Geometric abstraction is a form of abstract art based on the use of geometric forms sometimes, though not always, placed in non-illusionistic space and combined into non-objective (non-representational) compositions. Throughout 20th-century art historical discourse, critics and artists working within the reductive or pure strains of abstraction have often suggested that geometric abstraction represents the height of a non-objective art practice, which necessarily stresses or calls attention to the root plasticity and two-dimensionality of painting as an artistic medium. Thus, it has been suggested that geometric abstraction might function as a solution to problems concerning the need for modernist painting to reject the illusionistic practices of the past while addressing the inherently two dimensional nature of the picture plane as well as the canvas functioning as its support. Wassily Kandinsky, one of the forerunners of pure non-objective painting, was among the first modern artists to explore this geometric approach in his abstract work. Other examples of pioneer abstractionists such as Kasimir Malevich and Piet Mondrian have also embraced this approach towards abstract painting. Mondrian's painting Composition No. 10, 1939-1942, characterized by primary colors, white ground and black grid lines clearly defined his radical but classical approach to the rectangle.
However, geometric abstraction cannot only be seen as an invention of 20th century avant-garde artists or movements. It is present among many cultures throughout history both as decorative motifs and as art pieces themselves. Islamic art, in its prohibition of depicting religious figures, is a prime example of this geometric pattern-based art, which existed centuries before the movement in Europe and in many ways influenced this Western school. Aligned with and often used in the architecture of Islamic civilations spanning the 7th century-20th century, geometric patterns were used to visually connect spirituality with science and art, both of which were key to Islamic thought of the time.
Abstract art has also historically been likened to music in its ability to convey emotional or expressive feelings and ideas without reliance upon or reference to recognizable objective forms already existent in reality. Wassily Kandinsky has discussed this connection between music and painting, as well as how the practice of classical composition had influenced his work, at length in his seminal essay Concerning the Spiritual in Art.
Artists who have worked extensively in geometric abstraction include Nadir Afonso, Josef Albers, Richard Anuszkiewicz, Mino Argento, Max Bill, Ilya Bolotowsky, Kenneth Wayne Bushnell, Nassos Daphnis, Ronald Davis, Tony DeLap, Jean Dewasne, Burgoyne Diller, Theo van Doesburg, Thomas Downing, Günter Fruhtrunk, Bryce Hudson, Al Held, Wassily Kandinsky, Ellsworth Kelly, Hilma af Klint, František Kupka, Pat Lipsky, Michael Loew, Kazimir Malevich, Agnes Martin, John McLaughlin, Piet Mondrian, Barnett Newman, Kenneth Noland, Alejandro Otero, Ad Reinhardt, Jack Reilly, Bridget Riley, Alexander Rodchenko, Sean Scully, Leon Polk Smith, Henryk Stażewski, Jeffrey Steele, Frank Stella, Sophie Taeuber-Arp, Victor Vasarely, Friedrich Vordemberge-Gildewart, Charmion von Wiegand, Zanis Waldheims, Gordon Walters, Neil Williams and Larry Zox among others.
- Russian avant-garde
- Constructivism (art)
- Formalism (art)
- Post-painterly abstraction
- Shaped canvas
- Park Place Gallery
- Abstract art
- Hard-edge painting
- Concrete art
- American Abstract Artists
- Lyrical Abstraction
- John Gruen A prominent music, dance and art critic, "One can see Argento’s mind and hand attempting something different within the geometric genre". The SoHo Weekly News, Thursday. November 7, 1974 p.18
- The Archives of American Art, Smithsonian, Betty Parsons Gallery Papers, Reel 4087-4089: Exhibition Records, Reel 4108: Artists Files, last names A-B.
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