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Interestingly, the word passed from Latin into French with competing spellings as both abstract (closer to the Latin) and abstrait (which reflected the French form of abstrahere, abstraire), the spelling retained in modern French.

Abstraction indicates a departure from reality in depiction of imagery in art. This departure from accurate representation can be slight, partial, or complete. Abstraction exists along a continuum. Even art that aims for verisimilitude of the highest degree can be said to be abstract, at least theoretically, since perfect representation is impossible. Artwork which takes liberties, e.g. altering color or form in ways that are conspicuous, can be said to be partially abstract. Total abstraction bears no trace of any reference to anything recognizable. In geometric abstraction, for instance, one is unlikely to find references to naturalistic entities. Figurative art and total abstraction are almost mutually exclusive. But figurative and representational (or realistic) art often contain partial abstraction.

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Both geometric abstraction and lyrical abstraction are often totally abstract. Among the very numerous art movements that embody partial abstraction would be for instance fauvism in which color is conspicuously and deliberately altered vis-a-vis reality, and cubism, which alters the forms of the real-life entities depicted.[3][4]

Additionally in the late 19th century in Eastern Europe mysticism and early modernist religious philosophy as expressed by theosophist Mme. Blavatsky had a profound impact on pioneer geometric artists like Hilma af Klint and Wassily Kandinsky. The mystical teaching of Georges Gurdjieff and P.D. Ouspensky also had an important influence on the early formations of the geometric abstract styles of Piet Mondrian and his colleagues in the early 20th century.[10] The spiritualism also inspired the abstract art of Kasimir Malevich and Frantiek Kupka.[11]

At the beginning of the 20th century Henri Matisse and several other young artists including the pre-cubist Georges Braque, Andr Derain, Raoul Dufy and Jean Metzinger revolutionized the Paris art world with "wild", multi-colored, expressive landscapes and figure paintings that the critics called Fauvism. The raw language of color as developed by the Fauves directly influenced another pioneer of abstraction, Wassily Kandinsky.

Cubism, based on Czanne's idea that all depiction of nature can be reduced to cube, sphere and cone became, along with Fauvism, the art movement that directly opened the door to abstraction in the early 20th century.

During the 1912 Salon de la Section d'Or, where Frantiek Kupka exhibited his abstract painting Amorpha, Fugue en deux couleurs (Fugue in Two Colors) (1912), the poet Guillaume Apollinaire named the work of several artists including Robert Delaunay, Orphism.[12] He defined it as, "the art of painting new structures out of elements that have not been borrowed from the visual sphere, but had been created entirely by the artist...it is a pure art."[13]

Since the turn of the century, cultural connections between artists of the major European cities had become extremely active as they strove to create an art form equal to the high aspirations of modernism. Ideas were able to cross-fertilize by means of artist's books, exhibitions and manifestos so that many sources were open to experimentation and discussion, and formed a basis for a diversity of modes of abstraction. The following extract from The World Backwards gives some impression of the inter-connectedness of culture at the time: "David Burliuk's knowledge of modern art movements must have been extremely up-to-date, for the second Knave of Diamonds exhibition, held in January 1912 (in Moscow) included not only paintings sent from Munich, but some members of the German Die Brcke group, while from Paris came work by Robert Delaunay, Henri Matisse and Fernand Lger, as well as Picasso. During the Spring David Burliuk gave two lectures on cubism and planned a polemical publication, which the Knave of Diamonds was to finance. He went abroad in May and came back determined to rival the almanac Der Blaue Reiter which had emerged from the printers while he was in Germany".[14]

With his expressive use of color and his free and imaginative drawing Henri Matisse comes very close to pure abstraction in French Window at Collioure (1914), View of Notre-Dame (1914), and The Yellow Curtain from 1915.

And the search continued: The Rayist (Luchizm) drawings of Natalia Goncharova and Mikhail Larionov, used lines like rays of light to make a construction. Kasimir Malevich completed his first entirely abstract work, the Suprematist, Black Square, in 1915. Another of the Suprematist group' Liubov Popova, created the Architectonic Constructions and Spatial Force Constructions between 1916 and 1921. Piet Mondrian was evolving his abstract language, of horizontal and vertical lines with rectangles of color, between 1915 and 1919, Neo-Plasticism was the aesthetic which Mondrian, Theo van Doesburg and other in the group De Stijl intended to reshape the environment of the future.

Many of the abstract artists in Russia became Constructivists believing that art was no longer something remote, but life itself. The artist must become a technician, learning to use the tools and materials of modern production. Art into life! was Vladimir Tatlin's slogan, and that of all the future Constructivists. Varvara Stepanova and Alexandre Exter and others abandoned easel painting and diverted their energies to theatre design and graphic works.On the other side stood Kazimir Malevich, Anton Pevsner and Naum Gabo. They argued that art was essentially a spiritual activity; to create the individual's place in the world, not to organize life in a practical, materialistic sense. During that time, representatives of the Russian avant-garde collaborated with other Eastern European Constructivist artists, including Wadysaw Strzemiski, Katarzyna Kobro, and Henryk Staewski.

As visual art becomes more abstract, it develops some characteristics of music[citation needed]: an art form which uses the abstract elements of sound and divisions of time. Wassily Kandinsky, himself an amateur musician,[26][27][28] was inspired by the possibility of marks and associative color resounding in the soul. The idea had been put forward by Charles Baudelaire, that all our senses respond to various stimuli but the senses are connected at a deeper aesthetic level.

Closely related to this, is the idea that art has The spiritual dimension and can transcend 'every-day' experience, reaching a spiritual plane. The Theosophical Society popularized the ancient wisdom of the sacred books of India and China in the early years of the century. It was in this context that Piet Mondrian, Wassily Kandinsky, Hilma af Klint and other artists working towards an 'objectless state' became interested in the occult as a way of creating an 'inner' object.The universal and timeless shapes found in geometry: the circle, square and triangle become the spatial elements in abstract art; they are, like color, fundamental systems underlying visible reality.

During the 1930s Paris became the host to artists from Russia, Germany, the Netherlands and other European countries affected by the rise of totalitarianism. Sophie Tauber and Jean Arp collaborated on paintings and sculpture using organic/geometric forms. The Polish Katarzyna Kobro applied mathematically based ideas to sculpture. The many types of abstraction now in close proximity led to attempts by artists to analyse the various conceptual and aesthetic groupings. An exhibition by forty-six members of the Cercle et Carr group organized by Joaqun Torres-Garca[30] assisted by Michel Seuphor[31] contained work by the Neo-Plasticists as well as abstractionists as varied as Kandinsky, Anton Pevsner and Kurt Schwitters. Criticized by Theo van Doesburg to be too indefinite a collection he published the journal Art Concret setting out a manifesto defining an abstract art in which the line, color and surface only are the concrete reality.[32] Abstraction-Cration founded in 1931 as a more open group, provided a point of reference for abstract artists, as the political situation worsened in 1935, and artists again regrouped, many in London. The first exhibition of British abstract art was held in England in 1935. The following year the more international Abstract and Concrete exhibition was organized by Nicolete Gray including work by Piet Mondrian, Joan Mir, Barbara Hepworth and Ben Nicholson. Hepworth, Nicholson and Gabo moved to the St. Ives group in Cornwall to continue their 'constructivist' work.[33]

Eventually American artists who were working in a great diversity of styles began to coalesce into cohesive stylistic groups. The best-known group of American artists became known as the Abstract expressionists and the New York School. In New York City there was an atmosphere which encouraged discussion and there was a new opportunity for learning and growing. Artists and teachers John D. Graham and Hans Hofmann became important bridge figures between the newly arrived European Modernists and the younger American artists coming of age. Mark Rothko, born in Russia, began with strongly surrealist imagery which later dissolved into his powerful color compositions of the early 1950s. The expressionistic gesture and the act of painting itself, became of primary importance to Jackson Pollock, Robert Motherwell, and Franz Kline. While during the 1940s Arshile Gorky's and Willem de Kooning's figurative work evolved into abstraction by the end of the decade. New York City became the center, and artists worldwide gravitated towards it; from other places in America as well.[36]

Digital art, hard-edge painting, geometric abstraction, minimalism, lyrical abstraction, op art, abstract expressionism, color field painting, monochrome painting, assemblage, neo-Dada, shaped canvas painting, are a few directions relating to abstraction in the second half of the 20th century. ff782bc1db