This diploma thesis explores selected terminology related to modernist painting with the emphasis on the artistic interventions, which were bolder than the conventional art has been up to then. The analysis of modernism as a part of history of art enables us to understand the context that impacted the development of art movements in the late 19th and early 20th centuries. In order to explore the characteristics and novelties of the modernistic expression this thesis analyses the how and why of the development of specific artistic practices.
I was interested in the treatment of the painting medium, the process of reducing and the meaning of emptiness in the image field through the analysis of material and conceptual interventions in art.
Understanding that the opposite of emptiness is not absence, but active presence affecting the understanding of the artwork. By the process of reduction of visual elements clear form is achieved. The canvas changes from being solely the medium to becoming a part of a wider concept.
The theoretical part of the thesis is based on the analysis of technical literature and comparison of chosen artworks. The research is based on artworks by Piet Mondrian, Kazimir Malevich, Jackson Pollock, Frank Stella, Lucio Fontana, Ad Reinhardt, Barnett Newman and other representatives of modernism.
The main scope of this thesis is to introduce a part of modernist art I explored in detail and tie it to my own artworks grounded in modernist foundations.
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