Editing Abstract art (section)

==== Early abstract art ====
[[File:František Kupka, 1912, Amorpha, fugue en deux couleurs (Fugue in Two Colors), 210 x 200 cm, Narodni Galerie, Prague.jpg|thumb|[[František Kupka]], ''Amorpha, Fugue en deux couleurs'' (''Fugue in Two Colors''), 1912, oil on canvas, 210 × 200 cm, Narodni Galerie, Prague. Published in ''Au Salon d'Automne "Les Indépendants"'' 1912, Exhibited at the 1912 Salon d'Automne, Paris.]]

During the 1912 Salon de la [[Section d'Or]], where [[František Kupka]] exhibited his abstract painting ''Amorpha, Fugue en deux couleurs'' (''Fugue in Two Colors'') (1912), the poet [[Guillaume Apollinaire]] named the work of several artists including [[Robert Delaunay]], ''[[Orphism (art)|Orphism]]''.<ref>''La Section d'or, 1912–1920–1925'', Cécile Debray, Françoise Lucbert, Musées de Châteauroux, Musée Fabre, exhibition catalogue, Éditions Cercle d'art, Paris, 2000</ref> He defined it as, "the art of painting new structures out of elements that have not been borrowed from the visual sphere, but had been created entirely by the artist...it is a pure art."<ref>Harrison and Wood, ''Art in theory, 1900–2000'', Wiley-Blackwell, 2003, p. 189. {{ISBN|978-0-631-22708-3}}.[https://books.google.com/books?id=SWu4SB92fHMC&dq=Apollinaire+on+Art&pg=PA189 books.google.com"]</ref>

Since the turn of the century, cultural connections between artists of the major European cities had become extremely active as they strove to create an art form equal to the high aspirations of [[modernism]]. Ideas were able to cross-fertilize by means of artist's books, exhibitions and [[art manifesto|manifestos]] so that many sources were open to experimentation and discussion, and formed a basis for a diversity of modes of abstraction. The following extract from ''The World Backwards'' gives some impression of the inter-connectedness of culture at the time: "[[David Burliuk]]'s knowledge of [[modern art]] movements must have been extremely up-to-date, for the second [[Russian avant-garde|Knave of Diamonds exhibition]], held in January 1912 (in Moscow) included not only paintings sent from Munich, but some members of the German [[Die Brücke]] group, while from Paris came work by [[Robert Delaunay]], [[Henri Matisse]] and [[Fernand Léger]], as well as Picasso. During the Spring David Burliuk gave two lectures on cubism and planned a polemical publication, which the Knave of Diamonds was to finance. He went abroad in May and came back determined to rival the almanac ''[[Der Blaue Reiter]]'' which had emerged from the printers while he was in Germany".<ref>Susan P Compton, ''The World Backwards'', British museum Publications, London, 1978</ref>

From 1909 to 1913 many experimental works in the search for this 'pure art' had been created by a number of artists: [[Francis Picabia]] painted ''[[Caoutchouc (Picabia)|Caoutchouc]]'', c. 1909,<ref>{{cite web |url=http://francispicabia.org/?page_id=80 |title=Francis Picabia, Caoutchouc, c. 1909, MNAM, Paris |publisher=Francispicabia.org |access-date=2013-09-29 |archive-date=2015-04-02 |archive-url=https://web.archive.org/web/20150402140415/http://francispicabia.org/?page_id=80 |url-status=live }}</ref> ''[[The Spring]]'', 1912,<ref>{{cite web |url=http://www.moma.org/collection/provenance/provenance_object.php?object_id=80658 |title=Museum of Modern Art, New York, Francis Picabia, ''The Spring'', 1912 |publisher=Moma.org |access-date=2013-09-29 |archive-date=2013-09-11 |archive-url=https://web.archive.org/web/20130911021424/http://www.moma.org/collection/provenance/provenance_object.php?object_id=80658 |url-status=live }}</ref> ''Dances at the Spring''<ref>{{cite web |url=http://www.moma.org/collection/provenance/provenance_object.php?object_id=80659 |title=MoMA, New York, Francis Picabia, ''Dances at the Spring'', 1912 |publisher=Moma.org |access-date=2013-09-29 |archive-date=2013-09-11 |archive-url=https://web.archive.org/web/20130911032943/http://www.moma.org/collection/provenance/provenance_object.php?object_id=80659 |url-status=live }}</ref> and ''The Procession, Seville'', 1912;<ref>{{cite web |url=http://www.nga.gov/fcgi-bin/tinfo_f?object=92380.0&detail=none |archive-url=https://archive.today/20120805095626/http://www.nga.gov/fcgi-bin/tinfo_f?object=92380.0&detail=none |url-status=dead |archive-date=2012-08-05 |title=National Gallery of Art, Washington, DC., Francis Picabia, The Procession, Seville, 1912 |publisher=Nga.gov |access-date=2013-09-29 }}</ref> [[Wassily Kandinsky]] painted ''Untitled (First Abstract Watercolor)'', 1913,<ref>{{cite web|author=Stan Rummel |url=http://faculty.txwes.edu/csmeller/Human-Prospect/ProData09/02WW1CulMatrix/WW1PICs/Kandinsky1866/Kand1910FrstAbstr444.htm |archive-url=https://web.archive.org/web/20120719021713/http://faculty.txwes.edu/csmeller/Human-Prospect/ProData09/02WW1CulMatrix/WW1PICs/Kandinsky1866/Kand1910FrstAbstr444.htm |url-status=dead |archive-date=2012-07-19 |title=Wassily Kandinsky, ''Untitled'' (First Abstract Watercolor), 1910 |publisher=Faculty.txwes.edu |date=2007-12-13 |access-date=2013-09-29 }}</ref> ''Improvisation 21A'', the ''Impression'' series, and ''Picture with a Circle'' (1911);<ref>{{cite web|url=http://www.guggenheim.org/images/content/New_York/press_room/presskits/kandinsky_presskit.pdf |title=The Fiftieth Anniversary of the Guggenheim Museum, Kandinsky Retrospective, Guggenheim Museum, New York, 2009 |access-date=2013-09-29 |url-status=dead |archive-url=https://web.archive.org/web/20120718222119/http://www.guggenheim.org/images/content/New_York/press_room/presskits/kandinsky_presskit.pdf |archive-date=2012-07-18 }}</ref> [[František Kupka]] had painted the Orphist works, ''Discs of Newton'' (Study for ''Fugue in Two Colors''), 1912<ref>{{cite web |url=http://www.philamuseum.org/collections/permanent/51038.html |title=Philadelphia Museum of Art, Disks of Newton (Study for "Fugue in Two Colors") 1912 |publisher=Philamuseum.org |access-date=2013-09-29 |archive-date=2013-10-02 |archive-url=https://web.archive.org/web/20131002225435/http://www.philamuseum.org/collections/permanent/51038.html |url-status=live }}</ref> and ''Amorpha, Fugue en deux couleurs'' (''Fugue in Two Colors''), 1912; [[Robert Delaunay]] painted a series entitled ''Simultaneous Windows'' and ''Formes Circulaires, Soleil n°2'' (1912–13);<ref>{{cite web|url=http://www.centrepompidou.fr/education/ressources/ens-futurisme2008/ENS-futurisme2008-10-orphisme.html |title=Musée National d'Art Moderne, Centre Georges Pompidou, Paris, Robert Delaunay, ''Formes Circulaires, Soleil n°2'' (1912–13) |language=fr |publisher=Centrepompidou.fr |access-date=2013-09-29 |url-status=dead |archive-url=https://web.archive.org/web/20120907020700/http://www.centrepompidou.fr/education/ressources/ens-futurisme2008/ENS-futurisme2008-10-orphisme.html |archive-date=September 7, 2012 }}</ref> [[Léopold Survage]] created ''Colored Rhythm'' (Study for the film), 1913;<ref>{{cite web |url=http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A5735&page_number=&template_id=6&sort_order=1 |title=Museum of Modern Art, New York, Léopold Survage, Colored Rhythm (Study for the film) 1913 |publisher=Moma.org |date=1914-07-15 |access-date=2013-09-29 |archive-date=2010-12-22 |archive-url=https://web.archive.org/web/20101222192658/http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A5735&page_number=&template_id=6&sort_order=1 |url-status=live }}</ref> [[Piet Mondrian]], painted ''Tableau No. 1'' and ''Composition No. 11'', 1913.<ref>{{cite web|url=http://www.kmm.nl/collection-search.php?reload=1&characteristic_type=Painting&artist=Piet+Mondriaan+%281872+-+1944%29&van=0&tot=0&submit.x=51&submit.y=5 |title=Rijksmuseum Kröller-Müller, Otterlo, Netherlands, Piet Mondrian, 1913 |publisher=Kmm.nl |access-date=2013-09-29 |url-status=dead |archive-url=https://web.archive.org/web/20131002185216/http://www.kmm.nl/collection-search.php?reload=1&characteristic_type=Painting&artist=Piet+Mondriaan+%281872+-+1944%29&van=0&tot=0&submit.x=51&submit.y=5 |archive-date=October 2, 2013 }}</ref>

With his expressive use of color and his free and imaginative drawing Henri Matisse comes very close to pure abstraction in ''French Window at Collioure'' (1914), ''[[View of Notre-Dame]]'' (1914), and ''[[Le rideau jaune|The Yellow Curtain]]'' from 1915.

And the search continued: The [[Rayonism|Rayist]] (Luchizm) drawings of [[Natalia Goncharova]] and [[Mikhail Larionov]], used lines like rays of light to make a construction. [[Kasimir Malevich]] completed his first entirely abstract work, the [[Suprematist]], ''[[Black Square (painting)|Black Square]]'', in 1915. Another of the Suprematist group' [[Liubov Popova]], created the Architectonic Constructions and Spatial Force Constructions between 1916 and 1921. [[Piet Mondrian]] was evolving his abstract language, of horizontal and vertical lines with rectangles of color, between 1915 and 1919, [[Neo-Plasticism]] was the aesthetic which Mondrian, Theo van Doesburg and other in the group [[De Stijl]] intended to reshape the environment of the future.