I enjoy displaying movement in my abstract pieces. Why is movement so important in a pieces? Movement represents life within the painting and defines the core intelligence of the artist.
Not only is movement important in an abstract but texture gives the viewer a different aspect on the piece. When a viewer is able to look at the piece from many different angles and see a different perspective on it from each angle this is a manifestation of constitution. A few key elements to movement in a painting are the following:
-You don't want any type of a line be it horizontal,vertical, or diagonal that takes the viewers eye out of the picture plane or out of the painting. No line should take you out of the painting.
-Never have any triangular shapes in the corners when painting movement.
-Be certain that each segment is not the same size as the other.
-How and where the artists places the elements and what tools and techniques he uses to move the eye from one area to the other will determine how we prioritize what the viewer looks at. Large objects placed far apart will cause the eye to bounce from one to the other.
There are many ways and reasons to create movement in a painting...
-Rhythm creates predictability and order in the composition.
-Rhythm is used to create order and thus serves as a way to create an organized movement of the eye. Either gentle, graceful, rambling quick, or a fluid and rambling movement, etc.
-Rhythm creates a mood or tempo in very similar ways to how we relate to the tempo of music. Think of the differences between dance movements - the slow and fluid waltz and the fast upbeat cha-cha.
-Rhythm and movement is used by the artist to direct the viewer or to point the way.
Without doubt color is the subsistence of the an artists work.Taking its example from other European modernists like Joan Miró, the Color Field movement encompasses several decades from the mid 20th century through the early 21st century. Color Field painting actually encompasses three separate but related generations of painters. Commonly used terms to describe the three separate but related groups are Abstract expressionism, Post-Painterly Abstraction, and Lyrical Abstraction. Some of the artists made works in all three eras, that relate to all of the three styles. Color Field pioneers such as Jackson Pollock, Mark Rothko, Clyfford Still, Barnett Newman, Adolph Gottlieb and Robert Motherwell are primarily thought of as Abstract Expressionists. Artists like Helen Frankenthaler, Sam Francis, Richard Diebenkorn, Jules Olitski, and Kenneth Noland were of a slightly younger generation or in the case of Morris Louis esthetically aligned with that generations point of view; that started out as Abstract Expressionists but quickly moved to Post-Painterly Abstraction. While younger artists like Frank Stella, Ronald Davis, Larry Zox, Larry Poons, Walter Darby Bannard, Ronnie Landfield, Dan Christensen, began with Post-Painterly Abstraction and eventually moved forward towards a new type of expressionism, referred to as Lyrical Abstraction. Many of the artists mentioned as well as many others have practiced all three modes at one phase of their careers or another. During the later phases of Color Field painting; as reflections of the zeitgeist of the late 1960s (in which everything began to hang loose) and the angst of the age (with all of the uncertainties of the time) merged with the gestalt of Post-Painterly Abstraction, producing Lyrical Abstraction which combined precision of the Color Field idiom with the malerische of the Abstract Expressionists. During the same period of the late 1960s early 1970s in Europe, Gerhard Richter, Anselm Kiefer and several other painters also began producing works of intense expression, merging abstraction with images, incorporating landscape imagery and figuration that by the late 1970s was referred to as Neo-expressionism.
This evening I will begin another abstract piece. As I paint more abstracts I will add to this blog post and keep it updated.© 2011 Angela Pari Dominic Chumroo
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