| By Bryon Zirker | | | | from the notion that a painting had to represent |
| Abstract art work is becoming very popular as a | | | | something happened in the early 20th century |
| way of owning affordable modern art. | | | | began to progress quickly. Impressionism, |
| Although abstraction was becoming evident in the | | | | Fauvism, Cubism art movements of the time, |
| impressionist, neo and post impressionist | | | | contributed by breaking away from the norm or |
| movements began during the latter part of the | | | | rules of art followed since before the great |
| 19th century. A separate identity in the early 20th | | | | Renaissance period. Within Impressionism we see |
| century called non-objective or non-iconic art | | | | painters not completing their paintings. Most |
| started to become apparent. | | | | Fauvists used color in a unrealistic way. Cubism |
| In this movement, artists created marks, signs or | | | | introduced the idea of painting an object from |
| three-dimensional constructions that have no | | | | many points of view. Out of all of this came the |
| connection with images or objects in the known | | | | ideas which developed color, line, form, and |
| visible world and are completely abstract. In its | | | | texture that could be the "subject" of a painting. |
| purest form within Western art, abstract art is | | | | The abstract impressionistic style is an exciting |
| without a recognizable subject or object, which | | | | and very vibrant style that allows the |
| relates to nothing external and does not "imitate | | | | representation of life images or reality |
| or mirror" anything. Instead the color and form | | | | impressions, in some different simplified ways |
| are the subject of the abstract painting. It is | | | | using abstract shapes, forms and fresh and |
| without a doubt, 100 percent non objective or | | | | vibrant colors. |
| non representational. | | | | Abstract art works that gives the viewer a sense |
| A further distinction is made between abstract art | | | | of being somewhere else in time or place are |
| which is geometric, like the work of Mondrian, and | | | | pre-planned and created on an interesting surface |
| abstract art that is more fluid (and where the | | | | of texture before the artist begins to paint. Many |
| apparent spontaneity often belies careful planning | | | | layers of paint are applied in a special process, for |
| and execution), for another few examples look at | | | | the purpose of creating a feeling of nature, space |
| the abstract art of Kandinsky or Pollock. | | | | and place. |
| As seen Western art history, breaking away | | | | |