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The Spiritual in Art: Abstract Painting 1890-1985

by Maurice Tuchman (Editor)

Other authors: Carel Blotkamp (Contributor), John E. Bowlt (Contributor), Charlotte Douglas (Contributor), Charles C. Eldredge (Contributor), Ake Fant (Contributor)16 more, Robert Galbreath (Contributor), Haags Gemeentemuseum (Venue), Linda Dalrymple Henderson (Contributor), Geurt Imanse (Contributor), Edward Kasinec (Contributor), Boris Kerdimun (Contributor), Donald Kuspit (Contributor), Rose-Carol Washton Long (Contributor), Los Angeles County Museum of Art (Venue), John F. Moffitt (Contributor), William Moritz (Contributor), Museum of Contemporary Art (Chicago) (Venue), Sixten Ringbom (Contributor), W. Jackson Rushing (Contributor), Harriett Watts (Contributor), Robert P. Welsh (Contributor)

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2043141,166 (3.88)None
Traces the use of geometric signs by the Nabis and other French artists and relates this to the development of abstraction. The author describes some of the sources of ideas about the symbolism of geometric signs, in particular the writings of Helena P. Blavatsky, and traces the impact of these on the Nabis, possibly through the stimulus of Gauguin whose paintings from his Brittany period encouraged a mystical conception of art in which sacred geometry figured as one component. He goes on to discuss in detail the paintings of Paul Serusier, Paul Ranson, Maurice Denis, Charles Filiger, Jean Delville, Frantisek Kupka and Mondrian.… (more)
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Exhibition catalogue published in conjunction with show held November 23, 1986 - March 8, 1987. Traveled to the Museum of Contemporary Art, Chicago, April 17, - July 19, 1987; to the Haags Gemeentemuseum, The Hague, September 1 - November 22, 1987.
  petervanbeveren | May 7, 2024 |
Spiritual in Art: Abstract Painting 1890 - 1985

by Maurice Tuchman

About this title: Almost one hundred years ago, artists began eliminating the familiar visible world from their paintings. Abstraction enabled artists to embody their ideas in paintings, many of which concerned the spiritual, including references to popular belief systems such as Theosophy and Rosicrucianism. Yet as the 20th-century progressed, those unfashionable beliefs were ignored as art criticism focused on the way a painting looked rather than what an artist had intended it to mean. Much was lost as a result, and it is this missing content that "The Spiritual in Art" aims to restore. This book, now available in paperback, challenges current assumptions about abstraction, from the Symbolism that prefigured abstract art to the current manifestations of spiritual content in American and European painting. Special attention is paid to the pioneers of non-representational art - Wassily Kandinsky, Frantisek Kupka, Kazimir Malevich, Piet Mondrian - and to other masters, such as Jean Arp and Jackson Pollock, whose connections with the spiritual have been largely overlooked. This presentation of new and rediscovered ideas should have an impact on art scholarship.

Note: This is a general synopsis. Each listing is described below.
  DCosta | Nov 17, 2009 |
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Author nameRoleType of authorWork?Status
Tuchman, MauriceEditorprimary authorall editionsconfirmed
Blotkamp, CarelContributorsecondary authorall editionsconfirmed
Bowlt, John E.Contributorsecondary authorall editionsconfirmed
Douglas, CharlotteContributorsecondary authorall editionsconfirmed
Eldredge, Charles C.Contributorsecondary authorall editionsconfirmed
Fant, AkeContributorsecondary authorall editionsconfirmed
Galbreath, RobertContributorsecondary authorall editionsconfirmed
Haags GemeentemuseumVenuesecondary authorall editionsconfirmed
Henderson, Linda DalrympleContributorsecondary authorall editionsconfirmed
Imanse, GeurtContributorsecondary authorall editionsconfirmed
Kasinec, EdwardContributorsecondary authorall editionsconfirmed
Kerdimun, BorisContributorsecondary authorall editionsconfirmed
Kuspit, DonaldContributorsecondary authorall editionsconfirmed
Long, Rose-Carol WashtonContributorsecondary authorall editionsconfirmed
Los Angeles County Museum of ArtVenuesecondary authorall editionsconfirmed
Moffitt, John F.Contributorsecondary authorall editionsconfirmed
Moritz, WilliamContributorsecondary authorall editionsconfirmed
Museum of Contemporary Art (Chicago)Venuesecondary authorall editionsconfirmed
Ringbom, SixtenContributorsecondary authorall editionsconfirmed
Rushing, W. JacksonContributorsecondary authorall editionsconfirmed
Watts, HarriettContributorsecondary authorall editionsconfirmed
Welsh, Robert P.Contributorsecondary authorall editionsconfirmed
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Traces the use of geometric signs by the Nabis and other French artists and relates this to the development of abstraction. The author describes some of the sources of ideas about the symbolism of geometric signs, in particular the writings of Helena P. Blavatsky, and traces the impact of these on the Nabis, possibly through the stimulus of Gauguin whose paintings from his Brittany period encouraged a mystical conception of art in which sacred geometry figured as one component. He goes on to discuss in detail the paintings of Paul Serusier, Paul Ranson, Maurice Denis, Charles Filiger, Jean Delville, Frantisek Kupka and Mondrian.

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