In What Way Is Hardedge Painting Distinct From Other Forms of Geometric Art?
Alongside color field painting and post-painterly abstraction, difficult edge painting was introduced to the world of abstract fine art every bit a response to the gestural Abstract Expressionism. Aiming to go towards more precise aesthetics and clearly divers colors, the style was linked with a number of other artistic tendencies, and even entire movements. Although this type of art-making appears to be recurring throughout the history of the arts and in numerous cultures, information technology was given a proper noun in 1959, when Los Angeles Times fine art critic Jules Langsner noticed its heavy reappearance in the abstract work of a group of Californian painters. In fact, hard edge painting is a term that came to depict a tendency applied in the artworks of unlike Modern and Gimmicky artists across many movements.
Video Playlist - Difficult Edge Painting
Redefining Dazzler - The Characteristics of Hard Edge Painting
Opposite to the gestural nature of Abstract Expressionists like Willem de Kooning and Jackson Pollock, hard edge painters strived towards a more than geometric art. Their forms are painted with bold, unremarkably unvarying color and separated between them with solid, difficult edges - hence the name of the style. The chromatic surface of the unabridged canvass becomes neat, precise and devoid of whatsoever incident, with each expanse being clearly defined and well-nigh entirely impersonal. The style eventually led to a complete absenteeism of brushstrokes and a strong dedication to precipitous limerick, which was to exist single, unitary and bearing uniform hues. Instead of emotion or spirituality, hard edge painters incorporated formal elements like lines and shapes, focusing on their structure and the overall design of their artworks. Every bit such, the way was related to other similar genres such as Op art, kinetic abstraction, geometric abstract art, ABC art, Cool art, non-gestural painting, non-relationalism, abstract mannerism, precisionism…
Substantially, abstruse art in general stood to prove that artworks do non simply have to describe the usual topics like people and nature, with a firm grip on reality and everything representational. When Abstruse Expressionism introduced emotion every bit the sole drive of the artists, hard border painters considered it simply "as well emotional", as well gestural. What their kind of abstraction strived to be is orderly, formal, classic, where all that matters was course, line, colour and their ain interaction. Because of these characteristics, difficult-edge painting went to inspire Minimalism besides, a movement which relied on aesthetic formalism not just in painting, but also sculpting, installation, video art…
The Seminal Exhibitions
Although hard border painting became widespread in the 1960s, it was mostly present in California, where artists like John McLaughlin, Lorser Feitelson, Karl Benjamin, Frederick Hammersley and Feitelson's wife Helen Lundeberg created both figurative and non-representational artwork. In 1959, the aforementioned Langsner curated the first exhibition of their pieces, shown at the Los Angeles County Museum of Fine art before traveling to England and Ireland. Also referred to as California Hard Edge, the evidence work was described as featuring "economy of class", "fullness of color" and "neatness of surface", gaining popularity in other corners of the U.s.a. and even in Europe. In 1964, Langsner introduced yet another exhibition of the manner, this time calculation artists like Larry Bell, John Coplans, June Harwood and Dorothy Waldman. Several decades later, Los Angeles continued to honor i of its nigh recognized tendencies in fine art, with exhibitions at Tocey C. Moss in 2000, Louis Stern Fine Arts and NOHO Modern in 2003, the Otis Art Establish in 2004…
Below, take a look at the most famous examples of difficult-edge painting in history.
Colourfield, Minimal, Difficult Edge and PostPainterly Abstruse painting had a distinctly American (and New York) flavour to it, fifty-fifty if information technology was not produced in America or by US artists. In Bruce Glaser's "Questions to Andre and Judd", Donald Judd continually stressed the point that the new (Minimal) art was definitely American and non-European. Time and again Judd insisted that the new art was to trying to get away from the European tradition. 'It suits me fine if that'south all down the drain', Judd said. 'I'thousand totally uninterested in European fine art and I recall it's over with.' Many of the Colourfield and Sixties painters take fabricated extremely brilliantly colourful works in the 1960s, and so turned back to the sombre colours of gray and black in the late 1980s and 1990s. Fully illustrated, with notes and bibliography.
Kasimir Malevich - Black Square, 1915
The legendary Black Square and the star of the Suprematism movement, the artwork past Kazimir Malevich certainly represents ane of the major examples of hard edge painting, even though information technology wasn't created during the highlight years of the mode. Perhaps still the about talked about painting in the world, Black Square was described every bit the "aught point of painting", a piece that dismantled the technique and the meaning of art every bit we knew information technology. Its historical significance is highly relevant fifty-fifty today, and information technology was recently discovered it was painted over a more complex and colorful limerick.
Featured image: Kasimir Malevich's Black Square at Tate Modern. Photograph by Micha Theiner
Piet Mondrian - Composition with Xanthous, Blue and Red, 1937-42
Eliminating curved line from his practice entirely, Piet Mondrian contributed to a new class of rigorous abstraction chosen Neo-Plasticism, besides known every bit De Stijl. Without depicting a discipline, the Dutch artist also limited himself to horizontal, vertical and to a higher place all straight lines, which would come to give boundaries to primary colors only. His globally famous compositions aimed to reflect a greater, universal truth across everyday appearance, and in a fashion they have influenced the practitioners of difficult-edge painting also - although the latter is a bit less strict.
Featured image: Piet Mondrian - Composition with Yellow, Blue and Red, 1937–42. Epitome via Wikipedia
Karl Benjamin - Blackness Pillars, 1957
Together with the works of the difficult-edge painters of the original group of seven, Karl Benjamin's Blackness Pillars was besides part of the traveling exhibition titled Nascency of the Absurd in 2008, organized by the Orange County Museum of Art. One of his signature artworks, it employs a curious colour palette and unusual forms, although the uniformity of hues remains within what nosotros're used to. According to the critics, the artist was doing nada more than playing with opposing colors and forms to create a visually engaging motion picture. The result surely is dynamic and quite outstanding.
Featured image: Karl Benjamin - Blackness Pillars, 1957. Image via Wikipedia
John McLaughlin - Y-1957, 1957
John McLaughlin 's Y-1957 is one of the earliest examples of difficult-border painting, created fifty-fifty before the term itself. He belonged to the California painters of the style, although he was perhaps the least famous of them. Yet, his command of color and composition was immediately recognized past curator Langsner, who exhibited his works at the showtime show defended to hard-edge works. McLaughlin's fascination with stripes and firm blocks of color connected later besides.
Featured image: John McLaughlin - Y-1957, 1957. Image via radicalart.info
Ellsworth Kelly - Broadway 1958
In an homage of a kind to one of the about famous New York avenues, Ellsworth Kelly tricks united states of america for a second into thinking we're looking at a Marker Rothko painting. Instead, information technology is a perfectly flat canvas covered in red, whose edges were cropped to imply perspective; the picture plane ends upward suggesting flatness and three dimensions at the aforementioned time. Other works in the series in honor of the city are titled Wall after Wall Street and North River, another proper name for Hudson River.
Featured image: Ellsworth Kelly - Broadway 1958. Paradigm via Wikiart
Frederick Hammersley - Opposing #15, 1959
In Opposing #15 past Frederick Hammersley , while the geometric forms seems to exist in rest, the colors seem almost random, and are mainly primaries. For many difficult-edge paintings, the relationship betweek color didn't affair, as long every bit they were individually rich and saturated, defined by articulate lines and evoking flat surfaces. This artwork seems to be the perfect instance of this theory.
Featured epitome: Frederick Hammersley - Opposing #xv, 1959. Image via Wikiart
Advertizement Reinhardt - Abstract Painting, 1960-66
Between the years 1953 and 1967, Ad Reinhardt focused exclusively on his now signature black paintings, which could be described as quite inspired by the same Black Square by Malevich. What the creative person wanted to reach is, in his own words, " a free, unmanipulated, unmanipulatable, useless, unmarketable, irreducible, unphotographable, unreproducible, inexplicable icon". Needless to say that he certainly succeeded, making us question our ain perception.
Featured image: Ad Reinhardt - Abstract Painting, 1960-66. Prototype via guggenheim.org
Kenneth Noland - Drought, 1962
Between 1958 and 1962, mail service-painterly brainchild creative person Kenneth Noland executed a series of target paintings, characterized by their round shape and incisive colors. Through these works, Noland sought the effect of rotation, giving the work a sense of iii-dimensionality as well, with a slight blur of the outer frame circumvolve. Instead of intensifying the feelings, he chose to evoke visual impact of the piece, which he successfully managed.
Kenneth Noland - Drought, 1962. Epitome via Wikipedia
Frank Stella - Harran Two, 1967
Coming from a man who gave life to uncomplicated paintings of black stripes separated by other strips of unpainted areas came the 1967 Harran Two, which takes its name from the ancient city in Asia Small-scale. This Frank Stella artwork is a geometric wonder, defined by circular and curvilinear shapes and pairs of horizontal and vertical lines that intersect at the right angles, filled with almost psychedelic color. What this piece represents is a unity between abstraction and decorative pattern painting which shook the concepts of both traditions.
Featured image via guggenheim.org
Robert Irwin - Untitled, 1969
He was inspired by hard-edge painting to the point where he experimented and re-interpreted information technology within iii-dimensional infinite. Robert Irwin and his 1969 Untitled piece from the disc serial, play with perspective and light using the ideas of hard-edge, post-painterly abstraction and even color field painting, giving us an opportunity to interact with shapes, lines and form of the artwork itself in a brand new manner.
Featured paradigm: Robert Irwin - Untitled, 1969. Image via highlike.org. All images used for illustrative purposes only.
Source: https://www.widewalls.ch/magazine/hard-edge-painting
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