MIND BLOW ABSTRACT TATTOOS

An abstract tattoo on your skin is a great idea if you are done with the following tradition and are not one of those people who opt for conventional or typical tattoos. The art here is much more artistic, and it doesn't attempt to mimic or imitate reality, but it is in itself an authentic work of art. 

Moreover, these tattoos ideas hide a lot more than what they appear, as many of them have a deep significance. 

Abstract tattoo designs are an art form

Abstract tattoos don't feel and look like typical tattoos, but I'm not saying that other types of tattoos aren't artistic.

In contrast to tattoos that imitate something else, abstract tattoos convey more emotional and inner feelings. In the same way, abstract paintings combine colors and lines, abstract tattoos also do so.

However, they do not depict anything that is present in the real world. You will be treated to a new composition and an eye-catching painting. I always find abstract ink art to be attractive and artistic.

ABSTRACT HAND TATTOO

In addition to your impressive collection of body art, you might consider an abstract hand tattoo. 

This prominent placement is often designed as an extension of a sleeve for men with an outgoing personality.

Not sure which one to choose? The spot would be well suited to abstract skulls and animal faces.

Abstract Art History 

Abstract art, also called nonobjective art or nonrepresentational art, painting, sculpture, or graphic art in which the portrayal of things from the visible world plays little or no part. All art consists largely of elements that can be called abstract—elements of form, color, line, tone, and texture. Prior to the 20th century, these abstract elements were employed by artists to describe, illustrate, or reproduce the world of nature and of human civilization—and exposition dominated over expressive function.

Abstract art in its strictest sense has its origins in the 19th century. 

The period characterized by so vast a body of elaborately representational art produced for the sake of illustrating anecdote also produced a number of painters who examined the mechanism of light and visual perception. 

The period of Romanticism had put forward ideas about art that denied classicism’s emphasis on imitation and idealization and had instead stressed the role of imagination and of the unconscious as the essential creative factors. Gradually many painters of this period began to accept the new freedom and the new responsibilities implied in the coalescence of these attitudes. 

Maurice Denis’s statement of 1890, “It should be remembered that a picture—before being a war-horse, a nude, or an anecdote of some sort—is essentially a flat surface covered with colors assembled in a certain order,” summarizes the feeling among the Symbolist and Post-Impressionist artists of his time.

All the major movements of the first two decades of the 20th century, including Fauvism, Expressionism, Cubism, and Futurism, in some way emphasized the gap between art and natural appearances.