Sentences with phrase «spiritual in art»

Ever since the days of Kandinsky, the spiritual in art has been a subject of interest to abstract artists — to all those who seek a path beyond the physical — those who, in the words of Yeats, «live for the moment when vision comes to our weariness like a terrible lightning.»

For Kandinsky, only the feelings associated with the colors mattered; he devoted a long chapter to their psychological meaning in On the Spiritual in Art.

The exhibition called «The Spiritual in Art: Abstract Painting 1890 - 1985,» which Maurice Tuchman has organized with the assistance of Judi Freeman at the Los Angeles County Museum of Art, is the kind of event that illuminates a good deal more than its ostensible theme.

«Perceptual art is so emotive,» says Gerstein, echoing Kandinsky's voice in key works like Concerning the Spiritual in Art.

In On the Spiritual in Art Kandinsky held idiosyncrasy in high esteem, arguing that it was a sign of genuine, unique personality.

In both of his best - known books — Concerning the Spiritual in Art (1912) and Point and Line to Plane (1926)-- he displays a remarkable ability to reconcile the redemptive power of art's «inner pulsations,» meant to be experienced «with all one's senses» and exacting diagrams of the formal effect of different colors, shapes and lines, each of which he felt had a distinct sound.

He started to explore the representation of the spiritual in art and read Bahá» í literature as well as more commercial literature based on Eastern philosophy, such as the poems of Khalil Gibran, which are based on mystical Sufi influences.

His manifesto On the Spiritual in Art, which appeared as a draft in 1909 and was published the same month as Komposition V went on display, laid out the tenets of abstraction.

His seminal pre — World War I treatise Über das Geistige in der Kunst (On the Spiritual in Art), published in Munich in December 1911, lays out his program for developing an art independent of one's observations of the external world.

In addition, the book includes previously unpublished letters, essays and diaries, along with essays by international scholars, who shed new light on this popular figure and his devotion to the spiritual in art.

After a period of working as a commercial artist in Chicago, she returned to painting in 1912 and read the first translation of the abstract painter Wassily Kandinsky's «Concerning the Spiritual in Art.»

Af Klint's work was first seen when sixteen of her paintings were included in The Spiritual in Art: Abstract Painting 1890 — 1985, organized by Maurice Tuchman with the assistance of Judi Freeman, at the Los Angeles County Museum of Art (November 23, 1986 — March 8, 1987).

In 1986 the little - known work of af Klint was introduced to the world in «The Spiritual in Art: Abstract Painting 1890 - 1985.»

In his 1912 essay «Concerning the Spiritual in Art» - on which the title of the show is based - he equated representational art with materialism.

During this time Hofmann discovered Wassily Kandinsky's On the Spiritual in Art and was immediately struck by its philosophy.

«The Spiritual in Art: Abstract Painting 1890 - 1985» surveys a great adventure.

Notes: 6 For a comprehensive investigation of the Spiritualist and Theosophical underpinning of early abstraction and a cogent argument regarding the idea of content and meaning in abstract painting, see The Spiritual in Art: Abstract Painting, 1890 — 1985, ed.

In Concerning the Spiritual in Art (1912), Russian painter and art theorist, Wassily Kandinsky states that «The nightmare of materialism, which has turned the life of the universe into an evil, useless game, is not yet past; it holds the awakening soul still in its grip.»

The first large - format show to include af Klint's abstract work actually came 42 years after her death, in 1986, when Maurice Tuchman, then the curator of contemporary art at the Los Angeles County Museum of Art, included her work in «The Spiritual in Art: Abstract Painting 1890 - 1985.»

«Beyond Belief: 100 Years of the Spiritual in Art,» the exhibition that opens Friday at the Contemporary Jewish Museum, must have sounded like a fine, even uplifting idea.

In 1911 Kandinsky published his influential book, Concerning the Spiritual in Art, in which he argued for an art which looked inwards rather than outwards for inspiration.

Kandinsky's manifesto «On the Spiritual in Art» (1911) served as Der Blaue Reiter's sacred writ and inspired not only Klee's early paintings but also his own seminal text, «Creative Credo» (1920), whose punchline, «Art does not reproduce the visible; rather, it makes visible,» influenced both his contemporaries and his Surrealist scions.

In his catalogue essay for the exhibition The Spiritual in Art: Abstract Painting, 1980 — 1985, (1986) at the Los Angeles County Museum of Art, curator Maurice Tuchman proposed that early historical abstraction was generated from five elements of the spiritual, which referred to underlying modes of thought — cosmic imagery, vibration, synesthesia, duality, and sacred geometry.

What's clear, even in the small Findlay exhibition, is how Ferren's lifelong dedication to Zen and to the spiritual in art informed his many styles in ways that likely precluded enticements to choose just one.

There's the whole thing about the spiritual in art.

Not necessarily because Rees's paintings «set the soul vibrating automatically», as Kandinsky, in his canonical treatise Concerning the Spiritual in Art (1911), claims an artist can do with colour.

In 1986 she was included alongside the men in The Spiritual in Art: Abstract Painting 1890 - 1985, at the Los Angeles County Museum.

The argument for the importance of the relationship between music and art was advocated early on by Wassily Kandinsky in his 1912 text Concerning the Spiritual in Art, which emphasized the expression of the spirit though the use of color and shape.

Kandinsky's great work of theory is titled On the Spiritual in Art.

The abstract work of Hilma af Klint was shown for the first time at the exhibition «The Spiritual in Art, Abstract Painting 1890 — 1985» organized by Maurice Tuchman in Los Angeles in 1986.

The protagonists of Jacob Lawrence and Wassily Kandinsky were each on a journey to freedom — for a black person and for the spiritual in art.

Tagged with abstract art and contemplation, aesthetics, art, art magazines, Concerning the Spiritual in Art, Franz Anton Mesmer, naturally occuring trance states, Peter Dickinson, Sean Scully, Turps Banana

In fact, Af Klint's work has taken even longer than she imagined to command the art world's attention: it was shown internationally for the first time by Maurice Tuchman in his exhibition «On The Spiritual in Art» at the Los Angeles County Museum of Art in 1986.

Sean Scully seems to like the connection, and I have been re-reading Concerning the Spiritual in Art by Wassily Kandinsky.

Just a single decade held many distinct inventions of abstract art — in Dada, Kazimir Malevich, Wassily Kandinsky, Kandinsky's «spiritual in art,» and Piet Mondrian.

They began as horses charging over a mythic landscape, but they never lost their associations with what Kandinsky called «the spiritual in art.»

However, beginning with Wassily Kandinsky's pioneering work in pure abstraction and his theorizing about «The Spiritual in Art,» many of the most spiritually ambitious visual artists of the modern age have found that their ambitions are best served by the stripped down, elemental language of abstraction.

It was during this period, in 1912, that Kandinsky wrote Concerning the Spiritual in Art.

1987 The Spiritual in Art — Abstract Painting 1890 — 1985 * Gemeentemuseum, den Haag, Netherlands.

The Spiritual in Art: Abstract Painting 1890 - 1985.

1986 — 1987 The Spiritual in Art — Abstract Painting 1890 — 1985 * Los Angeles County Museum of Art, Los Angeles, USA.

In 1912 he published the book, Concerning the Spiritual in Art.

Hilma af Klint (1862 - 1944) made her international debut with the exhibition The Spiritual in Art — Abstract Paintings 1890 — 1985, held at the Los Angeles County Museum of Art during the winter of 1986.

The spiritual in my art is giving up control.

In his book, Concerning the Spiritual in Art, Kandinsky writes, «Color directly influences the soul.

The Spiritual in Art, Abstract Painting 1890 - 1980 Author (s): Maurice Tuchman, Judi Freeman Exhibition catalogue: Los Angeles County Museum of Art Publishing house: Abbeville Press Inc., U.S Description: Language: English ISBN - 10: 0789200562, ISBN - 13: 978 - 0789200563

Hilma af Klint's radical oeuvre was on public display for the first time in 1986 at the exhibition The Spiritual in Art: Abstract Painting 1890 — 1985 in Los Angeles.

His publication of «Concerning the Spiritual in Art» in 1910 (some quotes I took from this text) had a huge impact on other contemporaneous artist in West - Europe, searching for new way in painting.

Victoria L. Evans, «Concerning the Spiritual in Art: Magnificent Obsession and the Language of Expressionist Painting», CineACTION, Issue 91, 2013, pp. 34

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