However, none of the early abstractionists set out to become abstract they sought to express certain states of consciousness which drew them towards abstraction, but this did not preclude interest in expressing other things for which recognizable imagery would be more appropriate. In fact, the term ‘ pure, painting ‘ (which Apollinaire used as a synonym for Orphism) did not necessarily mean completely non-representational painting: it signified painting which had its own internal structure independent of naturalistic structural devices.
This description is broad enough to allow the variety of expressions found in Orphism which ranged from the powerful physicality of Léger’s works ( Woman in Blue) to the ambiguous immateriality of Picabia’s (Dances at the Spring II). As will be shown, this range of expression corresponded to a wide range of meanings.
Delaunay, Picabia and Léger reached this stage in the spring and summer of 1913 with paintings composed of evenly weighted forms floating freely in indeterminate space and with no ‘heavier ‘ tones to settle at the base of the painting and suggest gravity or the presence of a spatial area in which figures or objects can exist. They thus justify Apollinaire’s description of them as ‘a new world with its own specific laws, However, Léger and Delaunay also painted more figurative works and, by late 1913—early 1914, Picabia was turning to more explicit identification of sexual and machine processes in a way that foreshadows Surrealism (as in I see again in, memory my dear Udnie, Museum of Modern Art, New York), Thus even before the outbreak of war, there, was a slackening in the French tendency towards abstraction which virtually ceased during the war.
If one follows these shifts and changes in terms of a response to specific pressures in a specific society at a specific moment in time, one can better appreciate that it was the artists’ struggle to express certain forms of consciousness rather than any theoretical dedication to abstraction which caused them to develop non-representational forms.
They believed that this change was accompanied by a change in consciousness, which they also conceived as dynamic — either as expansive and all-embracing or as intensive and self- concentrating. This change of consciousness was central to their development, for they found that if they depicted the external world — even if they did so dynamically — they lost their sense of the continuity of their own consciousness.
They sought more profound contact with this consciousness through the act of creation, develop- ing modes of painting in which they could detach their minds from the external and absorb themselves in the very process of creating form — a process which gave them a sense of their own inner being and of its relationship to the external world.
More fundamental changed in contemporary society — the strengthening of mass movements in the rapidly growing industrial cities encouraged the development of literary and artistic attempts to express the consciousness of being submerged in collective experience. It is noteworthy — in the context of the acceleration of industrialization and of the conflicts which were so — that all these cultural movements shortly to lead to mass war tended to the undermining of individual will, the fusion of the self with some larger, more powerful, indeterminate, quasi-mystical force.
The relation between these three artists is not fortuitous — they were older than Delaunay and Léger and received their training in the 1890s and early 1900s in parts of Europe (Kupka studied in Prague and Vienna) where the discipline of seeing and the discipline of structuring were less deeply rooted than in Paris; where Symbolism was stronger and more genuinely visionary and where the impulse to abstraction was more radical than in Paris. In early works, the three artists tried to express mystic intuition through naturalistic images, then through specific symbols of abstract shape, line or color as codified in Kandinsky’s On the Spiritual in Art and as justified by the Theosophist beliefs which deeply affected them all.
As with all the painters interested in modern life, he was obsessed with the imaging of movement. He explored the movements of objects circling in space and sequential, ground-based movement. In both cases, he found certain forms — the circle and the vertical plane — recurring with such insistence that he came to ascribe profound meaning to them.6 For example, he believed that the personal meaning he found in circular forms (which appeared spontaneously even in casual scribbles and more or less clearly in his naturalist— Symbolist works) was confirmed by its recurrence not only in other forms of visual art — probably including contemplative images from the East — but also in mystic beliefs and in contemporary science, literature, and philosophy.
Poets like Apollinaire, Cendrars and Barzun made an analogy between the molecular structure of matter and the solar system — they used the image of the circular dispersion of light as a metaphor for the power of the mind to expand to embrace all being. Similar images were used by Bergson in his attempt to illuminate the processes by which consciousness evolved (specifically in L’Evolution créatrice of 1907). Thus the evolution of form became to Kupka a means of revealing the content of his inner consciousness in forms that aroused associations of universal significance such as the evolution of life — in terms of human sexuality considered as a life-force and in terms of the genesis of matter itself.
He believed that all life consisted of a single essence — which split into the specific forms we know — and he sought a means of returning to that original unity. Such associations were fairly explicit in some of the studies for the Amorpha, Fugue in Two Colors, but during the long genesis of the work, Kupka purged all specific references from the huge image so that one may contemplate it as one might contemplate an Eastern meditative device which empties the mind Of the specific and makes one aware of the movement of consciousness. In terms of the mysticism which Kupka found meaningful, this movement could concentrate in the infinitely small or expand to absorb all being (for example, in the texts the Vedanta which he had read, he could haw found the following: ‘Concealed in the heart of all being is the Atman, the spirit. the self, smaller than the smallest atom, greater than the vast spaces’).
They shared with the Salon Cubists such as Gleizes and Metzinger, with whom they were close in 1911—12, a sense that the modern world was of such complexity that it could not be embodied in structures which show only finite objects in one moment in time and they tried — in works like Delaunay’s City of Paris [illustration 301 and Léger’s Jl’edding (Musée National d ‘Art Moderne, Paris) painted in late 1911 to early 1912 — to express the mind’s simultaneous grasp of an infinite number of objects, thoughts, sensations, and states of mind.
They used the Cubists’ modes of suggesting ‘the life of forms in the mind ‘ to use Metzinger’s phrase. S As a result of painting these works, they recognized that they could not embody the new consciousness ‘ simply by jumbling objects and parts of objects together and they immediately began painting simpler subjects like Léger’s Woman in Blue and Delaunay’s Simultaneous Windows. These works were still close to Cubism (justifying Apollinaire’s description ‘Orphic Cubism ‘), but Delaunay’s color-structure began to eliminate the gravitational, centralized structure and to melt the object-sensations into its ceaseless mobility.
In two essays written that summer, Delaunay developed a rationale for ‘ pure painting ‘ recognition of the subject keeps the mind in the world of finite objects, measurable distance and time, and verbal understanding; only a pure pictorial construction which could fully involve the eye and mind in its continuous mobility could give the mind intuition of its simultaneous concentration in itself and expansion to ’embrace the whole world ‘.
That the demands of the Salon were important is suggested by the fact that Léger began on his small experimental ‘pure paintings’, the Contrasts of Forms, after being offered a contract by Kahnweiler, who had been impressed by the JVoman in Blue in the Salon d’ Automne of 1912. Only Kupka and the heroic and stubborn Picabia (who had private means and was less thin-skinned than the equally lucky Delaunay) showed major non-representational works in pre-war Salons.
In these paintings — Forms — Delaunay improvised directly onto the canvas, becoming so involved in the ‘ demands’ made by the material that the structure seemed to be generating itself. In this process, Delaunay attained that state of being which he generalized as characteristic of modern consciousness’. Delaunay believed that the circular generation of light was the fundamental principle of all being (in this he was like Kupka, but he found confirmation of his belief in specifically modern terms; for example, he was influenced by the poets’ use of the radio at the top of the Eiffel Tower Alich emitted invisible wave.s around the world as a metaphor for the infinite expansion of human consciousness). Absorption in the uniquely concentrated world of the painting a means of attaining consciousne.ss of this first principle.
Characteristically more straightforward believed that the essence of the modern was found in universal dynamism. This dynamism was manifested in terms of a conflict of forces quite unlike Delaunay’s harmonies: Delaunay created densely interwoven, complexly modulated color structures, u hile liger overwhelmed the specificity of objects in clashing contrasts of color, line, and tone. The purely sensational experience “which he expressed can also be found in the poetry of his friend, Blaise Cendrars:
When he returned to Paris, he made use of these procedures in his major non-representational works, Udnie, American Girl Dance) and Edtaonisl, Ecclesiastic (Art Institute of Chicago). The spectator’s experience of these works is related to one’s experience of the non-representational works of the other Orphists: absorption in the mobile structures would induce a state of mind approaching abstraction ‘ in which one could intuit the subconscious — and necessarily non-verbal — experiences which had moved Picabia. However, the skeptical Picabia did not claim such experiences as mystical.
One’s involvement in the structure does not make one lose a sense of the ‘ otherness ‘ of the painting. One is thus forced back to an awareness of one’s own consciousness (compare again the Simultaneous Windows, where one loses this sense in speculating on the reality of the object-clues). All the Orphists were aware of the nature of this self- awareness as unspecific and unconnected with specific emotion or concept, and all believed that it was in it that the meaning of their art could be found.
It was probably under her influence that Robert began to assert that he had discovered the essential principles of color construction which could be applied to all forms of the visual arts from painting to clothes and interior design. Although this idea was probably influential (it was the first of the twentieth-century attempts to deduce a total environmental ideal from a pictorial discovery), it was not central to Orphism, the creation of abstract form for contemplation.
Robert Delaunay also surrounded himself with disciples, including his wife — whose earlier pictorial personality had suffered from three years’ inactivity — and the Americans Patrick Henry Bruce and Arthur B. Frost. In October 1913, two other Americans, Stanton MacDonald-Wright and Morgan Russell launched their abstract color movement which they called ‘Synchronism ‘. In their catalogue they claimed that it was different from Orphism, but it was clearly dependent on Kupka’s Discs of Seu’ton series and Robert Delaunay’s Sun, Moon. Simultaneous series.
However, it was significant in introducing the idea of large-scale abstract color-painting into the United States. These tendencies were obviously closer to Robert Delaunay’s work than to that of the other Orphists and from this (and the Delaunays’ determined propagandizing) has resulted in the erroneous and persistent belief that Orphism was essentially Robert Delaunay’s creation. It is, however, true that Delaunay was more influential than the other Orphists — his ideas on color influenced Chagall and, in Germany, Klee, Marc, and Macke.
In Paris, the complex society of art was seemingly self-sufficient, and the artists whom I have discussed had inherited the Symbolists’ sense that they had insights inaccessible to the society in which they existed. They believed that naturalistic art — that favored by the public — was inadequate to deal with the vastness and complexity, the new states of consciousness of the modern world. Like the Symbolists they turned inwards, becoming obsessed with the nature of their own consciousness.
The painting came for them to be an act of self-identification (to the moment when, in Delaunay’s words, ‘ l’homme s’identifie sur terre ‘). They were not interested in examining the specific nature of existence in modern society, but in becoming absorbed in the larger than human forces which animated life, or in responding to those subconscious urges which, though experienced through the self, seemed to come from beyond the self.
Apollinaire drew attention to one of the essential aspects of the new art when he wrote in 1913 that it was ‘not simply the prideful ‘ it was an anti-intellectual and anti expression of the human species, humanist in that it did not concern itself with thought or human conduct. It was concerned with a consciousness which transcended rational constraints to seek oneness ‘with the universe ‘.
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