There are a lot of regional variations of miniature paintings, most common being Kangra, Dakkhani, Mughal, Bundi etc. Tanjore Paintings This style developed in the 1600’s in the state of Thanjavur under the Nayaka Rulers. This art form borrows extensively from the Dakkhani and Maratha miniature painting styles. The most common feature of this school of painting is the use of silver and gold foil. Most common depictions in this art form are scenes from Indian Mythology, Kingly Portraits and scenes of Festivities. Artists have taken this old form of art and over the years combined it with other styles to create mixed media arts. For example, tanjores are also done on mirrors, glass and canvas. The idea of applying gold foil is unique to this traditional art, so this same style is taken and recreated on different mediums. Patachitra This is a late medieval style of painting that originated in present day Odisha. The name Pattachitra has evolved from the Sanskrit words patta, meaning canvas, and chitra, meaning picture. Pattachitra is thus a painting done on canvas, and is manifested by rich colourful application, creative motifs, and designs, and portrayal of simple themes, mostly mythological in depiction. The patuas or the painters of the patachitras were primarily wandering artists- who would travel from place to place with painted scrolls of various deities. However, in recent times, just as the canvas has taken the shape of papers bought easily from the market many a times, the natural colours are also substituted with easily bought acrylic and fabric paints from the market. Pichwai This form of painting style originated as wall hanging cloth paintings behind the Krishna idols in the Krishna Temples of Nathdwara, Rajasthan. Originally only themes from the Krishna Leela were depicted on cloth but as time went by more secular painting themes were executed on cloth for commercial purposes. These paintings are known for colorful, robust and intricate work with concealed hidden meanings within the symbolism. Kalighat Paintings This painting style finds its origins in the mid – 19 th Century Bengal. It is known as Kalighat because it started in the vicinity of the Kali Temple in Kolkata, where Patuas sat and painted mill-made paper with flowing brushwork using earthy colors like indigo, ochre and red. The major inspiration of these paintings are the scenes from the Mythology and Spiritualism, also known as "Oriental school of Kalighat Painting". Under the influence of British and the art schools promoted by them, the “Occidental school, of Kalighat painting” included pieces that depicted ordinary people engaging in everyday life or captured the changes taking place in Kolkata at the time. These paintings are known for their swift, seamless and free flowing outlines. The late artist Jamini Roy is among some of the most acclaimed painters who have been influenced by the distinctive style. Today, Kalighat paintings appear in museums and galleries across the globe, from the Victoria Memorial Hall in Kolkata to the Naprstek Museum in Prague. Hence, one can see how India is a melting pot where a number of painting styles originated. However, due to Globalization and Industrialization these native folk painting styles are losing their importance and there is a lot of lack of awareness among the current urban middle and affluent class of India, who are mostly exposed to foreign painting and art forms. The Indian Government and a number of NGO’s are trying to spread awareness about these painting styles so that they can be revived. E-Commerce platforms like RtistiQ are trying to take these folk Indian art styles to the International market where these paintings can be sold and hence create a livelihood for the artists and help keep these old traditions alive. Author: Kush Dhebar

RTISTIQ TEAM

26 Nov 2020

5 min to read

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