Neo-pop, neo-pop art or post-pop is a trend in modern painting that arose in the 80s of the XX century as a reaction to conceptualism and minimalism. Neo-pop is not a fundamentally new art movement, but rather represents the evolution of pop art with its interest in consumer goods and celebrities in the world of popular culture, only with icons and symbols of the new era.
Neo-pop is not a fundamentally new art movement, but rather represents the evolution of pop art with its interest in consumer goods and celebrities in the world of popular culture, only with icons and symbols of the new era (Michael Jackson, Madonna, Britney Spears, Paris Hilton and etc.). Continue reading
Metaphysical painting – (from the Greek meta – after and phisika – nature, metaphysics – the science of spiritual phenomena inaccessible to experienced knowledge, the transcendental principles of the world) – a trend in Italian art that arose in 1916 in Ferrara. Its creators were painters Giorgio De Chirico, Carlo Carra, Giorgio Morandi. Subsequently, Morandi and Carra changed their style and de Chirico remained the only leader, in the paintings of which the geometrization and stiffness of forms symbolized “eternity, the metaphysics of time and space”, irrational connections between externally unrelated objects. Metaphysical art was not widespread, but had a great influence on other artists. It was close to symbolism and became the forerunner of another powerful art movement – surrealism. Continue reading
Lyrical abstraction, lyrical-emotional, psychological abstractionism is one of the areas of abstract art, which is characterized by a desire for a direct expression of the artist’s emotional, mental states and improvisational performance. Lyrical abstraction is the European parallel of American abstract expressionism. Other names for this trend are formless painting and tashism.
The founder of this trend was the Russian artist Vasily Kandinsky – a recognized leader and theorist of abstractionism, the basic principles and provisions of which were set forth by him in his works On the Spiritual in Art (1911); “Retrospective” (1913); “Point and line on the plane” (1926). Continue reading