Abstract art plays around the emotions from the artist completely. Since emotions can be very lucid ideas, abstract art is known to be unrecognizable to something based in normal reality. In a well done abstract piece the viewer can “feel” a presences within the painting. Abstract art is extremely spontaneous in nature.

After i paint abstract art I do my better to begin with a minimum of three different colors. These colors can be complimentary or opposite around the color wheel. This relies on what I wish to possess the viewer feel and experience. Do I want bright colors which are so opposite they vibrate when you see them? For example green and purple, yellow and blue. Or do I want colors that harmonize when you take a look at them causing your eyes to move inside a soothing pattern over the canvas? There isn’t any wrong or right way to color abstract art since there is no wrong or proper way to feel while painting it.

- Emotions

Emotions are the key ingredient for abstract art. What’s the artist feeling? Is he feeling angry, sad, for each other, from love, inspired, aggressive? Mood can be greatly effected on the habituates a artists takes and doesn’t take. Artists have experienced an extended track record of using outside stimuli in the form or alcohol, weed, pills etc. I don’t accept this and I do not disagree with it. I am also not to imply every artist uses. But I will say that lots of great art continues to be inspired and created under the influence and sober. What exactly does this mean? Emotions are type in creating art, sad or happy, drunk or sober whatever state the artist is in will influence the outcome of the piece.

- When you should stop, Less is more

After i paint abstract art, I feel as though I wish to put subject matter on it, a flower, bird, person, building, etc. an attractive background I wish to put something which defines a picture. Most of my art I combine things i am feeling with what I see or am inspired by. However I feel the real challenge in producing a great abstract piece is understanding when to stop, when you should say “enough”. Abstract art can be as simple like a black and white painting and also have a few powerful brush strokes. It may be minimal in construction and design. The artist says more with less words, less strokes know more by utilizing the empty space that now just exists. When using less is much more in abstract art it begins to become another thing, modern paintings.

- Less Is much more, however, many times More is much better

When I am painting abstract art I try to challenge myself in making use of less. Meaning how do i create a powerful piece of art through the use of the empty space that’s around the canvas? Say more by saying nothing, paint more by using the paint to accentuate the emptiness giving it form. But the opposite exists as well. The number of layers can I use? I ask myself. For me layers of paint mean layers of emotion. So when I wish to have an overabundance, I ask “how many layers can I have?” “How many layers can I build?” “How much more color and texture can there be?” I build layers similar to a sculptor would take away to expose the hidden form however with layers I increase define dimensions, texture, shape. This conveys emotion.

- Abstract Art where does it come from?

My pieces of art combine a part of the undefinable, the unknown the abstract. I combine my pop art, surrealism, modern art and abstract art together to create my individual style. Abstract art is fun. It allows me look around the subterranean levers of my psyche. When i dump colors, use brush strokes, thick gobs of overlaying paint, my thoughts travels. It travels to a place that may be only explained with the finished product. This allows me to produce hidden layers of myself will be able to not reach without participating in the artistic action of painting. Abstract art is the reflection of the inner mind.

Words serve to label sensory perceptions so that different people can create common understandings. The definition of a thing often summons to mind a particular group of pictures that literally allows different people to determine what the word means.

A thing has its greatest value, whenever we can associate a corresponding picture by using it. Consistent, unambiguous word-and-picture associations create the clearest understandings. However, if your word’s meaning relies primarily on other words, then the word has less value as a tool for helping people create such understandings.

Etymology handles the history of words, the true meanings of words, and just how the uses of words become established over time. I suggest that true meanings of words and good uses of words depend critically on consistent pictures. I further suggest that the clearest etymology depends on consistent word-and-picture associations. In this way, vision strengthens verbiage, and verbiage strengthens vision. Consequently, as we come with an chance to establish a strong visual concept of a thing, then we are a good idea to make the most of this chance.

A thing About Art

Through the history of visual art, variations have emerged with various names. “Classicism”, “impressionism”, “cubism”, “pointillism”, and “abstract expressionism” are several examples. These words of styles have become established through fairly consistent associations with the pictures they categorize. I have suggested another word, “fluidism”, to describe a particular class of paintings that share a definite, common objective-to present the patterns of fluid dynamics as works of art. Transpire has been to select a word that many truthfully names this group of art works.

Additional artists have independently chosen this word to categorize their very own art styles which are quite different from one another. Elsewhere I have suggested these artists do little to establish a clear etymology for the word.

I’ve also pointed to some number of artists who clearly contribute to the category of artworks most fitting for that name, “fluidism”:

Roxanne Regan-Briggs (contemporary painter)
Pery Burge (contemporary photographer)
Robert Dickman (contemporary artist)
Leo De Goede (contemporary painter)
Robert Kernodle (contemporary painter/photographer)
Rein Nomm (contemporary painter/photographer)
Chris Parks (scientist/artist)
Don Petit (space shuttle astronaut)
Frank Pietronigro (zero-gravity drift painter)
Jackson Pollock (famous abstract expressionist painter)
Ella Sipho (contemporary painter)
Suminagashi (ancient marbling artists)
Martin Waugh (contemporary photographer)

The preceding artists share a typical objective, even though they aren’t necessarily familiar with one another. They present the best physical substances of fluids themselves.

Well, a very loose definition of a great artwork is it has to possess a certain ‘je ne sais quoi’, something inexplicable that captivates us, moves us, or pleases us. It needs to be something quite hard to explain., hard to define and hard to explain.

Being an artist, I wanted to research this matter further and analyze this mysterious trait of the items makes a painting great. It was vital that i can understand this, when i thought about being in a position to create great paintings.

After studying art for quite some time I continued conducting my very own research into this, through my work, and eventually reached the following conclusions:

- A great painting should have powerful visual content and incredibly often also an emotional one. Both of them are important, and the mixture of both of these elements is important if you being an artist desire to create an incredible painting. And since we’re coping with visual art, I believe the visual side is more important.

In other words, when the aesthetic side is neglected, the work is not going to be a great masterpiece. For instance, a painting of the cat is going to attract us because we like cats, therefore it will address to the emotions- but we only likely to consider it an excellent painting it if it will be painted inside a skillful and original manner. A painting of ocean waves will attract our attention because we’re so captivated by greatness from the ocean but we are only likely to enjoy it for the way the artist has treated the topic, how he used various colours and textures to present it to us.

We’ll also appreciate a more abstract canvas which does not necessarily have an emotional content, however it indulges our eyes with a variety of interesting textures, lines, shades, contrasts. Thus, one can produce a fantastic artwork without necessarily addressing our emotions but simply our senses. And, I do not believe that the lack of an idea behind such painting will make it a less valid artwork

Because it is called visual art the aesthetic side of the painting is more important then the emotional one. These days, many contemporary artists encouraged by formal contemporary art institutions will exhibit ordinary objects, like old dirty boots, old and rusty working tools, as well as other mundane or even disgusting items and call them ‘artworks’. You are able to sometimes get in an exhibit of contemporary art a pile of stones, or…bricks or just some old papers exhibited being an artwork….Others exhibit gruesome, distorted animal parts, or other shocking objects trying to convey some dark and depressing messages.

Even though this is undeniably a type of communication, and it may make an in-depth impression around the audience, surely that this isn’t real art but instead desperation. Perhaps desperate tries to be remembered being an artist by shocking the crowd, desperately trying to do something original. Other contemporary artists appear to have abandoned art altogether and they just use it as an excuse to unload themselves of personal nightmares along with other negativity… Such attempts to enroll art to share such ideas and messages often end up not producing quality art, because the need for the aesthetics is overlooked. They may produce shock and scandal, and get questionable and temporary fame, nonetheless they might not survive the test of time.

One serious problem with starters is, where will i begin? There are a lot of art disciplines and I don’t know how to start. Do not concern yourself. You can begin with whatever you are interested in probably the most. For example take acrylic painting. It’s a good discipline to start with because its relaxed and free-flowing. But before you can begin making art, you must have the necessary materials first. I have listed some of the most basic necessities in acrylic painting. How to use them may also be included so that you can decide how helpful they will be in your painting.

1. Colors – OK, so painting wouldn’t be painting without colors. You don’t have to buy the whole rack of colours for this one. Just obtain a few reds, yellows, blues, some whites and grays. You have to remember though that some paints could be hazardous as it pertains in contact with your skin which means you have to try them out first.

2. Styling brushes – The bare necessities. Just like colors, you don’t need a bucketful of brushes when starting. Some experts suggest 2-4 brushes in different sizes so you can develop a preference for a certain size. Whenever you do, then you definitely only need that brush or an extra in your arsenal.

3. Palette Knives – Palette knives are useful in mixing colors together and can also be employed to scrape some “errors” within the canvas once the paint is not yet dry.

4. Palettes – Acrylic paint dries easily when outside its tube. Due to this, experts suggest using those moisture retaining palettes. By doing this, you can squeeze different colors to your palette without having to worry about them drying out.

5. Canvas – When choosing for painting canvasses, make sure the canvas you purchase is already well stretched and primed so that you can go straight to painting onto it. The dimensions and form of the canvas is determined by how you are likely to utilize it.

6. Others – There are other things you can add for your list but aren’t as essential as the first five. Some of these items include rags, water containers, paper for use for practice, aprons, an easel, varnish and a varnish brush. You are able to select which one you can use because a number of them are dependent on the artist himself/herself.

Lots of people refer to paintings to be works of contemporary art. The true meaning of this word will make this form of artistic work something which ended in the present time however; should you speak to many museums regarding their collections of recent works, they will let you know that any artistic production after The second world war is regarded as contemporary.

You’ll find exhibits to see the many different forms of work that fall under this category. Exhibits are when private collectors, publicly funded organizations, galleries, and commercial collectors, put the creates display for you to view.

Some exhibits have works best for sale through the artist they’re showcasing, while some merely get their collections displayed for that viewing enjoyment from the public. To have an artist to support themselves, they must be in a position to sell a few of their work, and they apply for grants, plus they enter to win awards, and prizes in various contests.

Artists are often referred to as starving artists due to this, and because they often give less concern for their appearance, and to what other people think, and much more thought goes into their work.

Somebody who has the gift to take what they see, and also to commit their vision to canvas, paper, or other form, is truly a unique soul. This type of person often quite misunderstood, and under-appreciated by others. People them as being lazy, irresponsible, and just plain odd, but the minute one of them makes a success by gaining the interest of the collector, people start to discuss how talented, gifted, and special the artist is. If we could just learn how to allow the budding artist have time to build up without judging them, we’d do the artistic community a favor.

It is always fun just to walk down the sidewalk and stop to determine the road artist doing their business. Many people stop and take portraits, while some just enjoy seeing the artist create their magic before their eyes. It’s magic the way these individuals look at someone, and use a pencil, a paintbrush, or chalk, and they can scratch lines onto paper that accurately reflect the individuals image.

Watching this process is really a fascinating way to pass time, and many of the people that do this are very quick. You’ll have to pay attention, or you will miss part of the process. If you’ve ever looked at a classic barn, a sunset, or a living animal, and wished that you had the ability to draw what you could see, then you’ve a chance to admire a piece of art.

The Details
The signature characteristics of Geometrical Abstraction were tightly patterned geometrical figures, vibrant colors, and an effective use of space. These abstractionists continued the work in two-dimensions to produce flat designs. Synthetic Cubism, characterized by abstract space, synthesized shapes, and constructional layout, became the defining influence on Geometric Abstraction. Other Cubist techniques of papiers colls and collage also had a profound impact on this style, where the inherent flatness of the composition and the interrelation of the various Geometric components ‘spoke’ a pictorial language. The ‘realistic’ existence of forms and spaces ceased to have relevance for the Geometric Abstractionists, who made conscious attempts to strip down their portrayal to the linear existence of the visible aspects. Like most of the Abstract Art genres, Geometric Expression put a primer on the color schemes. The themes of the works mainly drove the color choice.

The Artists & Artworks
Kazimir Malevichs ‘Black Square’ is a monochrome design, whereas Piet Mondrian’s ‘Composition No. 10′ (1939-42) is composed of the sections of fundamental colors – red, blue, and yellow. Among the leading names associated with Geometric Abstraction included Frank Stella, Josef Albers, Richard Anuszkiewicz, Frantisek Kupka, Ellsworth Kelly, Tony DeLap, Wassily Kandinsky, Ronald Davis, Kazimir Malevich, Sndor Bortnyik,Alexander Rodchenko, Theo van Doesburg, Sophie Taeuber-Arp, Piet Mondrian, Peter Graham, Victor Vasarely, Lajos Kassk, Peter Laszlo Peri, Max Bill, Nadir Afonso, Vieira da Silva, Kenneth Noland, Jack Reilly, Gordon Walters, John Levee, Thomas Downing, Burgoyne Diller, Leon Goldin, Sean Scully, Gnter Fruhtrunk, Ilya Bolotowsky, George Johnson, and Larry Zox.

In 1965, an exhibition named ‘The Responsive Eye’ was held in the Museum of Modern Art, New York, which bolstered the cause of Modern Art, particularly Geometric Abstraction, greatly. According to the famous art curator William Seitz, the purpose of this exhibition was “….. to dramatize the power of static forms and colors to stimulate dynamic psychological responses.”

Conclusion
Geometric Abstraction, through its revolutionary expressions, became a strong influence on fashion, object display, commercial designing, and various other elements in the contemporary society.

In seventeenth and eighteenth century, the subjects of genre painting ran around the peasant’s acts of joy. These acts were like dancing, participating in festivals and many a time doing household and professional works for earning. Most of these subjects explored the sensual experience of the common people, especially the acts of pleasure.

As confined by the definition, and the concept that outline the scope of genre painting, the artists have remained preoccupied in painting the reality. These artists, mainly the Dutch painters, preoccupied themselves in painting the costumes and daily practices of the people living in their immediate surrounding. However the art had never been mere exposition of what the artists saw. These artists applied their observations and artistic analysis while painting the scenes before their eyes.

With the change of the life style of the common people, to, the bath house culture had evolved. These houses were the places where families would go for bathing. They would go in flocks, taking friends and children with them. However there were separate baths for men and women. The bath houses meant for women were staffed by the female servants only.

In some genre paintings we can see bath house where the women bathers are enjoying their bath along with friends. The artists, Jean-Lon Grme, had skilfully depicted the nude females bathing and cleansing their bodies.

I’d like to introduce you to a new kind of digital art; I call it “digital painting” and it is the style of art that I work with the most. What I call digital painting is using a computer graphics program along with a graphics tablet and pen. Yes it’s true, when you use a program you can use a whole array of filters that are available, both free ones and commercial filters but I prefer to paint using mainly the graphics tablet and pen along with the program of choice; in my case I use the Paint Shop Pro program. There are many programs out there, both free such as GIMP and pay-to-use programs including Photo Shop but I’ve found that Paint Shop Pro works well and it doesn’t break a person’s bank account. On occasion I’ll use one of the filters it comes with or that I’ve collected over the years but I mainly do that when I’m designing graphic designs for my website, a client’s site or designing for my clothing and gift stores. I use the included brush types to paint with and just as a regular artist uses smudge tools, erasers and the like, I use the smudge tool and similar tools while I’m painting to give my subject matter life, to make it look like a regular oil, acrylic or water color painting. It’s amazing how when you work with a tablet and pen you can create realistic brush strokes just as you would if you were using a painting palette and brush; you find yourself doing the same sort of movements with your hand and wrist that you would do if you were using the regular tools. One of the best things I’ve found by painting digitally is the way you can create different layers so you don’t have to completely throw away a painting if you mess up. Now, don’t get me wrong, I’ve actually had several experiences where I had to throw out the entire painting and start from scratch but in general you’re able to correct mistakes you’ve made much easier than when you use a canvas and paint. And it’s amazing how many people wouldn’t know my work’s digital if I didn’t tell them it was.

When I first began painting digitally, I used the same techniques I described above but I had to use my computer mouse to do it and let me tell you that after a few months of using the PC mouse to paint it definitely does a number on the wrist; plus I found that there are certain movements you just can’t do with a PC mouse that you can do with a graphics tablet and pen on the computer. I always had a difficult time with any kind of spherical shapes when using the computer mouse; without using the vector tool that is built into the PSP program that is and since I prefer to paint digitally the same way I would if I were using a canvas and brushes I always felt it was cheating to use the vector tool to create circles and other spherical shapes.

When I first connected the graphic tablet and began using it, it took me about 2 or 3 days until I was comfortable with it because when you first use it, you have to get your bearings as far as where you are pointing to on the graphic tablet and how that corresponds to the computer screen. However, once I got the hang of that, I was absolutely in love with this tool! It lets you work so freely with your creations, and I’ve found that I’ll even use my bare finger on the graphics tablet to do the smudging and blending in addition to using the pen that comes along with it because you honestly feel like you’re working with a real palette and canvas when you paint with a tablet. For example, when you use a graphic tablet to paint digitally you can paint fur that is so much more realistic than with a PC mouse; when I paint any animal with fur, I apply each piece of fur strand by strand, one by one, I do the same when I’m painting birds’ feathers and dragons’ scales also; I paint the darkest layer first and then paint lighter layers on top of it to give the animal depth which is also what I do when I am painting the shadows on the animal’s body as well as the bony areas that you can see such as the ankle joints and the like. Also, the shading you can accomplish, using a graphic tablet, on an animal’s eye to give it real depth and authenticity is much more vivid and lifelike in my view than using a PC mouse.

Some critics state that digital painting isn’t real “art” but I have to disagree with them. The definition of “art” as defined by dictionary.com website is, “the quality, production, expression, or realm, according to aesthetic principles, of what is beautiful, appealing, or of more than ordinary significance.” Now I will give you my definition of the word “art” as I see it, being an artist myself, art means taking what I’ve experienced through living, taking examples from nature and putting that into something that can be viewed and shared by everyone. If I can capture the feeling I had when I saw a bald eagle flying or when I get upset by man trying to destroy our environment for greed, if I can capture that emotion and use it to create a painting that is “art”. If I can take the sadness & anger I feel when I lose a loved one and use that energy to create a painting that is “art”. The medium I happen to choose to express those emotions, those ideas is irrelevant. Now, when photography first emerged in the late 1880′s staunch art critics didn’t view this as an art either but as we’ve seen, it’s viewed now as a major form of art with not just magazines using photographs but also museums devoted to photographic art as well. This is what I see happening with digital art and digital paintings; this form of art is a continuation of the never-ending evolution that is “art” and I truly believe that in the future, digital art will be just as respected as the more traditional forms of art because believe me, it’s no less difficult to master, no less temperamental to the creative process; the only difference is, it requires different tools than what many are used to when they think of “art”.

Part 1 – Is Graffiti Art?

I think it’s first important to understand that “art” itself is tough to define. But if you move past formal definitions, art is typically an expression of oneself or a message that an artist is trying to give to the viewer… and it may or may not appeal to other people. Others think art is perhaps an expression of the artist using colors, textures, sounds, etc. to convey the message. Let’s look at a few of pieces of well known art.

1. The Mona Lisa by Leonardo DaVinci. It is painted on a piece of wood and is framed. Why is this art? Shading, the depth, the landscape, the enigmatic smile, etc. Would this be art if it were painted on a brick wall on a side street in Italy? Of course. What makes it art is the picture, not the medium.
2. Guernica by Pablo Picasso. This may be Picasso’s most well known piece of art. Painted mural size on a piece of canvas. Of course, this is art. Would it be art if Picasso painted directly on a wall on the side of a street? Yes. What if he did it without permission? Still art… but illegally painted. You like it?… well it doesn’t matter if you do or not, it’s still art.
3. Sistine Chapel ceiling by Michangelo. It’s art and it’s on a ceiling.

Graffiti art is a style of art. It “fits” the bill to be defined as such and often expresses a very distinct message from the artist (as an example, check out the political messages of Banksy ). Artwork that is painted in this style is absolutely considered art. It can be painted on wood, on canvas, on ceilings, on brick walls, on sidewalks, etc. It is still art regardless of the medium.

Part 2 – Is Graffiti Vandalism? If the street art (graffiti) is painted legally, meaning on property owned by the artist or with permission from the owner, then it is legal street art.

If the street art is painted illegally, meaning on property not owned by the artist, and without permission, then it is still art… but the artist has committed the crime of vandalism.

So, if DaVinci, Picasso, and Michaelangelo were hanging out on 115th Street one Tuesday night and throw up the Mona Lisa, the Guernica, and the Sistine Chapel art work on the side of a laundromat… It is art. But it’s also vandalism. It can be both… it is not an “either / or” question.

Abstract art is a style of painting a departure from reality and was definitely modern at the time. Abstraction in paintings started to make the scene right around the same time modern art became known because it is a painting style classified in the modern art movement. But full blown abstract paintings really started appearing early 1900′s in Europe by the likes of Pablo Picasso and others in the cubism movement. Abstract art really was not created in America until the 1940′s in the abstract expressionism movement with Jackson Pollock at the helm. Because abstract art is a style of painting and not a classification of an art period, abstract paintings are still being created today.

And that brings us to right now. Right now we use the term “contemporary” to define artwork as being created in our lifetime or in the current present moment. So any paintings being created right now are contemporary paintings no matter what the style. What has happened is that people generally use “contemporary art” to describe artwork from the 1970′s until now. It is hard, if not near impossible to define a period while we are living in it. One might wonder, will we always use the word “contemporary” to describe the artwork being created in the present moment? Or will there be an end to the use of the word “contemporary” signifying an end of another artwork period very similarly to how “modern” was used. I don’t know. But in any case, I hope this information has helped and not confused you even more.