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Abstract Surrealism has always been one of those smaller "rooms" off at the back or side, that's not always talked about or widely celebrated, but where wonders exist and categorization is confounded. One of the great Surrealists, Max Ernst, was a Master of the form.
Over the years I've derived a lot of inspiration from his Abstract Surrealist pieces and continue to do so. Ernst ventured quite far into pure abstraction as well, but art theorists and historians don't seem to like to use the word abstraction when talking about Ernst or the other historical Surrealists. Yet, Ernst was quit an accomplished abstractionist. Pieces like "Birth of a Galaxy" and "33 Children Chasing Butterflies" are prime examples.
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In the next little while I'm going to be taking threads from all the styles I've worked with these past few years and employing them all, to varying degrees, in the service of abstraction. Particular emphasis will be placed on Pano-Sabotage, otherwise called by me - "TumbleWorld".
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Music Link: "Meadow of Infinity Pt1 / The Glass Bridge / Meadow of Infinity Pt 2" - Peter Baumann, from his album "Romance'76". Baumann was one of the earliest members of the infamous, 70's, German electronic outfit, Tangerine Dream. "Romance" was his first solo album, recorded shortly before his departure from the band.
Whereas Tangerine Dream were known for their big, swelling, gothic, Wagnerian "washes", Baumann's first outing showed a different sensibility - one that was stripped back and pared down to almost icy clarity and a more "chamber" feel in his arrangements.
This suite here has always been a favourite musical piece of mine to dream by, to imagine with. Baumann's seamless and cutting edge blend of advanced electronics combined with a few cellos, some percussion and a small choir makes for some mysterious and atmospheric imagining. Turn it up, and the lights down.
www.youtube.com/watch?v=mPIqwPW1YfE
Click in Image to Enlarge !
© Richard S Warner ( Visionheart ) - 2015. All Rights Reserved. This image is not for use in any form without explicit, express, written permission.
Yale Daily News: “YaleBleeds champions menstrual equity and social justice on campus and beyond”
yaledailynews.com/blog/2024/11/14/yalebleeds-champions-me...
“Co-president Maddy Corson ’26 led the abstractionist painting workshop using colors most associated with period blood, textures and smells. She said the event was held to facilitate engagement between students and for Yalies to focus on their identities as ‘menstruators.’”
Proverbs 3:35 “The wise will have glory for their heritage, but shame will be the reward of the foolish.”
An Homage to one of my very favourite artists, Surrealist, Max Ernst ( 1891-1976 ). Ernst's artistic achievements started in original Dada, moved into Surrealism, which in both fields he was a key and influential leader. Later he ventured into abstraction, collage, and sculpture with incredible results. Whatever this consummate artist turned his vision on resulted in unforgettable and highly accomplished imagery.
I wanted this homage to not only collage his work but to also have the look and feel of an "Ernst". Max Ernst himself was a highly accomplished collage artist and he also often worked in multiple planes, long before digital layering. Even my looping lines reference paintings of Ernst's such as, "Young Man Intrigued by the Flight of a Non-Euclidian Fly" ( 1942/47 ) and "The Bewildered Planet" ( 1942 ).
Ernst's work can be hauntingly beautiful, quietly disturbing, wonderfully innocent ( "33 Little Girls Chasing Butterflies", 1958 ) or deeply cerebral. His abstraction has never been recognized for it's high degree of accomplishment, placing him, in my opinion, as equal to any of the great European Abstractionists, the American Abstract Expressionists and the Post "Ab-Ex" painters of the 60's and 70's.
In the "Award Tree" group's challenge "Famous Painters".
Provenance, going left to right:
- "The Anti-Pope", 1941 - Peggy Guggenheim Collection, Venice.
- "The Temptation of St. Anthony" 1945 - Wilhelm Lehmbruck Museum, Duisburg.
- "L'Oeil du Silence" 1943/44 - Washington University Art Gallery, Saint Louis, MO.
- "Birth of a Galaxy" 1969 - Galerie Beyeler, Basle.
- "Un Capricho de Venus" - Date & Provenance unknown.
- Photograph of Max Ernst, Frederick Sommer, 1946
Ernst strongly believed that making art was an entirely new venture with each new piece. He felt that an artist that knows what they want exactly and stays strictly to that idea, is not an artist. An artist must be prepared to accept and incorporate what comes out of the process of making each piece, the surprises and the accidents. In that Max Ernst was true to the Surrealist spirit of the time that sought to give complete allowance for the expression of the sub-conscious. That made him a both an accomplished painter but also a great improvisor. His aesthetic can be summed up in his statement:
"Blind Swimmer, I have made myself see. I have seen. And I was surprised and enamoured of what I saw" - Max Ernst.
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© The finished, whole collage - Richard S Warner ( Visionheart ) - 2017. All Rights Reserved. This image is not for use in any form without explicit, express, written permission.
This image is made up of individual paintings by Max Ernst, the provenance of which is listed above. The current artist makes NO claims to any of that work whatsoever. This "collage" is in honour of Max Ernst. No monies will come from this project.
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* - See my Galleries featuring some of the best of Flickr's purely Abstract Art at:
Suprematism is an early twentieth-century art movement focused on the fundamentals of geometry (circles, squares, rectangles, triangles). The term refers to a form of abstract art based on the supremacy of pure artistic expression rather than on a visual or literal depiction of objects. It is entirely subjective and gives room for the artist to present what they think or perceive versus what they may see.
"I'm not an abstractionist... I'm not interested in the relationship of color to form or anything else... I'm interested only in expressing basic human emotions - tragedy, ecstasy, and so on. And the fact that a lot of people break down and cry when confronted with my pictures shows that I can communicate those basic human emotions... The people who weep before my pictures are having the same religious experience I had when I painted them. And if you are moved only by their color relationship, then you miss the point." - Mark Rothko
According to Mark-Rothko.org, he used "rectangles and luminous colors to evoke varied moods and emotions to the ones looking at these paintings." The organization recommends that viewers "study his works at a very close range" so they can feel and empathize with the emotions provoked by the paintings.
Read more about Mark Rothko at www.mark-rothko.org
2017APR28 SLYNNLEE-131947
Separation. Displacement. Asunder.
A boundary. A union. A contradiction.
Diremptio is incongruity and antithesis, in agreement; two planes in the same space separated by form, shape, color, depth, meaning; each a stilled moment in its own time joined in common boundary by a contrary moment, like fingerprints on a window, unique, separate, together.
An ongoing series.
Second in a small series utilizing geometrical elements found in stock image banks online ( Google, Bing ).
Titled after a piece by Canadian pioneering abstractionist Lawren Harris. Harris was a member of the hugely significant "Group of Seven", national treasures in this country. But Harris was different from his colleagues. He secretly espoused adherence to a religio-philosophical system called "Theosophy", a bizarre 19th century hodge-podge of Western occultism, Ancient Greek philosophy and a very, very distorted and incredibly naive, imagination-based, cherry picking of Eastern ideas. Nonetheless, it was a favourite of late 19th and early 20th century intellectuals and eccentric aristocracy. It hasn't aged well in the 21st century now that the very rigorous and complex philosophies of Eastern disciplines such as Buddhism, Hinduism and their Tantric offshoots have been widely translated and feature strongly in tough academic circles.
Harris was influenced mostly though by the Platonic and Neo-Platonic aspects of Theosophy involving higher, more abstract and ideal forms. Like Piet Mondrian and Wassily Kandinsky, he sought to demonstrate, through art, ideal or archetypal shapes, forms.
When I finished this piece I saw that it had a rather "Lawren Harris feel" to it. Hence the homage .
Image created May 27, 2022
Zoom in for a more detailed and immersive view.
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© 2022, Richard S Warner. All Rights Reserved. This image may not be used or copied or posted to another website in any form whatsoever without express permission of the creator of this work, with whom the sole copyright resides.
“We are what we hide.” I read that somewhere. Must have been sometime ago. Or maybe I wrote it myself. From experience. I’m not really sure, but I know its truth. Our fallen hearts spin artifacts of fear; confining, hiding, confusing, obscuring. Betraying neighbors and friends, family, lovers, with only ever the partial glimpse, a pretense, or a parade. In the end, a fraud. I read that somewhere. Or maybe I wrote it myself. From experience. •• Apps used: Snapseed, iColorama, Stackables, Aerograph, SuperimposeX, BigPhoto (photo credit for male face: Unsplash)
Brutalism • Reimagined
Brutalist architecture is one of the most controversial styles of architecture to exist. It’s what people imagine when they think about what a prison looks like, with its cold and imposing exterior. Brutalism is also what people typically picture when they think of government buildings or schools built in the 1950s-1960s.
Brutalist style is known for its heavy, imposing appearance. If there’s one word that can sum up the entirety of brutalism, it’s the word “concrete.” The style came as a response to the sleek and polished Moderne style popular during the early 20th century.
(www.immerse.education/university/what-is-brutalist-archit...)
Stockholm city, Sweden.
I have just started "colouring in" some of my abstract work, i.e. adding new colours to the original shot. There are some fantastic colour abstractionists here on flickr working like that and they are a constant inspiration to me. Please pay a visit to the uncrowned queen of colour abstracts, caeciliametella.
Just Like Magic - - Art By China Alicia Rivera
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Reality imitates art: no digital creations, just reflections in curved shiny surfaces (diptych, scroll left-right with the side arrows).
Separation. Displacement. Asunder.
A boundary. A union. A contradiction.
Diremptio is incongruity and antithesis in agreement; two planes in the same space separated by form, shape, color, depth, meaning; each a stilled moment in its own time joined in common boundary by a contrary moment like fingerprints on a window, unique, separate, together.
An ongoing series.
Radiant Love - Art By China Alicia Rivera
*Twitter: twitter.com/photoshopflair
*Linkedin: www.linkedin.com/in/photoshopflair
*Instagram: instagram.com/photoshopflair
*Website: photoshopflair.com
My Summer 2020 project is to return to painting - abstract painting specifically. I developed my "mature style" while at art school which involved a variation of the poured painting style of American Abstractionist Morris Louis. Using his innovation as a jumping off point I took the idea and method into different territory.
Compositionally I was strongly influenced at the time by another American Abstractionist - Jules Olitski. His strong acknowledgement of the "edge", often, in his 'classic' period of the 70's and early 80's became one of his signature trademarks. He also created a fantastic and unprecedented innovation of his own whereby the main body of his canvases were diaphanous fields of gradually shifting clouds of colour what were activated or charged by the intensely emphatic brush strokes and impasto contrasts along the very edges.
Olitski's work, especially after having seen a lot of it in person, made a deep and permanent impression on my compositional sensibilities. That influence lasts until this day.
Not overly obvious in this particular work, but that importance of the edge is present in everything I did as a student and into my post-graduate work. After a long stretch away from painting, that, and other 'Olitskian' techniques, still inform what I'm doing.
Acrylic on canvas. 12"x12".
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© 2020, Richard S Warner. All Rights Reserved. Neither this image or any part of it is to be used or copied in any way without the express written consent of the Artist.
Separation. Displacement. Asunder.
A boundary. A union. A contradiction.
Diremptio is incongruity and antithesis, in agreement; two planes in the same space separated by form, shape, color, depth, meaning; each a stilled moment in its own time joined in common boundary by a contrary moment, like fingerprints on a window, unique, separate, together.
An ongoing series.
Reality imitates art: no digital creations, just reflections in curved shiny surfaces (diptych, scroll left-right with the side arrows).
“We are what we hide.” I read that somewhere. Must have been sometime ago. Or maybe I wrote it myself. From experience. I’m not really sure, but I know its truth. Our fallen hearts spin artifacts of fear; confining, hiding, confusing, obscuring. Betraying neighbors and friends, family, lovers, with only ever the partial glimpse, a pretense, or a parade. In the end, a fraud. I read that somewhere. Or maybe I wrote it myself. From experience. •• Apps used: Snapseed, iColorama, Stackables, Aerograph, SuperimposeX, BigPhoto (photo credit for male face: Unsplash)