PAGE 4-7
HILMA AF KLINT
The Swedish painter is often credited with being the fist pure abstractionist. Only recently has her pioneering work received the recognition it richly deserves.
PAGE 8-15
WASSILY KANDINSKY
The Russian painter and theorist Wassily Kandinsky has long been considered to be the father of abstract painting.
PAGE 16-21
KASIMIR MALEVICH
The Russian avant garde artist and theorist was critical to the deleopment of abstract art in the 20th century.
PAGE 22-27
PIET MONDRIAN
Piet Mondrian was a Dutch artist and theoretician. His masterful abstract paintings were reduced to simple geometric elements.
PAGE 28-33
MARLOW MOSS
Marlow Moss was a British abstractionist whose work, like that of Piet Mondian, was reduced to simple geometric elements.
PAGE 34-39
ROBERT DELAUNAY
Robert Delaunay was a French artist who worked with simple geometric forms in bright colors, Over time his work became progressively more abstract.
HILMA AF KLINT 1862-1944
Long before Kandinsky, before Mondrian and before other pure abstract painters, there was Hilma af Klint. The Swedish painter and mystic rarely exhibited her work believing that the world was not ready to understand it. In her will she stipulated that her art was not to be exhibited earlier than 20 years after her death.
Self-Portrait
THE KEY TO THE WORK UP TO THIS POINT, 1907
ALTERPIECE NO. 1, GROUP X, 1907
THE SWAN, NO. 18, 1915
DE TIO STORSTA - NR 3
YNGLINGAALDERN UR GRUPP 4, 1907
THE SWAN, NO. 12 -GROUP IX SUW (1915)
THE DOVE - NO. 2, GROUP IX/UW, THE SUW/UW SERIES, 1915
SWANS, 1914
The Ten Largest - No. 7, Adulthood, 1907
WASSILY KANDINSKY 1866-1944
SCHWERES ROT, 1924
Born in Russia, Wassily Kandinsky is often credited as being the father of abstract art. By 1910 Kandinsky had been creating art that seemed to have built in inconsistencies that the viewer then had to reconcile.This lead to his earliest abstract paintings which emerged between 1911-14.
PAINTING WITH A RED SPOT (BILD MIT ROTEM FLECK), 1914
COLOR STUDY - SQUARES WITH CONCENTRIC CIRCLE, 1913
TWO OVALS, 1919
IMPRESSION III, 1911
A PAINTING OF A MAN WITH A GUITAR 'UNTITLED IMPROVISATION III', 1914
KLEIN WELTEN VII FROM KLEINE WELTEN, 1922
VIOLET GREEN, 1926
SEVERAL CIRCLES, 1926
CHURCH, 1911
TAKING IN THE HARVEST, 1912
SUPREMATISM, 1915
THE KNIFE GRINDER, 1913
SUPREMATIST COMPOSITION, 1915
SUPREMATISM, 18TH CONSTRUCTION, 1915
MYSTIC SUPREMATISM (BLACK CROSS ON RED OVAL), C. 1920-22
SUPREMATIST COMPOSITION, 1, 1916
AN ENGLISHMAN IN MOSCOW, 1914
BLACK SUPREMATIC SQUARE, 1915
WOMAN WITH A RAKE, 1928 SAMOVAR, 1913
THE WOODCUTTER, 1912
SUPREMATISM, 1915
RESERVIST OF THE FIRST DIVISION, 1914
SUPREMATISM NO. 50, 1916
THE WOODCUTTER, 1912
SUPREMATISM, 1915
RESERVIST OF THE FIRST DIVISION, 1914
BLACK CROSS
PIET MONDRIAN 1866-1944
The Dutch painter, Piet Mondrian, is considered to be one of the great masters of the 20th century. His highly utopian art was concerned with a search for universal values and aesthetics. He believed that his non-representation art, which he termed ‘Neoplasticism”, was a necessary step towards the creation of 'universal beauty.
TABLEAU 3 WITH REDORANGE, YELLOW, BLACK, BLUE AND GREY, 1921
TABLEAU I LOZENGE WITH FOUR LINES AND GRAY, 1926
COMPOSITION NO XIII -COMPOSITION 2, 1913
COMPOSITION IN YELLOW, BLUE, AND WHITE, I, 1937
TABLEAU NO. VIII, 1925
NEW YORK CITY 2 (UNFINISHED), 1941
TABLEAU NO. 4, 1913
DE NIEUWE AMSTERDAMMER NO. 274, 1920
CHURCH FACADE 5, 1914
Arbre (Tree), 1911
CHURCH FACADE, 1914
EVENING - RED TREE (AVOND - DE RODE BOOM), 1908-10
COMPOSITION NO. XVI, COMPOSITION 1 (TREES), 1912-13
COMPOSITION A, 1923
BOOM A, C. 1913
SCHACHBRETTKOMPOS ITION MIT DUNKLEN, 1919
MARLOW MOSS
1889-1958
Marjorie Jewel "Marlow" Moss was the first British Constructivist artist; she worked in painting and sculpture.
She was associated with Piet Mondrian and they mutually influenced each other's use of the double line. Sadly she has never had the notoriety that Mondrian and other abstractionists enjoyed.
UNTITLED (WHITE, BLACK, BLUE AND YELLOW, c.1954
SPATIAL CONSTRUCTION IN STEEL, 1956-8.
COMPOSITION IN YELLOW, BLACK AND WHITE 1949
COMPOSITION IN BLACK AND WHITE NUMBER 4., 1949
COMPOSITION NO. XVI, COMPOSITION 1 (TREES), 1912-13
Untitled, 1950s
untitled, c.1950
UNTITLED, 1950
SPATIAL CONSTRUCTION IN STEEL, 1956-58
COMPOSITION YELLOW, BLUE, BLACK. RED AND WHITE, 1956=57
RYTHMES, 1934
ROBERT DELAUNAY 1885-1941
ROBERT DELAUNAY WAS A FRENCH ARTIST OF THE SCHOOL OF PARIS MOVEMENT. HE WAS NOTED FOR HIS USE OF GEOMETRIC SHAPES AND STRONG COLORS. HIS WORK BECAME PROGRESSIVELY MORE ABSTRACT OVER TIME.
A PAINTING OF A GREEN VASE ON A TABLE, 1914
Caroselli di Maiali, 1922
Endless Rhythm, 1934
Window On the City No. 3, 1911-12
RELIF RHYTHME, 1933
Ritmo n. 1, Decorazione per Il Salone delle Tuileries, 1938
Ritmo n. 1, Decorazione per Il Salone delle Tuileries, 1938
PORTRAIT DE MADAME HELM, 1926-27
TOUR EIFFEL, 1911
Still Life with a Parrot, 1907
Tour Eiffel et Jardin du Champ de Mars, 1922 MENAGE DE COCHONS, 1922
FORME CIRCOLARI, SOLE NO. 2, 1912-13
