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 Perhaps you have tried to remember the first time when you found yourself taking a look at an abstract art or an abstract painting? Would you remember the thoughts or feelings you had about what you're taking a look at?

This information is really a reflection of some of my own, personal personal and subjective viewpoints and realities being an artist about abstract art with certain references to facts that are in agreement using what I believe myself regarding the nature, birth, growth and the evolution of the abstract art beyond your boundaries of the esoteric terms of the art academia.studio

To truly have a basic and fundamental look at the subject, we should first know what the phrase abstract means before we're able to tackle the knowledge of "abstract art" itself; and we learn that abstract in this sense and as a verb means to extract or remove and surprisingly being an adjective means not clear to see; abstruse. And as a transitive verb it means to remove, remove. It's origin is from Latin abstrahere 'draw away' or 'draw from.'

Thus, we can conclude that abstract, is generally viewed as a questionnaire of art that will not depict something that resembled the objective or material world; instead it represented new creations that very subjectively were expressions of the inner substance and the spirit of the artist and often via a profound spontaneity that brings out the inner world of the artist.

So, abstract art, being the product with this very natural, uninhibited and unpremeditated impulse in the lack of any external stimulus, is intrinsic and is one of the very basic nature and the make up of the artist, as the real influence behind his creations.

As I evolved through my own, personal representational art and became more acquainted with the history of art, I learned that abstract art had its roots in the very early dawn of human history when man began to draw on the walls of his cave. These early abstract arts, abstract drawings and abstract paintings - sometimes embellished with organic dyes - often attempted to recapture the essential nature and the caliber of the objects as opposed to the actual appearance of them.

While the art historians and art critics formulated their opinions and ideas into prints, more esoteric terms spun off the topic under "non-objective art," "non-representational art," and "non-figurative art." In the field of aesthetics, since none of the principles of making art have been precisely formulated, this kind of branch of humanities has its critics galore with many schools of divergent opinions and thoughts, where esoteric lectures and opinions are listened to with open jaws instead of reason, personal expressions suffers underneath the cloud of confusion.

Centuries a long time before the birth of abstract expressionism in America, highly figurative arts had existed in the East, namely in the Islamic culture, where calligraphy also as a non-figurative art is taught as a topic starting sometimes as early as in primary schools, as great emphasis is positioned upon the pupils' acquiring and developing skills in calligraphy, since the art of handwriting.

In the Western culture, abstract designs are present in many forms. But abstract arts are uniquely distinguished in composition form in terms of decorative art and fine art, where in abstract art, the outcomes of creation, are spontaneous snapshots of the artist's thoughts, emotions, and the introspection by which he creates his work of abstract art.

Abstract Expressionism, as we all know it today, was created in America in the mid 20th century following a huge exodus of the European avant- garde artists to New York City, making the town the biggest market of the art world; a title that was once held by Paris. The contemporary American artists were immensely influenced by the influx with this new talent that brought forth the very welcoming freedom of personal expression through the car of spontaneity in the lack of the boundaries and limitations of conventional forms.

The arrival of abstract expressionism in New York was the dawn of a new peaceful artistic revolution by that your artist began to rebel overtly contrary to the status quo. He started a new era where he could freely create towards the near future and change the prevailing scene for a better tomorrow.

A few of the pioneers in abstract expressionism, such as for example Jackson Pollock, Mark Rothko, Willem de Kooning, became synonymous with New York School and action painting because they played an important role in what became deservedly known as avant-garde; a new realm of freedom for the artist to generate and construct having an impulse that surmounted any rational and objective realm of reason.

On the more textural side, Jackson Pollock began to re-arrange his easel and painted as he pleased, expressing himself by pouring the paint from within unto the canvas, as he felt. Pollock, as you of the most mavericks of the era, used also his body being an instrument to paint with, as he moved rapidly around his large canvases on to the floor, spattering interlacing patterns of paint, like a mental roller coaster, drawing the viewer into its rhythmic flow of motion, apparently into an infinity of space.

In great contrast to Pollock, Barnett Newman's color-field paintings, are open fields of vast empty spaces for the viewer to step into them and imagine what they need to invest them.

Now, for the sake of simplicity, we're able to categorize art into only representational art and abstract art. Representational art being what we instantly recognize in association to familiar objects, vs. abstract art that needs our considered to perceive the composition of the art and the comparison of our observation with the conclusions we've made previously, in order to arrive in the immediate instance, where we are. Thus, in our observation of abstract art, the presence or the lack of any emotional responses, brought about as caused by understanding the abstract art, raises the question of, what is truly an abstract art and when does it become successful.

Let's imagine that people are considering a representational art, a scenery where it depicts a mossy wooded area cloaked in a low fog with a cascading shallow stream running through it. We could all agree using what we are considering, appreciate the caliber of its beauty, and many of us become awestricken by its magic, and even have the mist in the air and smell the moss. We want to view it as a pleasant experience. We sense it is peaceful, since it has the tendency to create us feel good. It helps us - even if it is for a short moment - forget our troubles, and transforms our disturbances in to a new amount of calm, to the stage that people might be there, in our imagination. We leave from the painting and look at other paintings that will not produce exactly the same thoughts and feelings, and we turn and view it again and again, wanting to possess more of exactly the same pleasant experience. Pleasure is what we are experiencing.

This is the emotional reaction we feel towards this very representational art that people fully understand. It communicated to us a certain message within the boundaries of its technical expertise, by which it was created. The technical expertise wasn't the first visual attraction, however. It absolutely was the message that it communicated to us visually, that attracted us. The virtuosity by which it was created becomes secondary to the significance of the message and the caliber of its delivery. Although the message doesn't have to truly have the same meaning for every viewer, it is the combination of both, the message and the technical expertise that brings about a knowledge that causes the viewer to respond emotionally.

From sketching and carving with sharp stones on the walls of his cave, to the magnificence of today's technology, man has journeyed through an incredible evolution in the arts among a number of other dynamics of life. From those individuals who have accepted the boundaries of these culture and environmental factors, have remained true and faithful from what they were permitted and expected to generate in the proper execution of various representational and figurative arts. But the more precocious, who'd an awareness of higher form of existence and true potential, wanted to maneuver beyond the obvious with no tolerance for suppression and entrapment. They truly became the visionaries who escaped and sought freedom of expression elsewhere, where in actuality the attainment of the freedom was possible.

A great amount of European artists and teachers such as for example Joseph Albers and Hans Hofmann moved to America in mid 20th century and made New York the new Art Center of the planet by leaving Paris behind. They brought together that very freedom of spontaneity to generate paintings that became what we all know today as abstract expressionism. As unique as our finger prints, each expression, became a new aesthetic signature to reckon with.studio

However, the fundamental roots of the transition from representational art to abstract art and expressionistic paintings had begun to grow in the later the main 19th century in the proper execution of impressionist and neo-impressionists when art had begun to change its face, while still retaining a good amount of resemblance from what it designed to be; and by the full time post-impressionism had arrived on the scene, the field of art had already gone via a noticeable change and well coming towards a significant transformation.