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Mar 24, 2020 · Creative spirit becomes concrete." Van Doesburg died in 1931 but the movement lived on, particularly through the work of designer Max Bill of the Bauhaus who organized Concrete Art’s first group show in 1944 and would go on to curate retrospectives and publish monthly bulletins around the theme, as well as promoting it across Latin America.
- Summary of Concrete Art
- Key Ideas & Accomplishments
- Beginnings of Concrete Art
- Key Themes
- Later Developments - After Concrete Art
Concrete Artists, following in the footsteps of movements such as Constructivism and De Stijl, offered an art entirely divorced from realistic subject-matter, based around precise and preemptive compositional structures, many of which represented mathematical or scientific formulas. In practical terms, Concrete Art was a movement of the mid-twentie...
One of the ideas underpinning the development of Concrete Art was that the artwork should refer to nothing other than itself: that is, that it should not represent external reality in any way. As v...In practice, Concrete Art's emphasis on non-representation meant that it often turned to intangible subject-matter such as mathematical and algebraic formulas and scientific theories for inspiratio...Like its ancestral movements Constructivism and De Stijl, Concrete Art transcended medium boundaries. Its most famous exponent Max Bill was an industrial designer and architect as well as a painter...Though it divested itself of the task of representation, Concrete Art was deeply engaged with the social realities of its time, and often implicitly political. From its original base in Switzerland...Constructivism
Concrete Art can trace its origins back to the early-twentieth-century movement of Constructivism, which in turn cannot be discussed in isolation from the invigorating effects of the 1917 Russian Revolution. Since the late 1900s, Russian artists such as the Suprematist Kazimir Malevich, and various individuals attached to movements such as Rayonism, Neo-Primitivism, and Cubo-Futurism, had been undertaking exercises in breaking down the picture plane and redefining sculptural form. This aim wa...
De Stijl and Neo-Plasticism
While Constructivism was being defined and debated in Russia, a group of artists based in the Netherlands were developing a geometrical abstraction of similar import, though with a more spiritual, less explicitly politicized value. Chief amongst them was the Dutch painter Piet Mondrian, who, during the 1900s-10s, was influenced first by Seurat's Pointillism and then by Picasso and Braques's Analytical Cubism. Attracted to artistic styles that proposed universally applicable principles of comp...
Theo Van Doesburg at the Bauhaus
Amongst the sources of friction in the Neo-Plasticist movement during the early 1920s was that Theo van Doesburg was increasingly engaged with the ideology of the Bauhaus school. Formed in Weimar in 1919 by the architect Walter Gropius, the Bauhaus had by the early 1920s become the principle outpost of Constructivist aesthetics in Europe, particularly after László Moholy-Nagytook over the school's "basic course" in 1923. Van Doesburg gave lectures on De Stijl at the Bauhaus in 1921, and in 19...
Art Concret: Movement, Magazine and Manifesto
As well as hosting a burgeoning abstract art movement, Paris in the 1920s was the center of Surrealism, spearheaded by the writer André Breton, which had emerged partly from the anti-rationalist spirit of Dada. Combining Dada's love of the inexplicable and other-worldly with an increasingly realistic method of representation, Surrealism stood for all that artists such as Mondrian and van Doesburg opposed. It was partly from this sense of collective opposition that various new groupings emerge...
Max Bill and the Allianz Group
Following Theo van Doesburg's death, a figurehead was needed to spearhead the nascent Concrete Art movement. Although both Wassily Kandinsky and Hans (Jean) Arp penned their own manifestos for concrete art (in 1938 and 1942 respectively) it was necessary for this figure to emerge from the younger generation of abstract artists. Such a figure emerged in Switzerland in the form of the artist and polymath Max Bill. Born in 1908, Bill had studied at the Bauhaus during 1927-29, learning from artis...
Developments in Europe, 1945-60
By the mid-1940s, groups influenced by Bill and the Allianz group's variant of Concrete Art had sprung up all over the world. These groups emerged organically, from a range of regional and national contexts, and expressed a huge range of creative impulses. But they were all buoyed by the internationalism of the post-war years, and united by an underlying interest in non-figurative expression, as well as an investment in science, maths and logic. Limiting our focus to Europe, we can posit at l...
Neo-Concretism
With the inauguration of the São Paulo Biennial in 1951 and the mounting of a National Exhibition of Concrete Art in São Paulo in 1956, Brazil had established itself as one of the centers of the modern art-world, and of the Concrete Art movement in particular. However, by the close of the 1950s, many Brazilian artists felt that Concrete Art had become inordinately narrow and inadvertently colonialist in its outlook, binding itself to strict rules of composition that were overly invested in ra...
Kinetic Art
If Concrete Art in post-war Europe represented a reaffirmation of the principles of geometric abstraction within painting and sculpture, Kinetic Art - and the overlapping movement of Op Art - represented the extension of Constructivist principles into the realm of moving objects. Like Neo-Concretism, its heyday occurred around the time that the Concrete Art movement was waning. Nonetheless, it developed partly through dialogue with the older movement, and can be seen as an aspect of its legac...
Concrete Poetry
Like Constructivism, Concrete Art was intended to define compositional principles so elementary that they would transcend medium boundaries. One aspect of this vision was realised in the mid-1950s through the emergence of Concrete Poetry. Through the collective endeavors of the Swiss poet Eugen Gomringer - based at the Hochschule für Gestaltung in Ulm - and the Brazilian poets of the Noigandres collectives (consisting of the brothers Augusto and Haroldo de Campos and Décio Pignatari), a style...
Discover how Argentine and Brazilian artists in the 1940s broke from linear perspective to create art in unique shapes, starting the Concrete Art movement. This video is one of three that accompanied the “Making Art Concrete: Works from Argentina and Brazil in the Colección Patricia Phelps de Cisneros” (September 16, 2017 – February 11, 2018) at the Getty Museum.
Jun 13, 2024 · Brutalist architecture (1950s-1970s) is characterized by simple, block-like, hulking concrete structures (the term is a play on the French phrase for raw concrete, béton brut). With simple, graphic lines, a heavy appearance, a monochromatic palette, and a lack of ornamentation, Brutalism is a bold, in-your-face and eternally polarizing style.
Feb 7, 2024 · The polished polymer concrete floor, used extensively over the living room, floors, staircases, and exterior paving, is made with a green stone aggregate that is a byproduct of the historic copper ...
Concrete Art gained momentum in South America as well, with artists like Lygia Clark and Hélio Oiticica in Brazil, who took the principles of Concrete Art and pushed them into new dimensions. These artists innovated by incorporating elements from their cultural backgrounds, creating a dialogue between traditional artistic methods and the avant-garde language of Concrete Art.
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Jun 26, 2017 · The process is broken down into four parts: Pigmentation, vibrating the concrete, casting the concrete using timber formwork and finishing the surface. Read on for the breakdown: Save this picture!
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