The pictorial language of geometric abstraction, based on the use of simple geometric forms placed in nonillusionistic space and combined into nonobjective compositions, evolved as the logical conclusion of the Cubist destruction and reformulation of the established conventions of form and space. This process of evolving a purely pictorial reality built of elemental geometric forms assumed different stylistic expressions in various European countries and in Russia.
In Russia, the language of geometric abstraction first appeared in 1915 in the work of the avant-garde artist Kazimir Malevich (1879a€“1935) (The Museum of Modern Art), in the style he termed Suprematism.
In France, during the 1920s, geometric abstraction manifested itself as the underlying principle of the Art Deco style, which propagated broad use of geometric form for ornamental purposes in the decorative and applied arts as well as in architecture. allows unlimited copying, distributing and displaying of the images of public domain artworks solely. Initiated by Pablo Picasso and Georges Braque in 1908a€“9, Cubism subverted the traditional depiction relying upon the imitation of forms of the surrounding visual world in the illusionistica€”post-Renaissancea€”perspectival space.
In Holland, the main creator and the most important proponent of geometric abstract language was Piet Mondrian (1872a€“1944).
Images of that type of artworks are prohibited for copying, printing, or any kind of reproducing and communicating to public since these activities may be considered copyright infringement.
He moved to Nashville in 1992 where he found work as a guitarist for Brooks & Dunn and Alan Jackson.

The High Analytic Cubist phase, which reached its peak in mid-1910, made available to artists the planarity of overlapping frontal surfaces held together by a linear grid.
These were assemblages of randomly found industrial materials whose geometric form was dictated by their inherent properties, such as wood, metal, or glass. With the outbreak of World War II, the focus of geometric abstraction shifted to New York, where the tradition was continued by the American Abstract Artists group (formed in 1937), including Burgoyne Diller and Ilya Bolotowsky. After forming three-piece group, The Ranch, and releasing a self-named album in 1997, he went solo in 1998 and the rest is history. With the arrival of the Europeans Josef Albers (1933) and Piet Mondrian (1940), and such major events as the exhibition Cubism and Abstract Art (1936), organized by the Museum of Modern Art, and the creation of the Museum of Non-Objective Art (1939, now the Guggenheim), the geometric tradition acquired a new resonance but it was essentially past its creative phase.
The main practitioners of Constructivism included Liubov Popova (1889a€“1924), Aleksandr Rodchenko (1891a€“1956) (The Museum of Modern Art), Varvara Stepanova (1894a€“1958), and El Lissitzky (1890a€“1941).
Its influences, however, reached younger generations of artists, most directly affecting the Minimalist art of the 1960s, which used pure geometric form, stripped to its austere essentials, as the primary language of expression. Similar compositional principles underlie the work of the De Stijl artists, who applied them with slight formal modifications to achieve their independent, personal expression. It was Lissitzky who became the transmitter of Constructivism to Germany, where its principles were later embodied in the teachings of the Bauhaus.

Artists such as Donald Judd, Dan Flavin, and Dorothea Rockburne studied the geometric tradition and transformed it into their own artistic vocabulary.
Geometric abstraction, through the Cubist process of purifying art of the vestiges of visual reality, focused on the inherent two-dimensional features of painting. Founded by the architect Walter Gropius in Weimar in 1919, it became during the 1920s (and until its dismantling by the Nazis in 1933) the vital proponent of geometric abstraction and experimental modern architecture. As a teaching institution, the Bauhaus encompassed different disciplines: painting, graphic arts, stage design, theater, and architecture. The art faculty was recruited from among the most distinguished painters of the time: Vasily Kandinsky, Paul Klee, Johannes Itten, Oskar Schlemmer, Laszlo Moholy-Nagy, Josef Albers, all of whom were devoted to the ideal of the purity of geometric form as the most appropriate expression of the modernist canon.

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