Abstractionism gave way to the avant-gardism. Bright surge in this direction of a modernism has been in the end of sixtieth years. Avant-gardism is in the base of ideas of a counterculture of the hippie, who make the protest against everything, the protest for the sake of the protest. The avant-gardism is a substitute of art to which the beauty, concept fine, harmony is alien. Representatives of avant-gardism create between art and not-art.

As a result of it appear such kinds of art:

- Op art (optical art) - is ornamental-geometrical compositions;

- Spatial art;

- Earthen art;

- Art of new figurative sense;

- Pop art (popular art).

From these kinds of avant-gardism, the most known is popular art, or pop art. The artists working in this style use real subjects in the creativity: advertising, a photo, any other images, which have been pulled out from environment natural to it, and create from them any combinations, trying to find interrelation, or without any interrelation. As a result there is a so-called artefact (it is artificial grouped composition, a design), instead of a work of art. This composition should cause certain associations, emotional experience, arising besides art impression.

The Pop art has developed as original reaction to the abstractionism phenomenon, having opposed its extreme abstractness. The bright representative of pop art is R. Rauschenberg, the American artist.

The Pop art was showed as aggression to mass culture, having transformed art into a show, reflecting irreconcilability to the present.

From the middle of XIX century painting, the drawing, a sculpture address to that is inaccessible to the direct image. Searches of new graphic means, ways of the typification, the raised expression, the universal symbols, the compressed plastic formulas are more and more intensively developed. On the one hand, it is directed on display of private world of the person - emotional, psychological conditions; on other - on strengthening of corporal, material self-descriptiveness, on updating of vision of the subject world. Opening of the primitive and then traditional art resolutely changes representation about value of conditional forms in the fine arts.

Creativity - the most intimate, authentic, if it is possible to say so, way of self-affirmation in which the person is in great need. This requirement can be shown directly, about what testifies repeatedly increasing severe ways of the collective and individual statement of the exclusiveness.

Abstract art is the most accessible and noble way to imprint personal life, and maybe, in the most adequate shape - like a facsimile print. At the same time it is the direct realization of freedom. It is impossible to hate art and it is just possible to enjoy, adore it and get pleasure from it.

Are you fond of abstract paintings? Looking around for a spot to discuss art? You are welcomed to go to this site - there you can observe, comment on, and purchase many abstract art paintings directly from the artists at the best terms available.

Fortunately we live in the world of digital technologies. It wouldn’t be wise not to take advantage of this truly unique opportunity. Modern web technologies allow us to break the borders and look for modern abstract art paintings all over the world. Visit different social networks, check relevant topics, participate in discussions in niche forums. All this will help you keep abreast of the events concerning your interests. And, sign up for the RSS feed on this blog not to miss the latest publications on the topic.

Abstractionism (from Latin. abstractus - distracted) - rather wide direction in art of XX century, arisen in the beginning of 1910 in the several countries of Europe and it used exclusively formal elements - a line, a color stain, an abstract configuration - for creation of products. Founders of abstractionism - Russian artists Wassily Kandinsky and Kazimir Malevich, Dutch Piet Mondrian, Frenchman Rober Delon and a Czech of Frantishek Kupka - in the creativity based, as a rule, on the mystical ideas taken from theosophic doctrine. The method of abstract constructions is based on the aspiration to express internal laws symbolically and intuitively comprehended to the essence, hidden for the occurring phenomena of the visible world. Thus backbone forms were interpreted by Kandinsky, Malevich and Mondrian as the certain picturesque signs allocated with the initial spiritual maintenance, and the plastic formulas organized from such signs, - as relations between universe elements. Created abstract picturesque constructions were thought and as projections of structures of a space world order, and as projects of an ideal peace arrangement social, and as basic schemes of the organization of the spatial and subject environment surrounding the person.

From the moment of abstractionism occurrence it were accurately defined two directions in it: the geometrical abstraction based mainly on accurately outlined configurations (Malevich, Mondrian), and lyrical abstraction in which the composition is organized from freely current forms (Kandinsky). If the symbolics of geometrical abstractionism urged to reflect certain steady substantive conditions, so abstraction of Kandinsky and his followers, filled with pulsing forms, difficult rhythms and flickering color, concentrate attention on dynamics of process. After the Second World War aesthetic concepts of abstractionism lose the metaphysical symbolics: the abstract form corresponds now only with displays of the nature and the social world or is considered as fixing of mental conditions of the artist. Last circumstance has transformed concept ?abstractionism? into an ordinary symbol of formalism in various spheres of art.

The abstractionism - the extreme form of a modernism, has arisen as a challenge to society and as consecutive destruction of the real image reflecting the world by habitual means. It is possible to tell that the abstractionism has arisen on fragments of cubism, futurism and some other modernist currents reached the decline. W. Kandinsky, K. Malevich, P. Klee, V. Tatlin, M. Larionov, R. Delon, P. Mondrian, etc. were at the beginnings of abstractionism.

They, confirming value subconscious, considered creative process as immersing in the world of intuitive movements of soul, automatic transfer of the sensations. They recognized that connection of art with forms of a life already has settled and the person is not capable to realize the world, and furthermore is not capable to embody it in plastic images owing to variety of the new world. Means of display of a vague subconscious image can be different: from classical paints and a canvas to a stone, a wire, dust, pipes, etc. The main thing in abstractionism - a combination of colors, lines, stains, the strokes that have lost contact with a natural and social reality. This is pointless and shapeless art.

Early (1920 - 1930) abstractionism has received a wide spreading in architecture and an applied art.

Late (post-war years) abstractionism is presented in three streams:

1) Expressional painting and a drawing (a free, spontaneous combination of lines and stains);

2) Surrealism (gravitation to mysteriousness, magic, dreadful psychological visions, crazy associations, absurd connection of various subjects and images), which is most full presented in creativity of S. Dali and R. Mogritt;

3) Abstract-geometric art (just decorative decisions, an abstract sculpture from various kinds of metal with application of modern means of its processing). The abstractionism has received the fullest development in the USA.

Enjoy abstract art!

Love abstract paintings? Looking for a spot to discuss art? You are invited to go to this site - there you can observe, comment on, and purchase many abstract art paintings directly from the artists at prices that are affordable to most people.

Fortunately we live in the world of digital technologies. It wouldn’t be wise not to avail oneself of this truly unique chance. Modern web technologies help us break the borders and search modern abstract art paintings all over the world. Go to various social networks, look through related topics, participate in online discussions in niche forums. All this will help you be well informed about the events concerning your hobby. And, sign up for the RSS on this blog not to miss the latest publications on the topic.

Cubism - the modernism direction, made an attempt to model by means of art creativity the specific theory of knowledge consolidated of a presumption of anti-psychologism. Classical representatives of cubism in painting are P. Picasso, F. Lezhe, J. Gris, R. Delone (during the certain period of the creativity) and others. The term ?cubism? for the first time has been used by Matisse (1908) concerning the picture of Z. Bruck ?At home in Estake?, which has ostensibly reminded him children’s cubes. In the same 1908 in an October critic L.Voksen noticed that modern painting ?is based the image of cubes?. In 1907-1908 Cubism was arranged as a direction in; in the end of 1910 French poet A. Salmon has fixed ?the beginning of absolutely new art? - both with reference to painting, and with reference to poetry. Genetically Cubism goes back to expressionism (Picasso said: ?When we invented a cubism, we were not going to invent it at all. We only wished to express what we have inside).

As well as any modernist current, Cubism shows program methodology and especially reflective installations concerning understanding of art creativity: already in 1912 it was published the conceptual monography of artists A. Glez and Z. Mettsenzhe ?About a cubism? and critical work of Salmon ?Young painting of the present?. According to critics, cubism can be considered as one of the most radical directions of a modernism as ?it bravely breaks off from mostly traditions operating smoothly since an epoch of the Renaissance? (M. Serulaz). According to policy statements of artists-cubists, in the most basis of cubism here is other ?new way of representation of things? (J. Gris). According to it, ?when cubism has shown conditional character of space as the Renaissance understood it, just as impressionists have shown in due time conditional character of color, - they were met by the same misunderstanding and the insult? (R. Garodi). In 1912 in the Chamber of Deputies of France even was discussed the question on an interdiction of cubist exhibitions; the socialist Breton believed that it is ?absolutely inadmissible, that National palaces served as a place for demonstrations of so anti-art and antinational character?; thus, however, the conclusion has been drawn that ?it is not necessary to call gendarmes? (the formulation of the deputy Samba). Objectively cubism can be considered as a significant mark in the history of evolution of a modernist paradigm in art: according to art critics, ?having dared to proclaim openly the rights to heterodoxy in the field of art and carrying out these rights, despite all obstacles, modern artists became forerunners of the future. Thus, it is impossible to deny their revolutionary role: their moral position has brought today brilliant rehabilitation, in much bigger degree, than their art merits? (R. Lebel). Prevailing emotional tonality of cubism became sharp and sharply catastrophic experience of a boundary of 19-20 centuries, connected with domination of what has been designated as ?mechanical forces of a civilization?: the subject world has opened to the world of the person the new person, having put under doubt the former version of its human understanding, having destroyed habitual ontologism of traditional knowledge. Not casually N. Berdyaev saw in cubistic works some kind of portraits of not original life (?it is demonic grimaces of seized spirits of the nature?) that with necessity assumes statement of questions on a world real face, about possibility of this authenticity and about possibility of its image. Owing to reflective judgment of this context Cubism is one of their most philosophically articulated directions of development of a modernist aesthetics, - already in the manifesto ?About a cubism? (1912) it was fixed that the picture as that is some kind of a picture (concept) of the world. Cubism actively involves in the reflective judgment of the nature of art creativity of idea of Platon, medieval realism, Hegel - first of all, in aspect of searches of abstract essence (an ideal eidos) object and a philosophical substantiation of a presumption of variability of ontology, funding idea of relative modelling of the possible worlds (it is a question not so much of conceptually-substantial mastering by the academic philosophical tradition, how many about connection of artists to that cultural atmosphere of the beginning of 20 century in which philosophical ideas have appeared in some kind of fashion focus. Anyhow, arrangement on the reflex analysis of creativity as that is one of distinctive (and one of the strongest) sides of cubism.

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Aesthetics of cubism practically represents specific modeling of cognitive process, based on basic for cubism principle ?negations of naive realism?, the artist assuming refusal of a support on visual perception of the subject world. The given principle underlies proclaimed cubism program ?struggle against sight?, i.e. struggle against non-critical acceptance of phenomenology of a video series as a knowledge basis in general and comprehension by the artist of painting, in particular (the world is deformed, it is not visible to its essence and it cannot be visible, i.e. the phenomenological reduction cannot apply for an adequate method of knowledge of the world): under A. Glez?s and Z. Mettsenzhe’s formulation, ?the eye is able to interest and tempt mind with the elusions?, but at the heart of this temptation - is an optical illusion. As wrote Z. Bruck, ?feelings deprive the form, the spirit forms. Authentically is only that spirit makes?. In this context, naturally, by an estimation of cubism, that ?wishing to reach ideal proportions, artists, without being more limited to something human, represent us products more speculative, rather than sensual? (G. Apolliner). In this context it is indicative that R. Lebel names his monography devoted to cubism, ?The seamy side of painting?, underlining thereby intension of cubists on penetration for a phenomenological number. For example, Berdyaev wrote about P. Picasso: ?He, as the clairvoyant, looks through all covers… Further away to go deep inside, and there will be no materiality - there already internal system of the nature, hierarchy of spirits?, - and the tendency of this movement conducts to an exit from a physical, material flesh in other, higher plan. Thus, instead of disorder of sensual experiences Monet and Renoir cubists promise to the world something stronger, not illusory ? knowledge? (L. Reyngardt). In evolution of philosophical bases in cubism can be allocated two stages. An initial presumption of aesthetic concept of cubism - is the presumption destruction of object as it is: by estimation of R. Delon ?until art will not be released from a subject, it condemns itself on slavery?. Thus, according to cubistic strategy of art creativity, ?it is not necessary even to try to imitate things. Transcendental objects do not exist at all. They exist only through us? (Bruck).

Now, recognizing, at last, for a chimera objective knowledge and taking for granted that everything accepted by crowd for natural, is convention, the artist will not recognize other laws, except taste laws. Mission of the artist in this context is articulated as clearing of (and by means of it is also others) of ?a banal kind of things?. As fundamental credo cubism accepts the formula of ?rather decorative painting and picturesque scenery!? (Z. Mettsenzhe). In this context cubism postulates as the method in unusual way articulated ?lyricism? or ?lyricism inside out?, which has been understood by cubism as a method of clearing of consciousness from slavery of the subject world reached by means of program calling by the artist of feeling of disgust for a subject of its creativity. Lyricism can be considered as a basic paradigm for early cubism. Its theoretical contribution can be summarized as follows: the cubism considers a picture as the object creating lyricism, - lyricism as the unique purpose of this object. All kinds of freedom are permitted to the artist to create lyricism. Practically it means exit of cubism for fine arts limits - to art abstract: if visually observable world can illusory, interest of the artist should be concentrated to the original (intrinsic) world, i.e. the world of pure geometrical forms.

According to a reflective self-estimation of cubism ?for us a line, a surface, volumes - not that other as shades of our understanding of fullness that is not presented by appearance of object and all external is reduced in cubistic vision to one denominator of weight, namely - its geometrical basis. According to it, aesthetics of cubism is under construction on idea of deformation of traditional (visually observable) form of object, - deformations, which urged to bare original essence of object. The cubism considers a picture absolutely independent by nature, and it uses forms and paints not for the sake of their imitative abilities, and for the sake of their plastic value. Thus, cubism comes to idea of plastic modeling of the world as cognitive search of its plastic (structural) basis.

Love abstract paintings? Looking for a spot to discuss art? You are welcomed to check out this site - there you can view, make comments on, and buy many abstract art paintings directly from the artists at prices that are affordable to most people.

Luckily we live in the world of high technologies. It wouldn’t be good not to take advantage of this really unique chance. Modern web technologies help us break the borders and look for modern abstract art paintings all over the world. Go to different social networks, review relevant topics, join discussions in niche forums. All this will help you be well informed about the events concerning your hobby. And, subscribe to the RSS feed on this blog to keep track of the latest publications on the topic.

The most important element of color is the paint. There are three qualitative features in paints. First of all, its color - dark blue, green, etc. Further - the lightness of paint. Paint can be made lighter and darker, without changing of its specific character: light green and dark green are shades of the same green paint, but with different degree of the lightness. Thirdly, at last, is intensity of paint. It is possible to take away its colorful content, force of its color until it, remaining of same color of a paint, will not become absolutely grey; or, on the contrary, without changing of its lightness, to add a colorful pigment to it more and more.

Further very important distinction between paints is advanced by concept of warm and cold tones. Warm name such tone, which is closer to yellow, red, ardent; they are warm and please, excite you. Cold tones, which are closer to dark blue and green, which are connected in our imagination with water and the sky, calm you down and make you sad. Warm colors physiologically excite you stronger, than cold, therefore they as though act forward, seem closer than the cold. Therefore, warm colors are called as positive, cold - neutral, or negative. Among old masters admirers of warm colors were Titian, Rubens, and Rembrandt; of cold are Botticelli, Greco, Murillo and others.

Each tone in a picture is connected with an environment, depending on it becomes colder, lighter or darker; next tone can support or weaken it. The red roof seems absolutely other at the pure blue sky or at cloudy. Besides, each tone varies depending on a basis, a ground, an underpainting. The painter aspires to see all tone of the picture at once to advance their mutual relations. On the one hand, he observes the tone with especial attention, seeming identical or related on degree of the lightness (for example, tone of the white house or a white cloud). Distinctions of this type painters name values. On the other hand, the artist is interested in relations of paints among themselves on degree of their warmth or coldness. At these steps and relations are built searches of the general tonality dominating in the whole picture. Thus it is necessary to discriminate tone and a local paint. Local paints are those generally pure, not mixed, not refracted, which are connected with certain subjects in our imagination such as the green grass, a red raincoat, which both in a shade, and on light remains red, only darker or lighter. So, the Italian and Netherlands painters of XV century perceived the world. Tones, on the contrary, we name those changes, which occur to paints under the influence of light, air, reflexes, association with other paints; when the same local paint acquires absolutely various tone in a shade and on light. The feeling of tone coloring starts to develop in XVI century, reaches the flowering during a baroque epoch, becomes especially intensified at impressionists.

Can’t live without abstract paintings? Looking for a spot to discuss art? You are invited to go to this site - there you can review, comment on, and purchase many abstract art paintings directly from the artists at the best terms available.

Luckily we live in the world of digital technologies. It wouldn’t be good not to avail oneself of this truly unique opportunity. Modern online technologies give us a way to break the borders and look for modern abstract art paintings all over the world. Visit social networks, check relevant topics, participate in online discussions in niche forums. All this will help you keep abreast of the events concerning your interests. Also, sign up for the RSS feed on this blog to keep track of new publications on the topic.

Picture it is not simple the image of something. The picture creates an image capable to move you in the fantastic world or to other epoch, giving pleasant memoirs on events of your life or about the person close to you. For this reason, despite availability of cameras and computer technologies, the picturesque picture written by the artist is rather popular today. Modern artists are always glad to make for you a copy of the picture, which is pleasant to you or to create a picture according to your wishes.

Marine landscape.

Easy breeze, giving a cool after hot day. Hardly audible whisper of waves. The sun by degrees disappearing in boundless open space of waters. The gale, the huge waves, trying to destroy a sailing vessel. The ancient rocks towering about in a serene bay. All this is the sea: boundless, mysterious, attracting. It is not surprising that the marine landscape is always popular among artists.

Landscape.

The landscape is the picture representing the nature or any surroundings. An urban landscape takes the special place in painting as well. If you wish to decorate the house with a copy of a known landscape or to have a picture representing your favorite garden or an alley, you can buy it without problems.

Still life.

Flowers are always desirable and popular among people of different age. Someone likes magnificent bouquets of roses, and someone prefers modest camomiles more. It is not surprising that flowers often appear on cloths of painters. You also can decorate your house with a picture with favorite flowers, having ordered it to some painter.

Portraits will bring some special appeal into your house. There are some kinds of portraits.

Female?s portrait from a photo.

The portrait of the woman is, undoubtedly, more than simply a picture. Qualitatively made female portrait always bewitches, radiates a certain magic force. The professional artist is capable to transmit all many-sided nature of female beauty on a canvas, to create an image most transmitting her feminity. Agree, any woman would be happy to receive such gift.

Man’s portrait from a photo.

Outstanding painters of the past created portraits of emperors, great commanders and heroes. Today the portrait became more accessible and now more often you can see portraits of businessmen and politicians, or just good people.

Gala portraits - give free rein to your imagination?

Have you ever represented that outside is 18 centuries, you have an attire of the emperor and you think about the future of the country in the middle of a magnificent hall of an imperial palace? Or perhaps you have just returned from the ball, you have a refined dress, candles brightly light up your cozy room, and you re-read the verses devoted to you by the young poet? It is the twenty-first century outside and there are no carriages on a roadway anymore. But it is possible to realize your imaginations. The picturesque portrait written by the professional artist will transfer you to any epoch. The artist can draw your portrait in a background or clothes of any picture of the past, which you like.

A portrait, as a gift, it, as a rule, is underlining of the status, achievements, respect from other people.

Choose any kind of art painting and enjoy your picture for a long time.

Are you fond of abstract paintings? Looking for a place to talk about art? You are invited to go to this site - there you can observe, make comments on, and purchase many abstract art paintings directly from the artists at the best terms available.

Fortunately we live in the world of digital technologies. It wouldn’t be good not to avail oneself of this truly unique opportunity. Modern online technologies give us a way to break the borders and search modern abstract art paintings all over the planet. Visit social networks, review related topics, join discussions in niche forums. All this will help you be well informed about the events concerning your hobby. And, subscribe to the RSS on this blog not to miss the latest publications on the topic.

Great artists of different epochs not only paid huge significance to a correct choice of a frame for the pictures - they did sketches of elements of a baguette or even produced it. Leonardo da Vinci, for example, considered that ?the frame creates a special aura round a picture, it should not be just a frame - it should be with it as a unit?. Probably, it is necessary to listen to great Leonardo?s opinion and to approach to a choice of a frame with all gravity. It is unimportant what you wish to frame, it is important, how to make it. Frankly speaking, it is a difficult problem. On the one hand, the frame should underline originality and individuality of a work of art, and with other - to be the high-grade element of a decor consolidating with the image and that interior in which it is placed.

It is possible to insert in a frame almost everything: a picturesque cloth, drawing in a coal, an ancient engraving, an embroidery, a mirror, historical documents and letters, antiquarian jewelry ornaments, monetary denominations and coins?

The choice of a baguette is very responsible task. Therefore, there is a sense to bring pictures and posters, which you intend to frame, in a workshop: it will be possible to apply samples of a baguette and passe-partout to images and to see how they are combined. It can be done only in the event that it is a question of not very valuable products. Safety of a picture is one of main problems of the owner. Certainly, it is not desirable to carry it out on street unpacked. The dense paper, packing cardboard and a polyethylene foil will help you to save your picture outside. It is difficult enough to restore the damaged canvas independently. And the graphic products executed on a paper, are sensitive to moisture, sunlight, an urban dust. It can ruin all both modern product, and, especially, antiquarian work.

So that it is better to invite experts to home, especially if you have either valuable, or the big picture, or simply do not risk to carry it in a workshop and back. Many workshops grants complete service - from coming of employees to the house for measurement and delivery of a finished product to installation of the picture on a wall.

Depending on what method was used to create the work of art, and also from its sizes, color, a theme and other data are chosen the style of a frame, color, a profile, an ornament and baguette height. It doesn?t matter what you have preferred - intricate motives in style of an epoch of baroque or a strict aluminum framework, - mentally place it in the interior not to be surprised to result. If you are hindered with a choice, naturally enough to ask for advice of employees of a workshop - in most cases, there work people with an art education.

Are you fond of abstract paintings? Looking around for a place to talk about art? You are invited to visit this site - here you can review, make comments on, and purchase many abstract art paintings directly from the artists at the best terms available.

Fortunately we live in the world of high technologies. It wouldn’t be wise not to avail oneself of this really unique opportunity. Modern web technologies provide us with a way to break the borders and search modern abstract art paintings all over the world. Visit different social networks, look through related topics, join discussions in niche forums. All this will help you be well informed about the events concerning your interests. And, sign up for the RSS feed on this blog not to miss new publications on the topic.

Pictures in our apartment are not just one more decoration of walls, or a method to close a hole. The picture is like a wall tsarina, a joy for eyes and an indicator of your taste and style. If doesn?t mean if you have works of Rembrandt or Picasso, you should know how to place them correctly. Let?s find out basic rules about where and how it is necessary to hang up pictures.

In small rooms with low ceilings it is not necessary to hang up big pictures, because it is possible to estimate their color and composition on dignity only from distance of two-three meters. If you have some pictures, you can place them horizontally in one or two rows, leveling them according to a frame bottom edge or to the center. In the big room hang them out in any way.

The placing of pictures also depends on their sizes. Big, bright pictures are better to hang up in the eyes level. And small, with less expressive composition should be lower.

If it was considered earlier that the picture composition should correspond to a room functional purpose (in a drawing room - a landscape; in a nursery - a picture with fantastic topic), now designers do not stress on it. The main thing - that pictures caused emotions, conformable to character and a way of life of the owner. It is better to remove pictures, which cause feeling of discomfort, despite their art value.

If the room is oversaturated with furniture, it will be difficult to find place for pictures.

It is preferable to place pictures on walls with one-color wall-paper. Large and bright patterns are incompatible with pictures.

Illumination of pictures should be as much as possible approached to the natural.

How is to hang up pictures correctly?

- If you are going to place some pictures, at first cut out rectangles from a paper and fix them to walls pins. After you are definitively advanced with a choice, make marks in a wall.

- Fix a picture so that the top part has been slightly inclined forward. Then it will be better to look at the cloth.

- The picture will hang straight if instead of one fastening you use two (a cord it is possible to replace with a metal wire).

- On ladders and in small rooms it is possible to hang up a landscape with image of deep water. It will visually make a room more spacious.

- The grey inexpressive room will be recovered by a bright picture, which furthermore can become the composition center.

- Before to hang up a portrait (especially in a bedroom), think, whether it will irritate you.

- To avoid effect of a mirror, use special glass for a picture.

Frame.

Frame for a picture - as if clothes for the person. It should correspond to the size, color of a picture and style of a room. The cloths written in oil are not placed under glass. For modern pictures will be good smooth color frames, and for ancient - carved gilt. Graphic arts are not inserted into wide bronze frames, and usually place on passe-partout. Color of the passe-partout should be in harmony with color of a picture and a frame.

Take good care of your pictures.

Wipe pictures with a pure flannel, clean with a vacuum cleaner with a soft brush or sweep away a dust with a special whisk. Do not forget to do it from a backside also. The grown dull gilt frames will begin to shine as new if to wipe them with flannel moistened in a weak spirit solution.

Like abstract paintings? Searching for a spot to talk about art? You are invited to check out this site - there you can observe, comment on, and order many abstract art paintings directly from the artists at prices that are affordable to most people.

Fortunately we live in the world of digital technologies. It wouldn’t be wise not to take advantage of this really unique opportunity. Current online technologies give us a way to break the borders and search modern abstract art paintings all over the world. Go to social networks, review related topics, participate in online discussions in niche forums. All this will help you keep abreast of the events concerning your interests. And, subscribe to the RSS on this blog not to miss the latest publications on the topic.

Frame development is connected with occurrence of an easel painting - with the Middle Ages, with late Gothic. During an epoch of late Gothic and the early Renaissance, the frame acted as the architectural construction connected with architecture of church and proceeding in architecture of a picture. Ordinary, not the architectural frame, consisting from laths, boards and profiles, appears from the middle of the fifteenth century. During all epoch (especially in baroque) prevailed the gilt frame - magnificent (decorated with a vegetative ornament, images of fruit, the bowls, at first cut out of a tree, then cast of plaster), neutral, softly, but resolutely delimiting a picture from an environment. In bourgeois Holland of the seventeenth century dominated dark (black, brown) frame with simple profiles, natural to dark and warm pictures on tone. Together with impressionists there is a white frame, especially suitable for bright, florid painting.

Old masters were very attentive to a frame, considered its effect in the course of work, and sometimes even painted in a ready frame, considering certain tone and a decorative rhythm of a frame. Therefore, compositions of old masters often very much attract the attention in initial frames. So, for example, the well-known picture of Correggio ?The Night? (now it is in Dresden) makes much stronger impression if to insert it into that frame, in which it has been originally planned by the master (a frame remained in church of St. Prosper in Reggio): the massive, plastic frame underlines depth and dynamics, as though extends a picture; symmetric character of a frame with the allocated central axis underlines asymmetry, contingency of a composition.

Connection between a picture and a frame in Italian, especially Venetian, Renaissance painting is often underlined still by accord of the architecture represented in a picture, with tectonics of a frame, which as though continue one other, for example arcual frame end finds an echo in the arch or a dome of the represented architecture, and thus there is an extreme unity and isolation of impression. At the painters of the eighteenth century inclined to extreme optical illusion, this organic merge of a picture and a frame comes, however, so far that instead of a real frame the picture appears inserted in an illusory, imaginary frame. On the contrary, painters of an epoch of romanticism for achievement of the same purpose often resorted to other method, continuing the image, moving it on a frame in symbolically ornamental images (Runge, Klinger). So there was the mixture of borders leading to loss of a distance with the validity, meanwhile, as the frame should have other validity, than a picture. Supervision over frames of old masters allow to establish one more principle - conformity between a profile and width of a frame and the size of a picture: so, the Dutch painters were in the habit to insert the small pictures into large frames with deep, vertical profiling, which as though attracts a look to the center of a picture and isolates it from any effect of an environment.

Choose correct frame for your art works and it will make them even more expressive.

Can’t live without abstract paintings? Looking for a spot to talk about art? You are welcomed to check out this site - here you can review, comment on, and purchase many abstract art paintings directly from the artists at prices that are affordable to most people.

Luckily we live in the world of high technologies. It wouldn’t be good not to take advantage of this truly unique opportunity. Current Internet technologies give us a way to break the borders and look for modern abstract art paintings all over the planet. Check out different social networks, look through relevant topics, join online discussions in niche forums. All this will help you be well informed about the events concerning your interests. And, subscribe to the RSS on this blog not to miss new publications on the topic.