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Concrete art was an art movement with a strong emphasis on geometrical abstraction. The term was first formulated by Theo van Doesburg and was then used by him in 1930 to define the difference between his vision of art and that of other abstract artists of the time.
The Neo-Concrete Manifesto [2] was written in 1959 by Gullar and begins: . We use the term "neo-concrete" to differentiate ourselves from those committed to non-figurative "geometric" art (neoplasticism, constructivism, suprematism, the school of Ulm) and particularly the kind of concrete art that is influenced by a dangerously acute rationalism.
The Brazilian Neo-Concrete movement borrowed their artistic ideas from Max Bill who was the director of the Ulm School of Design in Germany during the early 1950s. [14] Grega no. 4 (1955) at Glenstone in 2023. The Neo-Concretists were interested in how art could be used to "express complex human realities". [18]
The Peter C. Ruppert Collection of European concrete art is housed at the Museum im Kulturspeicher Würzburg in Würzburg since 2002. The collection was initially assembled by Peter C. Ruppert (1935-2019) [ 1 ] [ 2 ] and later together with his wife Rosemarie.
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Jean Hélion's "The Problems of Concrete Art: Art and Mathematics", dated simply 1930, followed on pages 5–10. The article was punctuated by a reproduction of a Tutundjian relief (dated 1929) between pages 6–7 and a fold-out smaller sheet with designs by Carlsund, "Doesbourg", Hélion and Tutundjian (all dated 1930), between pages 8–9.
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