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Have you ever tried to consider the first time once you found yourself taking a look at an abstract art or an abstract painting? Would you remember the thoughts or feelings you'd in what you had been taking a exhibition This article is a reflection of a few of my own, personal personal and subjective viewpoints and realities being an artist about abstract art with certain references to facts which can be in agreement using what I believe myself regarding nature, birth, growth and the evolution of the abstract art beyond your boundaries of the esoteric terms of the art academia.

To have a basic and fundamental consider the subject, we should first understand what the word abstract means before we will tackle the comprehension of "abstract art" itself; and we learn that abstract in this sense and as a verb means to extract or remove and surprisingly being an adjective means not clear to see; abstruse. And as a transitive verb it means to take away, remove. It's origin is from Latin abstrahere 'draw away' or 'draw from.'

Thus, we can conclude that abstract, is generally viewed as an application of art that does not depict anything that resembled the objective or material world; instead it represented new creations that very subjectively were expressions of the inner substance and the spirit of the artist and often through a profound spontaneity that brings out the inner world of the artist.

So, abstract art, being the product of the very natural, uninhibited and unpremeditated impulse in the lack of any external stimulus, is intrinsic and belongs to the very basic nature and the constitute of the artist, as the real influence behind his creations.

As I evolved through my own, personal representational art and became more acquainted with the real history of art, I discovered that abstract art had its roots in ab muscles early dawn of human history when man begun to draw on the walls of his cave. These early abstract arts, abstract drawings and abstract paintings - sometimes embellished with organic dyes - often attempted to fully capture the fundamental nature and the grade of the objects rather than the actual appearance of them.

Since the art historians and art critics formulated their opinions and ideas into prints, more esoteric terms spun off the subject under "non-objective art," "non-representational art," and "non-figurative art." In the field of aesthetics, since none of the principles of making art have already been precisely formulated, this kind of branch of humanities has its critics galore with many schools of divergent opinions and thoughts, where esoteric lectures and opinions are paid attention to with open jaws in place of reason, personal expressions suffers underneath the cloud of confusion.

Centuries long before the birth of abstract expressionism in America, highly figurative arts had existed in the East, namely in the Islamic culture, where calligraphy also as a non-figurative art is taught as an interest starting sometimes as early as in primary schools, as great emphasis is placed upon the pupils' acquiring and developing skills in calligraphy, because the art of handwriting.

In the Western culture, abstract designs are found in many forms. But abstract arts are uniquely distinguished in composition form in terms of decorative art and fine art, where in abstract art, the results of creation, are spontaneous snapshots of the artist's thoughts, emotions, and the introspection where he creates his work of abstract art.

Abstract Expressionism, as we realize it today, came to be in America in the mid 20th century following a massive exodus of the European avant- garde artists to New York City, making the city the middle of the art world; a concept that used to be held by Paris. The contemporary American artists were immensely influenced by the influx of the new talent that brought forth ab muscles welcoming freedom of personal expression through the car of spontaneity in the lack of the boundaries and limitations of conventional forms.

The arrival of abstract expressionism in New York was the dawn of a brand new peaceful artistic revolution by that your artist begun to rebel overtly contrary to the status quo. He began a brand new era where he could freely create towards the long run and change the existing scene for a better tomorrow.

Some of the pioneers in abstract expressionism, such as for example Jackson Pollock, Mark Rothko, Willem de Kooning, became synonymous with New York School and action painting because they played a significant role in what became deservedly called avant-garde; a brand new realm of freedom for the artist to create and construct by having an impulse that surmounted any rational and objective realm of reason.

On the more textural side, Jackson Pollock begun to re-arrange his easel and painted as he pleased, expressing himself by pouring the paint from within unto the canvas, as he felt. Pollock, as you of the very mavericks of the era, used also his body being an instrument to paint with, as he moved rapidly around his large canvases on the floor, spattering interlacing patterns of paint, like an emotional roller coaster, drawing the viewer into its rhythmic flow of motion, apparently into an infinity of space.

In great contrast to Pollock, Barnett Newman's color-field paintings, are open fields of vast empty spaces for the viewer to step into them and imagine what they wish to devote them.

Now, for the sake of simplicity, we will categorize art into only representational art and abstract art. Representational art being what we instantly recognize in association to familiar objects, vs. abstract art that requires our thought to perceive the composition of the art and the comparison of our observation with the conclusions we've made previously, in order to arrive in the immediate instance, where we are. Thus, in our observation of abstract art, the presence or the lack of any emotional responses, caused as the result of understanding the abstract art, raises the question of, what's truly an abstract art and when does it become successful.

Let's imagine that individuals are considering a representational art, a scenery where it depicts a mossy wooded area cloaked in a low fog with a cascading shallow stream running through it. We can all agree using what we are considering, appreciate the grade of its beauty, and some of us become awestricken by its magic, and even have the mist in the air and smell the moss. We like to consider it as a nice experience. We sense it is peaceful, since it has got the tendency to produce us feel good. It can help us - even if it's for a quick moment - forget our troubles, and transforms our disturbances right into a new degree of calm, to the level that individuals could possibly be there, in our imagination. We leave from the painting and look at other paintings that does not produce the same thoughts and feelings, and we turn and consider it again and again, wanting to possess more of the same pleasant experience. Pleasure is what we are experiencing.

This is the emotional reaction we feel towards this very representational art that individuals fully understand. It communicated to us a specific message within the boundaries of its technical expertise, where it was created. The technical expertise wasn't the first visual attraction, however. It had been the message that it communicated to us visually, that attracted us. The virtuosity where it was created becomes secondary to the significance of the message and the grade of its delivery. Even though message doesn't have to truly have the same meaning for every single viewer, it's the mix of both, the message and the technical expertise that brings about an understanding that causes the viewer to respond emotionally.

From sketching and carving with sharp stones on the walls of his cave, to the magnificence of today's technology, man has journeyed through an incredible evolution in the arts among a great many other dynamics of life. From those who have accepted the boundaries of the culture and environmental factors, have remained true and faithful from what they certainly were permitted and expected to create in the proper execution of numerous representational and figurative arts. Nevertheless the more precocious, who'd an awareness of higher form of existence and true potential, wanted to move beyond the most obvious without any tolerance for suppression and entrapment. They truly became the visionaries who escaped and sought freedom of expression elsewhere, where in actuality the attainment of this freedom was possible.

A good quantity of European artists and teachers such as for example Joseph Albers and Hans Hofmann moved to America in mid 20th century and made New York the new Art Center of the entire world by leaving Paris behind. They brought together that very freedom of spontaneity to create paintings that became what we realize today as abstract expressionism. As unique as our finger marks, each expression, became a brand new aesthetic signature to reckon with.exhibition

However, the basic roots of the transition from representational art to abstract art and expressionistic paintings had begun to grow in the later area of the 19th century in the proper execution of impressionist and neo-impressionists when art had begun to alter its face, while still retaining an excellent degree of resemblance from what it designed to be; and by enough time post-impressionism had arrived on the scene, the field of art had already gone through a noticeable change and well on its way towards a significant transformation.