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The theory and practice of abstract art.

ab·strac′tion·ist n.


(Art Terms) the theory and practice of the abstract, esp of abstract art
abˈstractionist n


(æbˈstræk ʃəˌnɪz əm)

the practice and theory of abstract art.
ab•strac′tion•ist, n., adj.


the creation of abstract art. — abstractionist, n., adj.
See also: Art
ThesaurusAntonymsRelated WordsSynonymsLegend:
Noun1.abstractionism - an abstract genre of artabstractionism - an abstract genre of art; artistic content depends on internal form rather than pictorial representation
genre - a class of art (or artistic endeavor) having a characteristic form or technique
op art - a style of abstractionism popular in the 1960s; produces dramatic visual effects with colors and contrasts that are difficult for the eye to resolve
2.abstractionism - a representation having no reference to concrete objects or specific examplesabstractionism - a representation having no reference to concrete objects or specific examples
internal representation, mental representation, representation - a presentation to the mind in the form of an idea or image
References in classic literature ?
She punishes abstractionists, and will only forgive an induction which is rare and casual.
Gaitonde, amongst the world's finest abstractionists, leads the list, with just 4 works amounting to a higher estimate of Rupees 40.52 crores.
These mad drawing skills took Albor to the University of the East School of Music and Fine Arts (UESMFA) to his first show at Galerie Bleu in Rustan's Department Store in 1974 (titled "Beyond Horizon, Memoir Fascination and M" something to do with a former flame) to a thriving career as one of the country's foremost abstractionists (with exhibitions in Germany, Italy, Japan, France and the US) and now to a 49-year survey of a still-unfolding body of work currently on view at the Ground Floor and Third Floor Galleries of the Ayala Museum.
Apropos the abstractionists of his own country, the critic David Sylvester once wrote: 'The difference is not between a poetic art and an art which has physical presence and no soul: it is the difference between an art which relies on evoking things outside itself, an art that is somehow transparent, and an art which evokes other things only when it has firmly and decisively established its own reality.'
As a consequence, the pioneer abstractionists of the early twentieth century may now be seen as partial beneficiaries of the Rose+Croix Zeitgeist.
Through the works of Danielle Feldhaker and April Hammock, visitors are introduced to the foundations of the genre; both artists reference the styles of Mondrian, Kandinsky, and other abstractionists, while bringing something uniquely theirs as demonstrated by individual varying combinations of form and colour.
Most recently, retrospectives of Nasreen Mohamedi (at Kiran Nadar Museum of Art, New Delhi, Reina Sofia Museum, Madrid and The Met Breuer, New York) have connected her to two generations of advanced abstractionists practising from the 1950s into the '90s.
One learns how varied were the inspirations of these pioneering abstractionists and how complex were their personal relationships; what remains unclear is why these different approaches to abstraction emerged almost simultaneously.
What I can't stand is that the abstractionists pushed all the other pushcarts off the street." Some of her favorite painters, Morris Louis and Clyfford Still, were abstractionists.
All of the artists here are committed abstractionists, and Rooney's curatorial efforts point out that non-pictorial art is alive and well.
Among the early abstractionists introduced by Kumar Gallery were V.S Gaitonde, Biren De, Ram Kumar and G.R.Santosh.
The brief entries deal with Hartigan's work life and her immersion in a social and professional milieu that ranged from important first generation New York School abstractionists like Willem de Kooning and Jackson Pollock to second generation New York School painters like Hartigan herself, Joan Mitchell, and Larry Rivers.