Rag's to riches part two

11 min läsning

Rag's to Riches part two

introduction by Denis Taylor Artist & Editor

" The process of painting abstractions took kaleidoscopic shapes and sizes after the RAG abstract revolutionary painters. It's structure became formal and informal. It could be 'Hard Edge', 'Minimalist' , Geometric Abstraction, Gestural and host of other descriptive tags that were invented to enable some sort of identification of 'label' that art institutions and academics really love to burden Art with. However, call it what you will, what is common with all these descriptions of what you could say is a singular related genré of a painting where the painting itself is the subject and not a painting of an actual third party outside of a non-subject. The whole painting is 'the thing itself', a thing that did not exist before it was painted. This is what makes abstract art so absorbing for them that practise it and them that enjoy the implied imaginary that the artist may have imbued without his or her knowledge.

The Russian Avant Garde artists, perhaps in particular, Malevich, was the first of a few modern century artists to make a non-objective work of Art, however one can see after decades of time that maybe Kasimir started the work with three distinct crosses? His heritage was orthodox christian on his mother side. Other European artists who communicated with the RAG's also added to the overall thinking of what makes an abstract work of art unique. Kandinsky (another Russian, but not regarded as as a RAG, due to his absence for Moscow and a leaning towards Berlin- re: Bauhaus)) are important figures to the development of the American artists such as Pollock, Rothko and their group christened as “ the irascible Group.” The Group who revolted against the American Art Institutions, stating that American Abstract painters didn't receive a fair crack of the whip in major shows, where the tendency was to exhibit European abstract painters. They had a point."

The European best known in the USA for formal abstraction was Piet Mondrian (1872-1944). He was the painter who declared that he was only concerned with “the beauty of the 90 degree angle” in his work, and can be rightly seen as the main artist who brought formal painting to a world wide audience, albeit after his death in 1944. Malevich was Mondrians obvious influence. The RAG' developed Suprematism and this took a hold in Germany, before it was transported to the USA during the second world war. However it was Mondrian who, after many years of trying to reach a pure simplistic painterly system, finally arrive

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