Geometric abstractionism (other names – cold abstraction, logical, intellectual abstractionism) is a trend in abstract art based on the creation of art space by combining various geometric shapes, color planes, straight and broken lines.
Geometric abstraction grew out of the quest for the Cezanne field and the Cubists, who were the first to follow the path of deformation of nature in search of a “new reality”. She had a number of branches. In Russia, it was M. Larionov’s rayism, which arose as a kind of reaction to the latest discoveries in physics; “Lack of objection” by O. Rozanova, L. Popova and V. Tatlin, which later grew into constructivism; K. Malevich’s supermatism, in which objectivity was seen as “a new pictorial realism”; in France, partly the Orphism of Robert Delaunay; but its main representative was the Dutch group “Style” (“De Steyl”) led by P. Mondrian and T. Van Dusburg, who put forward the concept of neoplasticism – the art of pure plastic, whose task was to cleanse nature from the illusory diversity and expose it lurking in it primary circuit.
Geometric abstraction, having a significant impact on the formation of modern architecture, the development of design, industrial, decorative and applied art, remained the dominant trend in art until the end of World War II. In the 1950s The “lyrical currents of abstractionism” (tashism, abstract expressionism) come to the fore. However, in the 1960s, with the advent of minimalism about op art in the art arena, geometric abstraction takes a second birth.
Masters of geometric abstraction: Kazimir Malevich, Mikhail Larionov, Olga Rozanova, Lyubov Popova, Robber Delaunay, Pete Mondrian, Theo Van Dusburg, Josef Albers, Frank Stela, Jules Olitsky, Victor Vasarely, Bridget Riley.