Geometric abstraction, an artistic movement that emphasises the use of geometric forms in art, is an intriguing aspect of art history where simplicity and complexity seem to merge and the focus is on the harmony of the forms in the individual work. This movement really gained traction in the 20th century and diverged from the representational tradition of painting to produce works that are more abstract and focused on form and colour. Artists such as Piet Mondrian, Kazimir Malevich and many others pioneered using geometric forms to explore concepts of harmony, balance and beauty. Their work also creates a dialogue on the themes of unity, cosmos, the quest for knowledge and they reflect the connection between geometric principles and symbolic meanings.
Piet Mondrian:
Dutch painter and theoretician, Piet Mondrian, was a pioneering figure in the development of the 20th century abstract art movement. Originally working mostly with landscape paintings Mondrian evolved his style to become a founding member of De Stijl, an artistic movement that focused on expressing a new utopian ideal of spiritual harmony and order through the reduction of art to basic forms and colours. Mondrian went on to develop his own iconic style called ‘neoplasticism’ which was characterised by the use of straight lines and a colour palette consisting of primary colours alongside black, white and grey. By distilling visual elements to their purest forms, he believed that art could mirror the underlying spiritual reality of the world and be a visual manifestation of philosophical principles.
Mondrian’s was inspired by geometry because he saw it intertwining with his philosophical beliefs, particular his personal influence by Theosophy, a spiritual movement that sought to explore the underlying unity of the universe. Because of this, the straight line and the right angle, to him, represented the harmony and order inherent in the universe, and the geometric abstraction found in his work, is also symbolic of the balance and purity that he saw as fundamental to the natural world and human existence. Ultimately, Mondrian’s work invites viewers to contemplate a world beyond physical appearances, where the concepts of universal harmony and balance rule and prevail.
Kazimir Malevich:
A radical Russian painter and art theoretician, Kazimir Malevich is most well-known for founding the Suprematist movement in the early 20th century. This movement sought to explore the supremacy of pure artistic feeling and response over the representational depiction of objects. This led Malevich to concentrate on utilising basic geometric shapes in a limited colour palette. An example of this is his work “Black Square”, a black square painted on a white background, which symbolises the zero point of form and the beginning of a new era of art that is entirely free from the burden of object representation. Artworks such as “Black Square” showcase Malevich’s aim to access the infinite and the absolute, transcending the physical world to question and contemplate the spiritual world.
Malevich saw geometric shapes as the fundamental building blocks of his artistic language and that they were filled with symbolic meaning, reflecting his vision of a higher order and the unity of all things. For example, the square symbolised feelings of stability and tranquillity, whilst the circle represented the infinite and the eternal. As such, his work is a visual manifesto of his philosophical beliefs, where geometry can be seen as a means to explore and express the quest for truth and to answer questions regarding the human experience. Through Suprematism, Malevich challenged his viewers to perceive beyond the aesthetic and material world, inviting them into a space to contemplate pure feeling and abstract thought.
Bridget Riley:
British painter, Bridget Riley is celebrated for her contribution to the OP Art movement and her meticulous arrangement of geometric shapes, lines and colours. Riley’s artwork utilised colour palettes of either black and white or vibrant colours to create illusions of movement, light and space, and engage the viewer’s visual perception. However, unlike artists who employ geometry for its symbolic content, Riley utilised geometry in her art to investigate and articulate the idea of ‘seeing’. In exploring the fundamental principles governing visual perception Riley’s work delves into how geometric forms, used in carefully considered compositions, can manipulate depth, motion and colour to create visual experiences for the viewer. Her work is an exploration of how we can see and how visual stimuli can evoke a profound emotional response, and as such Riley has showcased how abstraction can be used to express the complex relationships between form, colour, perception and emotion.
Carmen Herrera:
Carmen Herrera is a Cuban-American minimalist artists who emerged as a key figure in the post-war art scene. Her work is characterised by its striking simplicity, clean lines and bold use of colour with a geometrical composition. Working across a variety of mediums her work aims to strip away all distractions to focus solely on the relationship and interaction between form and colour.
Herrera’s inspiration in geometry was not based on aesthetics but instead the want to explore the visual and emotional impact of form, space and colour. Her geometric compositions, often focus on contrasts and a limited colour palette to showcase ideas of balance, harmony and the beauty or appeal of simplicity. In her work, geometry acts as the abstract language through which visual perception is explored, and it attempts to draw out a raw emotional response from the viewer. Through the precise organisation of geometric shapes and the careful consideration of spatial tension, Herrera utilises her art to invite viewers to engage in a contemplative experience, reflecting on the connection between art and life.
Dana Awartani:
Dana Awartani, a Saudi Arabian artist, is known for her mesmerising works that combine traditional Islamic art and contemporary artistic sensibilities, and that create dialogues between past and present. Her work is deeply rooted in the rich heritage of Islamic geometric patterns, which she brings to life through a variety of different mediums, with a precise degree of execution. Awartani brings her work to life with handmade pigments and traditional techniques, showcasing a high-degree of respect for the historical practices of Islamic art and inviting viewers to explore the spiritual and philosophical depths of Islamic geometric patterns.
Awartani’s inspiration in geometry goes beyond mere admiration for its symmetry and balance, and instead focuses primarily on the symbolism and metaphysical aspects that these patterns represent in Islamic philosophy. The symbolism embedded within her geometry is multilayered and highlights the concepts of infinity, the nature of existence and the interconnectedness of creation. Through her art, Awartani invites viewers to contemplate and discuss the significance of the spiritual lessons that are seamlessly encoded in these ancient geometric patterns, offering a bridge between tangible beauty and intangible truths.
The Allure for Art Collectors:
Art collectors seem to be fascinated with geometric abstraction for several different reasons, including the universality of the symbols utilised and the precision in the artistic technique. The universality of geometric forms and their ability to convey conceptual and emotional metaphors allow these artworks to resonate with a wide audience regardless of cultural and temporal boundaries. As such collectors are drawn to the timeless, simple beauty and the intellectual engagement offered by these works.
Furthermore, the precision and often mathematical rigor behind geometric abstraction appeals to collectors who appreciate the intellectual challenge and almost aesthetic purity these artworks present. The overall interplay of form, colour and space in each geometric composition offers to one’s eye a visual harmony that is both stimulating for the mind and emotionally satisfying to look at.
Conclusion:
The exploration of geometric abstraction reveals how artists use geometric forms not just as visual tools but also as metaphors for exploring deeper symbolic meanings and universal concepts. The work of the artists explored in this article invites each viewer into a contemplative space where art and mathematics, emotion and intellect, the finite and the infinite all intersect. This enduring fascination with geometric abstraction, both among artists and collectors, underscores the human quest for understanding and the timeless allure of harmony, balance and beauty.