Top 100 - Abstract art
Abstract art: 100 famous paintings where color thinks for itself
Kandinsky, Mondrian, Malevitch, Klee, Delaunay, Hilma af Klint and a few very decided lines: the painting leaves the model and keeps the panache.
Abstract art begins when painting stops asking objects to come and pose in the center of the canvas. Here, a color can become the main subject, a line can have character, and a black square can make history with less furniture than a student studio.
Painting becomes independent
When the canvas stops serving as a window
Abstract art not only represents fewer things: it requires painting to do something else. Shapes, colors, rhythms and balances no longer necessarily serve to describe a table, a landscape or a face. They become the subject itself. This is a considerable change: the canvas no longer shows a window on the world, it becomes a world in its own right, with its laws, its tensions and sometimes its geometric sense of humor.
Abstraction does not remove the subject: it entrusts the leading role to shapes, colors and rhythm, which have been waiting for this for a while.Switch to images
Classification in images
Kandinsky, Malevich, Mondrian and Klee install languages that no longer need to imitate.
#1
Composition VII
In "Composition VII", Wassily Kandinsky establishes a discreet tension at first glance; the diagonals give the subject an energy that does not hold in place. For "Composition VII" by Wassily Kandinsky, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In "Composition VII" by Wassily Kandinsky, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In "Composition VII" by Wassily Kandinsky, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "Composition VII" by Wassily Kandinsky, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "Composition VII" by Wassily Kandinsky, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. We can like "Composition VII" for its calm or its brilliance, but its hold comes mainly from the way in which Wassily Kandinsky organizes the look.
Discover →
#2
Black square
In "Black Square", Kazimir Malevich retains a moment whose painting extends its duration; the details delay reading just enough to make it interesting. For Kazimir Malevich's "Black Square", the eye finds a precise reason to slow down: a line, an edge, a profile or a contrast which gives the painting its little authority. In Kazimir Malevich's "Black Square", here, the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. In Kazimir Malevich's "Black Square", here, the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. Kazimir Malevich's "Black Square", here, the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. Kazimir Malevich's "Black Square" here, reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. Kazimir Malevich's "Black Square" often maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
Discover →
#3
Broadway Boogie Woogie
In "Broadway Boogie Woogie", Piet Mondrian seeks a presence that resists the simple title; the tonal ratios establish a depth without noise. For "Broadway Boogie Woogie" by Piet Mondrian, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too much-squeezed glances. We can love "Broadway Boogie Woogie" for its calm or its brilliance, but its hold comes mainly from the way in which Piet Mondrian organizes the look.
Discover →
#4
Composition VIII
In "Composition VIII", Wassily Kandinsky makes the motif a visual event rather than a simple label; the palette brings the shots together without flattening the scene. Guggenheim Museum, New York; dimensions: 140 x 201 cm. For "Composition VIII" by Wassily Kandinsky, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "Composition VIII" by Wassily Kandinsky, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "Composition VIII" by Wassily Kandinsky, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "Composition VIII" by Wassily Kandinsky, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "Composition VIII" by Wassily Kandinsky, the composition is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. "Composition VIII" by Wassily Kandinsky, the composition is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. "Composition VIII" by
Discover →
#5
Composition with red, blue and yellow
In "Composition with Red, Blue and Yellow", Piet Mondrian retains a moment whose painting extends its duration; the point of view transforms a familiar observation into a lasting surprise. For "Composition with red, blue and yellow" by Piet Mondrian, the eye finds a precise reason to slow down: a line, an edge, a profile or a contrast which gives the painting its little authority. In "Composition with red, blue and yellow" by Piet Mondrian, this painting provides a simple but useful reference point: a line, an edge, a profile or a contrast which gives the painting its little authority. In "Composition with red, blue and yellow" by Piet Mondrian, this painting provides a simple but useful reference point: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Composition with red, blue and yellow" by Piet Mondrian, this painting provides a simple but useful reference point: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Composition with red, blue and yellow" by Piet Mondrian, this painting provides a simple but useful reference point: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Composition with red, blue and yellow" by Piet Mondrian, this painting provides a simple but useful reference point: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Composition with red, blue and yellow" by Piet Mondrian, this painting provides a simple but useful reference point
Discover →
#6
Senecio
In "Senecio", Paul Klee starts from a clearly identified subject; the contours alternate precision and freedom with a beautiful confidence. For Paul Klee's "Senecio", strength comes less from a burst of brilliance than from balance: enough structure to guide the eye, enough breathing to let the scene live. In Paul Klee's "Senecio", the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. Paul Klee's "Senecio", the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. Paul Klee's "Senecio", the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. Paul Klee's "Senecio", the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. Paul Klee's "Senecio", the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. Paul Klee's "Senecio", the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. Paul Klee's "Senecio", the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. Paul Klee's "Senecio", the painting avoids anonymity because it
Discover →
#7
Some Circles
In "Some Circles", Wassily Kandinsky puts the subject to the test of a very personal framing; the masses give the composition its internal rhythm. Guggenheim Museum, New York; dimensions: 140.7 x 140.3 cm. For "Some Circles" by Wassily Kandinsky, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. The interest of "Some Circles" by Wassily Kandinsky, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. The interest of "Some Circles" by Wassily Kandinsky, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. The interest of "Some Circles" by Wassily Kandinsky is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
Discover →
#8
Ad Parnassum
In "Ad Parnassum", Paul Klee leads the eye through a series of perfectly visible decisions; the masses give the composition its internal rhythm. For "Ad Parnassum" by Paul Klee, the composition is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Ad Parnassum" by Paul Klee, the painting is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Ad Parnassum" by Paul Klee, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. In "Ad Parnassum" by Paul Klee, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. "Ad Parnassum" by Paul Klee, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. "Ad Parnassum" by Paul Klee, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. "Ad Parnassum" by Paul Klee, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. "Ad Parnassum" by Paul Klee, the painting brings a distinct subject to the classification, with enough presence and light to
Discover →
#9
Countercomposition V
In "Countercomposition V", Theo van Doesburg leads the eye through a series of perfectly visible decisions; the diagonals give the subject an energy that does not hold in place. For "Countercomposition V" by Theo van Doesburg, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Countercomposition V" by Theo van Doesburg, the title acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. In "Countercomposition V" by Theo van Doesburg, the title acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. In "Countercomposition V" by Theo van Doesburg, the title acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. In "Countercomposition V" by Theo van Doesburg, the title acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. In "Countercomposition V" by Theo van Doesburg, the title acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. In "Countercomposition V" by Theo van Doesburg, the title acts as a little
Discover →
#10
Composition X
In "Composition X", Wassily Kandinsky seeks a presence that resists the simple title; the gaze circulates between structure, material and small expressive gaps. In "Composition X" by Wassily Kandinsky, this work is as valuable for its precise motif as for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the journey. We can like "Composition X" for its calm or its brilliance, but its hold comes mainly from the way in which Wassily Kandinsky organizes the look.
Discover →
#11
Red square: pictorial realism of a peasant woman in two dimensions
In "Red Square: Pictorial Realism of a Peasant Woman in Two Dimensions", Kazimir Malevich leads the eye through a series of perfectly visible decisions; the palette brings the shots together without flattening the scene. For "Red Square: pictorial realism of a peasant woman in two dimensions" by Kazimir Malevich, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Red Square: pictorial realism of a peasant woman in two dimensions" by Kazimir Malevich, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Red Square: pictorial realism of a peasant woman in two dimensions" by Kazimir Malevich, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Red Square: pictorial realism of a peasant woman in two dimensions" by Kazimir Malevich, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Red Square: pictorial realism of a peasant woman in two dimensions" by Kazimir Malevich, the eye finds a simple but useful reference point: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Red Square: pictorial realism of a peasant woman in two dimensions" reels. "Red square: pictorial realism of a peasant woman in two dimensions" by Kazimir Malevich brings his own mood to the journey; the canvas breathes, but it did not come only to open the window.
Discover →
#12
Convergence
In "Convergence", Jackson Pollock leads the eye through a series of perfectly visible decisions; secondary gestures tell almost as much as the main subject. For Jackson Pollock's "Convergence", the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. Jackson Pollock's "Convergence" brings its own mood to the journey; the canvas breathes, but it did not come just to open the window.
Discover →
#13
Table n° IV; Diamond composition with red, gray, blue, yellow and black
In "Table n° IV; Diamond composition with red, gray, blue, yellow and black", Piet Mondrian moves a concrete subject towards a more ambiguous image; the point of view transforms a familiar observation into a lasting surprise. The interest of "Table n° IV; Diamond composition with red, gray, blue, yellow and black" in Piet Mondrian is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
Discover →
#14
The city
In "La Ville", Fernand Léger puts the subject to the test of a very personal framing; the pictorial material gives weight to the quietest areas. For "La Ville" by Fernand Léger, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. The interest of "La Ville" in Fernand Léger lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
Discover →
#15
Udnie
In "Udnie", Francis Picabia leads the eye through a series of perfectly visible decisions; voids count as much as figures and avoid any heaviness. For "Udnie" by Francis Picabia, the eye finds a precise reason to slow down: a line, an edge, a profile or a contrast which gives the painting its little authority. In "Udnie" by Francis Picabia, the first interest comes from the subject itself: it gives the reader a concrete take before letting color, light and details do the rest. In "Udnie" by Francis Picabia, the first interest comes from the subject itself: it gives the reader a concrete take before letting color, light and details do the rest. In "Udnie" by Francis Picabia, the first interest comes from the subject itself: it gives the reader a concrete take before letting color, light and details do the rest. "Udnie" by Francis Picabia, the first interest comes from the subject itself: it gives the reader a concrete take before letting color, light and details do the rest. "Udnie" by Francis Picabia, the first interest comes from the subject itself: it gives the reader a concrete take before letting color, light and details do the rest. "Udnie" by Francis Picabia, the first interest comes from the subject itself: it gives the reader a concrete take before letting color, light and details do the rest. "Udnie" by Francis Picabia, the first interest comes from the subject itself: it gives the reader a
Discover →
#16
Proun 19D
In "Proun 19D", El Lissitzky makes the pattern a visual event rather than a simple label; the contours alternate precision and freedom with a beautiful plumbness. For "Proun 19D" by El Lissitzky, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Proun 19D" by El Lissitzky, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "Proun 19D" by El Lissitzky, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. In "Proun 19D" by El Lissitzky, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. In "Proun 19D" by El Lissitzky, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. In "Proun 19D" by El Lissitzky, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. In "Proun 19D" by El Lissitzky, the painting brings a distinct subject to the classification, with enough presence and light to avoid the
Discover →
#17
Improvisation 28 (second version)
In "Improvisation 28 (second version)", Wassily Kandinsky gives the gaze a clear entry point; the masses give the composition its internal rhythm. Guggenheim Museum, New York; dimensions: 111.4 x 162.2 cm. For "Improvisation 28 (second version)" by Wassily Kandinsky, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In "Improvisation 28 (second version)" by Wassily Kandinsky, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In "Improvisation 28 (second version)" by Wassily Kandinsky, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too eager glances. In "Improvisation 28 (second version)" by Wassily Kandinsky, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too eager glances. In "Improvisation 28 (second version)" by Wassily Kandinsky, on the scale of the image, this singularity counts a lot: version)" for Wassily Kandinsky is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
Discover →
#18
Pictorial architectonics
In "Pictorial Architectonics", Lyubov Popova moves a concrete subject towards a more ambiguous image; the diagonals give the subject an energy that does not hold in place. For "Pictorial Architectonics" by Lyubov Popova, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In "Pictorial Architectonics" by Lyubov Popova, this painting provides a simple but useful reference: a clear pattern, a clean atmosphere and a way of conducting the eye without making large reels. In "Pictorial Architectonics" by Lyubov Popova, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of conducting the eye without making large reels. In "Pictorial Architectonics" by Lyubov Popova, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of conducting the eye without making large reels. In "Pictorial Architectonics" by Lyubov Popova, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of conducting the eye without making large reels. In "Pictorial Architectonics" by Lyubov Popova, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of conducting the eye without making large reels. In "Pictorial Architectonics" by Lyubov Pop
Discover →
#19
Triptych
In "Triptych", Sophie Taeuber-Arp moves a concrete subject towards a more ambiguous image; the contours alternate precision and freedom with a beautiful aplomb. For "Triptych" by Sophie Taeuber-Arp, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In "Triptych" by Sophie Taeuber-Arp, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In "Triptych" by Sophie Taeuber-Arp, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "Triptych" by Sophie Taeuber-Arp, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "Triptych" by Sophie Taeuber-Arp, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. The interest of "Triptych" by Sophie Taeuber-Arp, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. The interest of "Triptych" by Sophie Taeuber-Arp, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. The interest of
Discover →
#20
Black and Purple
In "Black and Violet", Wassily Kandinsky transforms the pose or gesture into real architecture; the color then adjusts the temperature of the whole. For "Black and Violet" by Wassily Kandinsky, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In "Black and Violet" by Wassily Kandinsky, this work is worth its precise motif as much as its light and atmosphere; it is not there to fill a box: it adds an identifiable nuance to the journey. In "Black and Violet" by Wassily Kandinsky, this work is as valuable for its precise motif as for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the journey. The interest of "Black and Violet" by Wassily Kandinsky is due to its precise pattern as much as its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the journey. The interest of "Black and Violet" by Wassily Kandinsky is due to its concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
Discover →
#21
Wall fresco on Indian red floor
In "Mural on Indian Red Floor", Jackson Pollock constructs a scene with an immediately sensitive character; the masses give the composition its internal rhythm. In Jackson Pollock's "Mural on Indian Red Floor", the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. We can like "Mural on Indian Red Floor" for its calm or shine, but its hold comes mainly from the way in which Jackson Pollock organizes the look.
Discover →
#22
Polyphony
In "Polyphony", Paul Klee starts from a clearly identified subject; light distributes roles with quiet authority. For Paul Klee's "Polyphony", the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In Paul Klee's "Polyphony", the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. Paul Klee's "Polyphony", the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. Paul Klee's "Polyphony", the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. Paul Klee's "Polyphony", the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. Paul Klee's "Polyphony", the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. Paul Klee's "Polyphony" then brings its own mood to the journey; Paul Klee's "Polyphony" brings its own mood to the journey; the canvas breathes, but it did not come just to open the window.
Discover →
#23
Rhythm n°1, decoration for the Salon des Tuileries
In "Rhythm n°1, decoration for the Salon des Tuileries", Robert Delaunay constructs a scene with an immediately sensitive character; the contours alternate precision and freedom with a beautiful aplomb. In "Rhythm n°1, decoration for the Salon des Tuileries" by Robert Delaunay, the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. We can like "Rhythm n°1, decoration for the Salon des Tuileries" by Robert Delaunay, the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. We can like "Rhythm n°1, decoration for the Salon des Tuileries" for its calm or its brilliance, but its outfit comes mainly from the way in which Robert Delaunay organizes the look.
Discover →
#24
Countercomposition XIII
In "Countercomposition XIII", Theo van Doesburg establishes a discreet tension at first glance; the pictorial material gives weight to the quieter areas. For "Countercomposition XIII" by Theo van Doesburg, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In "Countercomposition XIII" by Theo van Doesburg, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In "Countercomposition XIII" by Theo van Doesburg, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In "Countercomposition XIII" by Theo van Doesburg, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In "Countercomposition XIII" by Theo van Doesburg, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. We can like "Countercomposition XIII" for its calm or its brilliance, but its hold comes mainly from the way in which Theo van Doesburg organizes the look.
Discover →
#25
The ten greatest, n° 2, Childhood
In "The Ten Greatest, n° 2, Childhood", Hilma af Klint makes the motif a visual event rather than a simple label; the painted surface retains a tension that the subject alone would not explain. For "The Ten Greatest, n° 2, Childhood" by Hilma af Klint, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "The Ten Greatest, n° 2, Childhood" by Hilma af Klint, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "The Ten Greatest, n° 2, Childhood" by Hilma af Klint, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "The Ten Greatest, n° 2, Childhood" by Hilma af Klint, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "The Ten Greatest, n° 2, Childhood" by Hilma af Klint, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "The Ten Greatest, n° 2, Childhood" by Hilma af Klint, the composition
Discover →Grids, discs, diagonals and colored planes organize a world that holds together by its own forces.
#26
Rhythm, joy of living
In "Rhythm, joy of living", Robert Delaunay avoids the interchangeable image and asserts a clean tone; the tonal ratios establish a depth without noise. For "Rhythm, joy of living" by Robert Delaunay, the composition is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Rhythm, joy of living" by Robert Delaunay, the painting is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Rhythm, joy of living" by Robert Delaunay, the painting is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Rhythm, joy of living" by Robert Delaunay, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "Rhythm, joy of living" by Robert Delaunay, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "Rhythm, joy of living" by Robert Delaunay, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "Rhythm, joy of living" by Robert Delaunay, the painting brings to
Discover →
#27
The Woman in Blue
In "The Woman in Blue", Fernand Léger puts the subject to the test of a very personal framing; the contrast organizes the scene even before we read the details. In "The Woman in Blue" by Fernand Léger, the human subject allows Fernand Léger to be followed as close as possible to a presence that watches, reads, waits or stays at a distance. The interest of "The Woman in Blue" by Fernand Léger is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
Discover →
#28
Edtaonisl (ecclesiastic)
In "Edtaonisl (ecclesiastical)", Francis Picabia transforms pose or gesture into true architecture; the framing tightens what really deserves attention. In "Edtaonisl (ecclesiastical)" by Francis Picabia, this work is as valuable for its precise motif as for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the journey. The interest of "Edtaonisl (ecclesiastical)" by Francis Picabia is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
Discover →
#29
Table I
In "Table I", Piet Mondrian starts from a clearly identified subject; the palette brings the shots together without flattening the scene. For "Table I" by Piet Mondrian, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. "Table I" by Piet Mondrian, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. "Table I" by Piet Mondrian brings his own mood to the journey; the canvas breathes, but it did not come just to open the window.
Discover →
#30
Chirping machine
In "Chirping Machine", Paul Klee makes the pattern a visual event rather than a simple label; the drawing maintains the whole while the atmosphere takes some liberties. For Paul Klee's "Chirping Machine", the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In Paul Klee's "Chirping Machine", the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. In Paul Klee's "Chirping Machine", the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. Paul Klee's "Chirping Machine", the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. Paul Klee's "Chirping Machine", the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. Paul Klee's "Chirping Machine" the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. Paul Klee's "Chirping Machine" the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. Paul Klee's "Chirping Machine" the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. Paul Klee's "Ch
Discover →
#31
Countercomposition VI
In "Countercomposition VI", Theo van Doesburg chooses a specific situation and pushes it beyond the anecdote; the framing tightens what really deserves attention. For "Countercomposition VI" by Theo van Doesburg, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "Countercomposition VI" by Theo van Doesburg, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "Countercomposition VI" by Theo van Doesburg, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "Countercomposition VI" by Theo van Doesburg thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
Discover →
#32
Z VII
In "Z VII", Laszló Moholy-Nagy gives the gaze a clear entry point; the contrast organizes the scene before we even read the details. For "Z VII" by Laszló Moholy-Nagy, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In "Z VII" by Laszló Moholy-Nagy, this work is worth its precise motif as much as its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the journey. In "Z VII" by Laszló Moholy-Nagy, this work is as valuable for its precise motif as for its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the journey. The interest of "Z VII" in Laszló Moholy-Nagy is due to its precise motif as much as its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the journey. The interest of "Z VII" in Laszló Moholy-Nagy is due to its precise motif as much as its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the journey. The interest of "Z VII" in Laszló Moholy-Nagy is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become
Discover →
#33
Proun 99
In "Proun 99", El Lissitzky starts from a clearly identified subject; the palette brings the shots together without flattening the scene. For "Proun 99" by El Lissitzky, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Proun 99" by El Lissitzky, the title acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. In "Proun 99" by El Lissitzky, the title acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. In "Proun 99" by El Lissitzky, the title acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. In "Proun 99" by El Lissitzky, the title acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. In "Proun 99" by El Lissitzky, the title acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. In "Proun 99" by El Lissitzky, the title acts as a
Discover →
#34
New York City I
In "New York City I", Piet Mondrian gives everyday life a density that he had not asked for; the point of view transforms a familiar observation into a lasting surprise. For Piet Mondrian's "New York City I", on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. We can love "New York City I" for its calm or its brilliance, but its hold comes mainly from the way in which Piet Mondrian organizes the look.
Discover →
#35
On white II
In "Sur blanc II", Wassily Kandinsky avoids the interchangeable image and asserts a tone of her own; the masses give the composition its internal rhythm. For "Sur blanc II" by Wassily Kandinsky, strength comes less from a burst of brilliance than from balance: enough structure to guide the eye, enough breathing to let the scene live. "Sur blanc II" by Wassily Kandinsky thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
Discover →
#36
Contrasts of forms
In "Contrasts of Forms", Fernand Léger puts the subject to the test of a very personal framing; the contours alternate precision and freedom with a beautiful aplomb. For "Contrasts of Shapes" by Fernand Léger, the painting does not only seek to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. The interest of "Contrasts of Shapes" by Fernand Léger is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
Discover →
#37
Composition with large red, yellow, black, gray and blue plan
In "Composition with large red, yellow, black, gray and blue planes", Piet Mondrian leads the eye through a series of perfectly visible decisions; the contrast organizes the scene even before we read the details. For "Composition with large red, yellow, black, gray and blue shot" by Piet Mondrian, the composition is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. "Composition with large red, yellow, black, gray and blue shot" by Piet Mondrian, the composition is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. "Composition with large red, yellow, black, gray and blue shot" by Piet Mondrian, the composition is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. "Composition with large red, yellow, black, gray and blue shot" by Piet Mondrian, the composition is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. "Composition with large red, yellow, black, gray and blue shot" by Piet Mondrian, the composition is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. "Composition with large red, yellow, black, gray and blue shot" by Piet Mondrian, the composition is read in stages: first the pattern, then the masses, then
Discover →
#38
Simultaneous Windows on the city
In "The Simultaneous Windows on the City", Robert Delaunay constructs a scene with an immediately sensitive character; the contours alternate precision and freedom with a beautiful aplomb. For "The Simultaneous Windows on the City" by Robert Delaunay, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too much-squeezed glances. In "The Simultaneous Windows on the City" by Robert Delaunay, the title acts as a little starting point: it announces a motif interchangeable effect, this great disease of too eager glances. In "The Simultaneous Windows on the City" by Robert Delaunay, the title acts as a little starting point: it announces a motif, a situation or a presence that painting then transforms into a visual experience. In "The Simultaneous Windows on the City" by Robert Delaunay, the title acts as a little starting point: it announces a motif, a situation or a presence that painting then transforms into a visual experience. In "The Simultaneous Windows on the City" by Robert Delaunay, the title acts as a little starting point: it announces a motif, a situation or a presence that painting then transforms into a visual experience. In "The Simultaneous Windows on the City" by Robert Delaunay, the title acts as a little starting point: it announces a motif, a situation or a presence that painting then transforms into a visual experience. In "The Simult
Discover →
#39
Composition V
In "Composition V", Wassily Kandinsky puts the subject to the test of a very personal framing; secondary gestures tell almost as much as the main subject. For "Composition V" by Wassily Kandinsky, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. The interest of "Composition V" in Wassily Kandinsky lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
Discover →
#40
Dada composition
In "Composition Dada", Sophie Taeuber-Arp seeks a presence that resists the simple title; the secondary gestures tell almost as much as the main subject. In "Composition Dada" by Sophie Taeuber-Arp, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of conducting the eye without making large reels. We can like "Composition Dada" for its calm or its brilliance, but its hold comes mainly from the way in which Sophie Taeuber-Arp organizes the look.
Discover →
#41
Composition IV
In "Composition IV", Wassily Kandinsky puts the subject to the test of a very personal framing; the framing tightens what really deserves attention. For "Composition IV" by Wassily Kandinsky, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. The interest of "Composition IV" in Wassily Kandinsky lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
Discover →
#42
The ten greatest, n° 1, Childhood
In "The Ten Greatest, n° 1, Childhood", Hilma af Klint transforms a recognizable motif into a viewing experience; the contours alternate precision and freedom with a beautiful plumbness. For "The Ten Greatest, n° 1, Childhood" by Hilma af Klint, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "The Ten Greatest, n° 1, Childhood" by Hilma af Klint, here, the reading begins with the subject, then moves towards the light and general balance; this is often where the painting gains its character. In "The Ten Greatest, n° 1, Childhood" by Hilma af Klint, here, the reading begins with the subject, then moves towards the light and general balance; this is often where the painting gains its character. In "The Ten Greatest, n° 1, Childhood" by Hilma af Klint, here, the reading begins with the subject, then moves towards the light and general balance; this is often where the painting gains its character. In "The Ten Greatest, n° 1, Childhood" by Hilma af Klint, here, the reading begins with the subject, then moves towards the light and general balance; this is often where the painting gains its character. "The Ten Greatest, n° 1, Childhood" by Hilma af Klint, here, the reading begins with the subject, then moves towards the light and
Discover →
#43
Circular shapes
In "Circular Forms", Robert Delaunay puts the subject to the test of a very personal framing; light distributes roles with quiet authority. For "Circular Forms" by Robert Delaunay, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. The interest of "Circular Forms" in Robert Delaunay lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
Discover →
#44
The Discs in the City
In "The Discs in the City", Fernand Léger starts from a clearly identified subject; the diagonals give the subject an energy that does not hold in place. For "Les Disques dans la ville" by Fernand Léger, the composition is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Les Disques dans la ville" by Fernand Léger, the painting is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Les Disques dans la ville" by Fernand Léger, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. In "Les Disques dans la ville" by Fernand Léger, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. In "Les Disques dans la ville" by Fernand Léger, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. "Les Disques dans la ville" by Fernand Léger, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. "Les Disques dans la ville" by Fernand Léger, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. "Les
Discover →
#45
Pictorial architectonics (black, red, gray)
In "Pictorial Architectonics (black, red, gray)", Lyubov Popova starts from a clearly identified subject; the painted surface retains a tension that the subject alone would not explain. For "Pictorial Architectonics (black, red, gray)" by Lyubov Popova, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. "Pictorial architectonics (black, red, gray)" by Lyubov Popova, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. "Pictorial architectonics (black, red, gray)" by Lyubov Popova, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. "Pictorial architectonics (black, red, gray)" by Lyubov Popova, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. "Pictorial architectonics (black, red, gray)" by Lyubov Popova, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. "Pictorial architectonics (black, red, gray)" by Lyubov Popova, the eye finds a
Discover →
#46
Venice
In "Venice", Alexandra Exter retains a moment whose painting extends its duration; the painted surface retains a tension that the subject alone would not explain. For "Venice" by Alexandra Exter, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Venice" by Alexandra Exter, we are here on the side of travel: enough structure to guide the eye, enough breathing to let the scene live. In "Venice" by Alexandra Exter, we are here on the side of travel: architecture, relief or Mediterranean memory give the painting a clear geographical landmark, not just a friendly atmosphere. "Venice", relief or Mediterranean souvenir gives the painting a clear geographical landmark, not just a friendly atmosphere. "Venice" by Alexandra Exter, we are here on the side of travel: architecture, relief or Mediterranean memory give the painting a clear geographical landmark, not just a friendly atmosphere. "Venice" by Alexandra Exter, we are here on the side of travel: architecture, relief or Mediterranean memory give the painting a clear geographical landmark, not just a friendly atmosphere. "Venice" by Alexandra Exter, we are here on the side of travel: architecture, relief or Mediterranean memory give the painting a clear geographical landmark, not just a friendly atmosphere. "Venice" by Alexandra Exter, we are here on the side of travel: architecture, relief or Mediterranean memory give the painting a clear
Discover →
#47
Runaways
In "Fugue", Wassily Kandinsky retains a moment whose painting extends its duration; the voids count as much as the figures and avoid any heaviness. For "Fugue" by Wassily Kandinsky, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Fugue" by Wassily Kandinsky, the title acts as a small starting point: it announces a motif, a situation or a presence which the painting then transforms into a visual experience. In "Fugue" by Wassily Kandinsky, the title acts as a small starting point: it announces a motif, a situation or a presence which the painting then transforms into a visual experience. In "Fugue" by Wassily Kandinsky, the title acts as a small starting point: it announces a motif, a situation or a presence which the painting then transforms into a visual experience. In "Fugue" by Wassily Kandinsky, the title acts as a small starting point: it announces a motif, a situation or a presence which the painting then transforms into a visual experience. In "Fugue" by Wassily Kandinsky, the title acts as a small starting point: it announces a motif, a situation or a presence which the painting then transforms into a visual experience. In "Fugue" by Wassily Kandinsky, the title acts as a small starting point:
Discover →
#48
Munich
In "Munich", Wassily Kandinsky constructs a scene with an immediately sensitive character; the framing tightens what really deserves attention. For "Munich" by Wassily Kandinsky, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In "Munich" by Wassily Kandinsky, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of conducting the eye without making large reels. In "Munich" by Wassily Kandinsky, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of conducting the eye without making large reels. In "Munich" by Wassily Kandinsky, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of conducting the eye without making large reels. In "Munich" by Wassily Kandinsky, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of conducting the eye without making large reels. In "Munich" by Wassily Kandinsky, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of conducting the eye without making large reels. In "Munich" by Wassily Kandinsky, this painting provides a simple but useful reference point: a
Discover →
#49
Pictorial relief
In "Pictorial Relief", Ivan Puni chooses a specific situation and pushes it beyond the anecdote; light distributes roles with quiet authority. For "Pictorial Relief" by Ivan Puni, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. "Pictorial relief" by Ivan Puni thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
Discover →
#50
Composition VI
In "Composition VI", Wassily Kandinsky leads the eye through a series of perfectly visible decisions; the tone ratios establish a depth without noise. For "Composition VI" by Wassily Kandinsky, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. "Composition VI" by Wassily Kandinsky, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. "Composition VI" by Wassily Kandinsky, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. "Composition VI" by Wassily Kandinsky brings its own mood to the journey; the canvas breathes, but it did not come just to open the window.
Discover →Abstraction dialogues with futurism, constructivism and the speed of the century.
#51
Dynamism of a cyclist
In "Dynamism of a Cyclist", Umberto Boccioni avoids the interchangeable image and asserts a tone of his own; the gaze circulates between structure, material and small expressive gaps. For "Dynamism of a Cyclist" by Umberto Boccioni, the gaze finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. "Dynamism of a Cyclist" by Umberto Boccioni, the gaze finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. "Dynamism of a Cyclist" by Umberto Boccioni thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
Discover →
#52
Battle of Lights, Coney Island
In "Battle of Lights, Coney Island", Joseph Stella organizes the pattern without reducing it to a pretext; the contours alternate precision and freedom with a beautiful plumbness. For "Battle of Lights, Coney Island" by Joseph Stella, the composition is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. "Battle of Lights, Coney Island" by Joseph Stella, the composition is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. "Battle of Lights, Coney Island" by Joseph Stella, the composition is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. "Battle of Lights, Coney Island" by Joseph Stella, the composition is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. "Battle of Lights, Coney Island" by Joseph Stella, the composition is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. "Battle of Lights, Coney Island" by Joseph Stella, the composition is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. "Battle of Lights, Coney Island" by Joseph Stella, the composition is read in stages: first the pattern, then the masses
Discover →
#53
Dominant curve
In "Dominant Curve", Wassily Kandinsky starts from a clearly identified subject; the pictorial material gives weight to the quietest areas. For "Dominant Curve" by Wassily Kandinsky, the composition is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Dominant Curve" by Wassily Kandinsky, the title acts as a small starting point: it announces a pattern, a situation or a presence which the painting then transforms into a visual experience. In "Dominant Curve" by Wassily Kandinsky, the title acts as a small starting point: it announces a pattern, a situation or a presence which the painting then transforms into a visual experience. In "Dominant Curve" by Wassily Kandinsky, the title acts as a small starting point: it announces a motif, a situation or a presence which the painting then transforms into a visual experience. In "Dominant Curve" by Wassily Kandinsky, the title acts as a small starting point: it announces a motif, a situation or a presence which the painting then transforms into a visual experience. In "Dominant Curve" by Wassily Kandinsky, the title acts as a small starting point: it announces a motif, a situation or a presence which the painting then transforms into a visual experience. In "Dominant Curve" by Wassily Kandinsky, the
Discover →
#54
Red Balloon
In "Red Balloon", Paul Klee gives everyday life a density that he had not asked for; the pictorial material gives weight to the quietest areas. In "Red Balloon" by Paul Klee, the title acts as a little starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. We can like "Red Balloon" for its calm or its brilliance, but its hold comes mainly from the way in which Paul Klee organizes the look.
Discover →
#55
Mechanical elements
In "Mechanical Elements", Fernand Léger organizes the motif without reducing it to a pretext; the painted surface retains a tension that the subject alone would not explain. For "Mechanical Elements" by Fernand Léger, the eye finds a precise reason to slow down: a line, an edge, a profile or a contrast which gives the painting its little authority. "Mechanical Elements" by Fernand Léger, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. "Mechanical Elements" by Fernand Léger brings its own mood to the journey; the canvas breathes, but it did not come just to open the window.
Discover →
#56
Construction
In "Construction", Alexandra Exter puts the subject to the test of a very personal framing; the drawing maintains the whole while the atmosphere takes some liberties. For "Construction" by Alexandra Exter, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too eager glances. In "Construction" by Alexandra Exter, the title acts as a small starting point: it announces a pattern, a situation or a presence that painting then transforms into a visual experience. In "Construction" by Alexandra Exter, the title acts as a small starting point: it announces a pattern, a situation or a presence that painting then transforms into a visual experience. In "Construction" by Alexandra Exter, the title acts as a small starting point: it announces a pattern, a situation or a presence that painting then transforms into a visual experience. In "Construction" by Alexandra Exter, the title acts as a small starting point: it announces a pattern, a situation or a presence that painting then transforms into a visual experience. In "Construction" by Alexandra Exter, the title acts as a small starting point: it announces a pattern, a situation or a presence that painting then transforms into a visual experience. In "Construction" by Alexandra Exter, the title acts as a small starting point: it announces a pattern, a situation or a presence that painting then transforms into a visual experience. The interest of "Construction" by Alexandra Exter, the title acts as a small starting
Discover →
#57
The Bottle of Rum and the newspaper
In "The Bottle of Rum and the Journal", Juan Gris gives everyday life a density that he had not asked for; the framing tightens what really deserves attention. For Juan Gris' "The Bottle of Rum and the Journal", the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. We can love "The Bottle of Rum and the Journal" for its calm or its brilliance, but its hold comes mainly from the way in which Juan Gris organizes the look.
Discover →
#58
Dynamism of a footballer
In "Dynamism of a Footballer", Umberto Boccioni organizes the motif without reducing it to a pretext; the contours alternate precision and freedom with great aplomb. For "Dynamism of a Footballer" by Umberto Boccioni, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Dynamism of a Footballer" by Umberto Boccioni, the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. In "Dynamism of a Footballer" by Umberto Boccioni, the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. "Dynamism of a Footballer" by Umberto Boccioni, the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. "Dynamism of a Footballer" by Umberto Boccioni, the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. "Dynamism of a Footballer" by Umberto Boccioni, the painting avoids anonymity because it carries a recognizable subject; light, framing and material then give it its own personality. "Dynamism of a Footballer" by Umberto Boccioni, the painting avoids anonymity because
Discover →
#59
The Revolt
In "The Revolt", Luigi Russolo transforms the pose or gesture into real architecture; the secondary gestures tell almost as much as the main subject. The interest of "The Revolt" in Luigi Russolo lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
Discover →
#60
Brooklyn Bridge
In "Brooklyn Bridge", Joseph Stella seeks a presence that resists the simple title; the masses give the composition its internal rhythm. For "Brooklyn Bridge" by Joseph Stella, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In "Brooklyn Bridge" by Joseph Stella, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of driving the eye without making large reels. In "Brooklyn Bridge" by Joseph Stella, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of driving the eye without making large reels. In "Brooklyn Bridge" by Joseph Stella, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of driving the eye without making large reels. In "Brooklyn Bridge" by Joseph Stella, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of driving the eye without making large reels. In "Brooklyn Bridge" by Joseph Stella, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of driving the eye without making large reels. In "Brooklyn Bridge" by Joseph Stella, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of driving the eye without making large re
Discover →
#61
The Machine Gun
In "The Machine Gun", CRW Nevinson puts the subject to the test of a very personal framing; the voids count as much as the figures and avoid any heaviness. For "The Machine Gun" by CRWRW Nevinson does not leave a formula, he adjusts the distance. In "The Machine Gun" by CRW The place of "The Machine Gun" by CRW The place of "The Machine Gun" by CRW The interest of "The Machine Gun" by CRW The interest of "The Machine Gun" by CRW The interest of "The Machine Gun" by CRW is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
Discover →
#62
The Port Bar
In "Le Bar du port", Louis Marcoussis gives the gaze a clear entry point; the contrast organizes the scene even before we read the details. In "Le Bar du port" by Louis Marcoussis, the architectural landmark gives the painting a backbone: monument, bridge, village or house stabilize the composition and prevent the vague mist effect. The interest of "Le Bar du port" by Louis Marcoussis is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
Discover →
#63
Against composition XII
In "Counter Composition XII", Theo van Doesburg constructs a scene with an immediately sensitive character; the contrast organizes the scene before we even read the details. For "Counter Composition XII" by Theo van Doesburg, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too much-squeezed glances. We can like "Counter Composition XII" for its calm or its brilliance, but its hold comes mainly from the way in which Theo van Doesburg organizes the gaze.
Discover →
#64
Typographer (Final State)
In "Typograph (Final State)", Fernand Léger moves a concrete subject towards a more ambiguous image; the pictorial material gives weight to the quieter areas. For "Typograph (Final State)" by Fernand Léger, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In "Typograph (Final State)" by Fernand Léger, the title acts as a small starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. In "Typograph (Final State)" by Fernand Léger, the title acts as a small starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. In "Typograph (Final State)" by Fernand Léger, the title acts as a small starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. In "Typograph (Final State)" by Fernand Léger, the title acts as a small starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. The interest of "Typograph (Final State)" by Fernand Léger, the title acts as a small starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. The interest of "Typograph (
Discover →
#65
Catch as Catch Can
In "Catch as Catch Can", Francis Picabia transforms a recognizable pattern into a gaze experience; the palette brings the shots together without flattening the scene. For "Catch as Catch Can" by Francis Picabia, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Catch as Catch Can" by Francis Picabia, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In "Catch as Catch Can" by Francis Picabia, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In "Catch as Catch Can" by Francis Picabia, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In "Catch as Catch Can" by Francis Picabia, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. "Catch as Catch Can" by Francis Picabia, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. "Catch as Catch Can" by Francis Picabia, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest.
Discover →
#66
Breakfast
In "Le Petit Déjeuner", Juan Gris puts the subject to the test of a very personal framing; the light distributes roles with quiet authority. The interest of "Le Petit Déjeuner" at Juan Gris lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
Discover →
#67
The music
In "Music", Luigi Russolo gives the gaze a clear entry point; voids count as much as figures and avoid any heaviness. For Luigi Russolo's "Music", the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In Luigi Russolo's "Music", the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In Luigi Russolo's "Music", the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. In Luigi Russolo's "Music", the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. In Luigi Russolo's "Music", the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. The interest of "Music" in Luigi Russolo is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
Discover →
#68
In the blue
In "In the Blue", Wassily Kandinsky gives everyday life a density that he had not asked for; the color then adjusts the temperature of the whole. In "In the Blue" by Wassily Kandinsky, the first interest comes from the subject itself: it gives the reader a concrete grip before letting the color, light and details do the rest. We can like "In the Blue" for its calm or its brilliance, but its hold comes mainly from the way in which Wassily Kandinsky organizes the look.
Discover →
#69
Rhythm n°2, decoration for the Tuileries show
In "Rhythm n°2, decoration for the Tuileries salon", Robert Delaunay transforms a recognizable pattern into a viewing experience; the details delay reading just enough to make it interesting. For "Rhythm n°2, decoration for the Tuileries salon" by Robert Delaunay, the composition can be read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Rhythm n°2, decoration for the Tuileries salon" by Robert Delaunay, the composition can be read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Rhythm n°2, decoration for the Tuileries salon" by Robert Delaunay, the composition can be read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Rhythm n°2, decoration for the Tuileries salon" by Robert Delaunay, this painting provides a simple but useful reference point: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Rhythm n°2, decoration for the Tuileries salon" by Robert Delaunay, this painting provides a simple but useful reference point: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Rhythm n salon des Tuileries by Robert Delaunay thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
Discover →
#70
Contrast of shapes
In "Contrast of Forms", Fernand Léger retains a moment whose painting extends its duration; the framing tightens what really deserves attention. For "Contrast of Shapes" by Fernand Léger, the eye finds a precise reason to slow down: a line, an edge, a profile or a contrast which gives the painting its little authority. In "Contrast of Shapes" by Fernand Léger, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "Contrast of Shapes" by Fernand Léger, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "Contrast of Shapes" by Fernand Léger, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "Contrast of Shapes" by Fernand Léger, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "Contrast of Shapes" by Fernand Léger, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "Contrast of Shapes" by Fernand Léger, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "Contrast of Shapes" by Fernand Léger, the painting brings to the classification a distinct subject, with enough presence and light to avoid
Discover →
#71
Harvest Unpicking
In "Le Dépiquage des Moissons", Albert Gleizes transforms pose or gesture into real architecture; the painted surface retains a tension that the subject alone would not explain. For "Le Dépiquage des Moissons" by Albert Gleizes, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In "Le Dépiquage des Moissons" by Albert Gleizes, here, the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. The interest of "Le Dépiquage des Moissons" by Albert Gleizes, here, the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. The interest of "Le Dépiquage des Moissons" by Albert Gleizes, here, the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. The interest of "Le Dépiquage des Moissons" by Albert Gleizes, here, the reading begins with the subject, then moves towards light and general balance; this is often where the painting gains its character. The interest of "Le Dépiquage des Moissons" by Albert Gleizes is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
Discover →
#72
Dancer at the cafe
In "Danseuse au café", Jean Metzinger shifts a concrete subject towards a more ambiguous image; light distributes roles with quiet authority. For Jean Metzinger's "Danseuse au café", the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. The interest of "Danseuse au café" by Jean Metzinger is due to this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
Discover →
#73
The Anise Bottle
In "The Anise Bottle", Juan Gris starts from a clearly identified subject; the palette brings the shots together without flattening the scene. For "The Anise Bottle" by Juan Gris, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "The Anise Bottle" by Juan Gris, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "The Anise Bottle" by Juan Gris, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "The Anise Bottle" by Juan Gris, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "The Anise Bottle" by Juan Gris brings its own mood to the journey; the canvas breathes, but it did not come just to open the window.
Discover →
#74
Red light
In "Red Fire", Ivan Kliun retains a moment whose painting extends its duration; the tone ratios establish a depth without noise. For "Red Fire" by Ivan Kliun, the composition is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Red Fire" by Ivan Kliun, the painting is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Red Fire" by Ivan Kliun, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "Red Fire" by Ivan Kliun, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "Red Fire" by Ivan Kliun, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "Red Fire" by Ivan Kliun, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "Red Fire" by Ivan Kliun, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "Red Fire" by Ivan Kliun, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple
Discover →
#75
Unique forms of continuity in space
In "Unique Forms of Continuity in Space", Umberto Boccioni seeks a presence that resists the simple title; the details delay reading just enough to make it interesting. For "Unique Forms of Continuity in Space" by Umberto Boccioni, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too much-squeezed glances. We can like "Unique Forms of Continuity in Space" for its calm or brilliance, but its hold comes mainly from the way in which Umberto Boccioni organizes the gaze.
Discover →Lyrical, Dada and experimental ways prolong the break without reciting the same formula.
#76
Small composition I
In "Little Composition I", Franz Marc seeks a presence that resists the simple title; the tone ratios establish a depth without noise. For Franz Marc's "Little Composition I", the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. We can like "Little Composition I" for its calm or its brilliance, but its hold comes mainly from the way in which Franz Marc organizes the gaze.
Discover →
#77
Development in brown
In "Development in Brown", Wassily Kandinsky starts from a clearly identified subject; the masses give the composition its internal rhythm. For "Development in Brown" by Wassily Kandinsky, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "Development in Brown" by Wassily Kandinsky, this work is worth by its precise motif as much as by its light and its atmosphere; it is not there to fill a box: it adds an identifiable nuance to the course. In "Development in Brown" by Wassily Kandinsky, this work is as valuable for its precise motif as for its light and its atmosphere; she is not there to fill a box: she adds an identifiable nuance to the course. In "Development in Brown" by Wassily Kandinsky, this work is worth by its precise motif as much as by its light and its atmosphere; she is not there to fill a box: she adds an identifiable nuance to the course. "Development in Brown" by Wassily Kandinsky, this work is worth by its precise motif as much as by its light and its atmosphere; she is not there to fill a box: she adds an identifiable nuance to the course. "Development in Brown" by Wassily Kandinsky, this work is worth by its precise motif as much as by its light and its atmosphere
Discover →
#78
Rhythm n°3, decoration for the Tuileries show
In "Rhythm n°3, decoration for the Tuileries salon", Robert Delaunay retains a moment whose painting extends its duration; the gaze circulates between structure, material and small expressive gaps. For "Rhythm n°3, decoration for the Tuileries salon" by Robert Delaunay, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Rhythm n°3, decoration for the Tuileries salon" by Robert Delaunay, the strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Rhythm n°3, decoration for the Tuileries salon" by Robert Delaunay, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Rhythm n°3, decoration for the Tuileries salon" by Robert Delaunay, the painting comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Rhythm n°3, decoration for the Tuileries salon" by Robert Delaunay, the painting comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Rhythm n°3 Tuileries by Robert Delaunay thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
Discover →
#79
The Guitar
In "The Guitar", Juan Gris establishes a discreet tension from the first glance; the palette brings the shots together without flattening the scene. We can love "The Guitar" for its calm or its brilliance, but its hold comes mainly from the way in which Juan Gris organizes the look.
Discover →
#80
Suprematism
In "Suprematism", Ivan Kliun puts the subject to the test of a very personal framing; the pictorial material gives weight to the quietest areas. For "Suprematism" by Ivan Kliun, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too hurried glances. In "Suprematism" by Ivan Kliun, the title acts as a small starting point: it announces a motif, a situation or a presence that painting then transforms into a visual experience. In "Suprematism" by Ivan Kliun, the title acts as a small starting point: it announces a motif, a situation or a presence that painting then transforms into a visual experience. In "Suprematism" by Ivan Kliun, the title acts as a small starting point: it announces a motif, a situation or a presence that painting then transforms into a visual experience. In "Suprematism" by Ivan Kliun, the title acts as a small starting point: it announces a motif, a situation or a presence that painting then transforms into a visual experience. In "Suprematism" by Ivan Kliun, the title acts as a small starting point: it announces a motif, a situation or a presence that painting then transforms into a visual experience. In "Suprematism" by Ivan Kliun, the title acts as a small starting point: it announces a motif, a situation
Discover →
#81
States of mind I: Farewells
In "States of Soul I: The Farewells", Umberto Boccioni retains a moment whose duration the painting extends; the contours alternate precision and freedom with a beautiful aplomb. For "States of Soul I: The Farewells" by Umberto Boccioni, the composition can be read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "States of Soul I: The Farewells" by Umberto Boccioni, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "States of Soul I: The Farewells" by Umberto Boccioni, this painting provides a simple but useful reference point: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "States of Soul I: The Farewells" by Umberto Boccioni, this painting provides a simple but useful reference point: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "States of Soul I: The Farewells" by Umberto Boccioni, this painting provides a simple but useful reference point: a clear motif, then the masses, then the passages of light which give the painting its true tempo. In "States of Soul I: The Fare
Discover →
#82
Plastic synthesis of a woman's movements
In "Plastic Synthesis of a Woman's Movements", Luigi Russolo transforms a recognizable pattern into a gaze experience; color then adjusts the temperature of the whole. For "Plastic Synthesis of a Woman's Movements" by Luigi Russolo, strength comes less from a burst of brilliance than from balance: enough structure to guide the eye, enough breathing to let the scene live. In Luigi Russolo's "Plastic Synthesis of a Woman's Movements", it is not just a silhouette placed in a beautiful light; the figure becomes the center of gravity, the detail that transforms the atmosphere into an encounter. Luigi Russolo's "Plastic Synthesis of a Woman's Movements" Russolo thus maintains a clear visual identity, without needing a great rhetorical effect to make it interesting.
Discover →
#83
Small composition II
In "Little Composition II", Franz Marc organizes the motif without reducing it to a pretext; the contrast organizes the scene even before we read the details. For "Little Composition II" by Franz Marc, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Little Composition II" by Franz Marc, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In "Little Composition II" by Franz Marc, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In "Little Composition II" by Franz Marc, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In "Little Composition II" by Franz Marc, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In "Little Composition II" by Franz Marc, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. "Little Composition II" by Franz Marc, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. "Little Composition II" by Franz Marc, the first
Discover →
#84
The table
In "La Table", Louis Marcoussis transforms a recognizable motif into a viewing experience; voids count as much as figures and avoid any heaviness. For "La Table" by Louis Marcoussis, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "La Table" by Louis Marcoussis, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. "La Table" by Louis Marcoussis thus maintains a clear visual identity, without the need for a great rhetorical effect to make it interesting.
Discover →
#85
Pink accent
In "Accent en rose", Wassily Kandinsky gives the gaze a clear entry point; the gaze circulates between structure, material and small expressive gaps. For "Accent en rose" by Wassily Kandinsky, on the scale of the image, this singularity counts a lot: it avoids the interchangeable pattern effect, this great disease of too much-squeezed glances. In "Accent en rose" by Wassily Kandinsky, the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. In "Accent en rose" by Wassily Kandinsky, the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. In "Accent en rose" by Wassily Kandinsky, the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. The interest of "Accent en rose" by Wassily Kandinsky already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. The interest of "Accent en rose" by Wassily Kandinsky already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material
Discover →
#86
Endless rhythm
In "Endless Rhythm", Robert Delaunay makes the motif a visual event rather than a simple label; the diagonals give the subject an energy that does not hold in place. For "Endless Rhythm" by Robert Delaunay, the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Endless Rhythm" by Robert Delaunay, the title already gives a concrete reference point for reading the image: enough structure to guide the eye, enough breathing to let the scene live. In "Endless Rhythm" by Robert Delaunay, the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. "Endless Rhythm" by Robert Delaunay, the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. "Endless Rhythm" by Robert Delaunay, the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. "Endless Rhythm" by Robert Delaunay, the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work.
Discover →
#87
Countercomposition XV
In "Counter-composition XV", Theo van Doesburg establishes a discreet tension at first glance; the gaze circulates between structure, material and small expressive gaps. For "Counter-composition XV" by Theo van Doesburg, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. In "Counter-composition XV" by Theo van Doesburg, the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. We can like "Counter-composition XV" for its calm or brilliance, but its hold comes mainly from the way in which Theo van Doesburg organizes the gaze.
Discover →
#88
Charred Beloved II
In "Charred Beloved II", Arshile Gorky avoids the interchangeable image and asserts a clean tone; the diagonals give the subject an energy that does not hold in place. For "Charred Beloved II" by Arshile Gorky, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Charred Beloved II" by Arshile Gorky, the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. In "Charred Beloved II" by Arshile Gorky, the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. In "Charred Beloved II" by Arshile Gorky, the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. In "Charred Beloved II" by Arshile Gorky, the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. "Charred Beloved II" by Arshile Gorky, the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. "Charred
Discover →
#89
Glass and Journal
In "Glass and Journal", Juan Gris avoids the interchangeable image and asserts a clean tone; the masses give the composition its internal rhythm. For "Glass and Journal" by Juan Gris, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Glass and Journal" by Juan Gris, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In "Glass and Journal" by Juan Gris, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In "Glass and Journal" by Juan Gris, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In "Glass and Journal" by Juan Gris, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In "Glass and Journal" by Juan Gris, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In "Glass and Journal" by Juan Gris, the first interest comes from the subject itself: it gives the reader a concrete grip before letting color, light and details do the rest. In "Glass and Journal" by Juan Gris, the first interest comes from the subject itself: it gives the
Discover →
#90
States of mind II: Those who leave
In "States of soul II: Those who leave", Umberto Boccioni transforms the pose or gesture into true architecture; the pictorial material gives weight to the quietest areas. The interest of "States of soul II: Those who leave" in Umberto Boccioni lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
Discover →
#91
The Alarm Clock
In "Le Réveil-matin", Fernand Léger transforms pose or gesture into real architecture; the framing tightens what really deserves attention. For "Le Réveil-matin" by Fernand Léger, on the scale of the image, this singularity matters a lot: it avoids the interchangeable pattern effect, this great disease of too eager glances. In "Le Réveil-matin" by Fernand Léger, the title announces a study of light: evening, morning, moon or sun become real subjects here, not simple weather settings. In "Le Réveil-matin" by Fernand Léger, the title announces a study of light: evening, morning, moon or sun become real subjects here, not simple weather settings. The interest of "Le Réveil-matin" by Fernand Léger, the title announces a study of light: evening, morning, moon or sun become real subjects here, not simple weather settings. The interest of "Le Réveil-matin" by Fernand Léger, the title announces a study of light: evening, morning, moon or sun become real subjects here, not simple weather settings. The interest of "Le Réveil-matin" by Fernand Léger, the title announces a study of light: evening, morning, moon or sun become real subjects here, not simple weather settings. The interest of "Le Réveil-matin" by Fernand Léger, the title announces a study of light: evening, morning, moon or sun become real subjects here, not simple weather settings. The interest of "
Discover →
#92
The Eye cacodylate
In "The Cacodylate Eye", Francis Picabia gives the gaze a clear entry point; the secondary gestures tell almost as much as the main subject. The interest of "The Cacodylate Eye" in Francis Picabia lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
Discover →
#93
Painting
In "Painting", Patrick Henry Bruce retains a moment whose painting extends its duration; the gaze circulates between structure, material and small expressive gaps. For "Painting" by Patrick Henry Bruce, the composition is read in stages: first the pattern, then the masses, then the passages of light which give the painting its true tempo. In "Painting" by Patrick Henry Bruce, this painting provides a simple but useful reference point: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "Painting" by Patrick Henry Bruce, this painting provides a simple but useful reference point: a clear pattern, then the masses, then the passages of light which give the painting its true tempo. In "Painting" by Patrick Henry Bruce, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of conducting the eye without making large reels. "Painting" by Patrick Henry Bruce, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of conducting the eye without making large reels. "Painting" by Patrick Henry Bruce, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of conducting the eye without making large reels. "Painting" by Patrick Henry Bruce, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of conducting the eye without making large reels. "Painting" by Patrick Henry Bruce, this painting provides a simple but useful reference point: a clear pattern, a clean atmosphere and a way of conducting the eye without making large reels.
Discover →
#94
My sky is red
In "My Sky is Red", Otto Freundlich retains a moment whose painting extends its duration; the diagonals give the subject an energy that does not hold in place. For "My Sky is Red" by Otto Freundlich, the eye finds a precise reason to slow down: a line, a bank, a profile or a contrast which gives the painting its little authority. In "My Sky is Red" by Otto Freundlich, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "My Sky is Red" by Otto Freundlich, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "My Sky is Red" by Otto Freundlich, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "My Sky is Red" by Otto Freundlich, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. In "My Sky is Red" by Otto Freundlich, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. "My Sky is Red" by Otto Freundlich, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant. "My Sky is Red" by Otto Freundlich, the painting brings to the classification a distinct subject, with enough presence and light to avoid the impression of a simple decorative variant.
Discover →
#95
States of mind III: Those who remain
In "States of Soul III: Those Who Remain", Umberto Boccioni avoids the interchangeable image and asserts a tone of his own; the point of view transforms a familiar observation into a lasting surprise. For "States of Soul III: Those Who Remain" by Umberto Boccioni, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "States of Soul III: Those Who Remain" by Umberto Boccioni, the composition is read in stages: first the motif, then the masses, then the passages of light which give the painting its true tempo. In "States of Soul III: Those Who Remain" by Umberto Boccioni, the title acts as a small starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. In "States of Soul III: Those Who Remain" by Umberto Boccioni, the title acts as a small starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. In "States of Soul III: Those Who Remain" by Umberto Boccioni, the title acts as a small starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. In "States of Soul III: Those Who Remain" by Umberto Boccioni, the title acts as a small starting point: it announces a motif, a situation or a presence that the painting then transforms into a visual experience. In "
Discover →
#96
Tyrol
In "Tyrol", Franz Marc organizes the pattern without reducing it to a pretext; the color then regulates the temperature of the whole. For "Tyrol" by Franz Marc, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Tyrol" by Franz Marc, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. In "Tyrol" by Franz Marc, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. "Tyrol" by Franz Marc, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. "Tyrol" by Franz Marc, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. "Tyrol" by Franz Marc, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. "Tyrol" by Franz Marc, the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. Franz Marc's "Tyrol", the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. Franz Marc's "Tyrol", the painting brings a distinct subject to the classification, with enough presence and light to avoid the impression of a simple decorative variant. Franz Marc's "Tyrol
Discover →
#97
Walk
In "Promenade", August Macke moves a concrete subject towards a more ambiguous image; the diagonals give the subject an energy that does not hold in place. The interest of "Promenade" at August Macke lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
Discover →
#98
Merzbild 1A (The Psychiatrist)
In "Merzbild 1A (The Psychiatrist)", Kurt Schwitters organizes the motif without reducing it to a pretext; voids count as much as figures and avoid any heaviness. For "Merzbild 1A (The Psychiatrist)" by Kurt Schwitters, strength comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. In "Merzbild 1A (The Psychiatrist)" by Kurt Schwitters, the title already gives a concrete reference point for reading the image: enough structure to guide the eye, enough breathing to let the scene live. In "Merzbild 1A (The Psychiatrist)" by Kurt Schwitters, the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. "Merzbild 1A (The Psychiatrist)" by Kurt Schwitters, the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. "Merzbild 1A (The Psychiatrist)" by Kurt Schwitters, the title already gives a concrete reference point for reading the image: subject, place, light or action direct the gaze before the pictorial material does its work. "Merzbild 1A (The Psychiatrist)" by Kurt Schwitters, the title already gives a concrete reference point for reading the image: subject, place, light or action
Discover →
#99
Simultaneous disk
In "Simultaneous Disc", Robert Delaunay puts the subject to the test of a very personal framing; the light distributes roles with quiet authority. For "Simultaneous Disc" by Robert Delaunay, the painting not only seeks to be pretty; it documents a way of seeing, which is clearly more solid than a pretty undocumented mist. The interest of "Concentrated Disc" in Robert Delaunay lies in this concrete difference: the subject changes the rhythm of the gaze and refuses to become a copied formula.
Discover →
#100
The discs
In "The Records", Fernand Léger retains a moment whose painting extends its duration; the drawing maintains the whole while the atmosphere takes some liberties. For Fernand Léger's "The Records", the force comes less from a burst of brilliance than from a balance: enough structure to guide the eye, enough breathing to let the scene live. Fernand Léger's "The Records" thus maintains a clear visual identity, without the need for a great rhetorical effect to make it interesting.
Discover →What the ranking reveals
One hundred works, three lasting freedoms
After a hundred paintings, abstraction no longer resembles a territory without reference points. It has its families, its tensions and its accents; simply, no vase is obliged to come and justify the color.
The form becomes subject
Squares, circles, lines and colored masses directly carry the composition.
Rhythm replaces narrative
The eye follows repetitions, ruptures and balances rather than a scene to be told.
One freedom, several languages
Geometric, lyrical, spiritual or mechanical, abstraction refuses the uniform with beautiful constancy.
Timeline without model
Five dates to free the web
Hilma af Klint begins monumental series where signs, colors and spirituality construct an autonomous language.
Around this date, Kandinsky pushed color and form towards decisive autonomy.
Malevich exposes the Black Square and gives suprematism its most radical image.
De Stijl organizes straight lines and primary colors into an international grammar.
Pollock's great Mural announces a more physical and expansive American abstraction.
Abstraction in depth
Why does abstract art remain so fascinating?
Abstract art not only represents fewer things: it requires painting to do something else. Shapes, colors, rhythms and balances no longer necessarily serve to describe a table, a landscape or a face. They become the subject itself. This is a considerable change: the canvas no longer shows a window on the world, it becomes a world in its own right, with its laws, its tensions and sometimes its geometric sense of humor.
Wassily Kandinsky plays a central role in this shift. His compositions, improvisations and circles give color an almost musical power. We don't just look at shapes: we feel speeds, chords, clashes, breathing. Kandinsky treats painting like a visual score, except that no one has to know how to read music theory to understand that something vibrates very strongly.
Piet Mondrian follows another path, more stripped down but just as radical. Its black lines, its white, red, blue or yellow rectangles seek essential harmony. Everything seems simple, then the eye understands that every proportion counts. Mondrian has the art of making a grid look like he has meditated for twenty years, which remains a respectable performance for rectangles.
Kazimir Malevich pushes abstraction towards suprematism, with the Black Square, the White on white and shapes that float as if the painting had just cut the moorings. For him, the image no longer tells a scene: it offers a state, a tension, sometimes a dizziness. It's austere, but not empty. Silence can carry weight, especially when it hangs firmly on the wall.
Paul Klee, Robert Delaunay, Theo van Doesburg, Sophie Taeuber-Arp, Hilma af Klint, Kupka, Popova or Rodchenko show that abstraction does not have a single mood. It can be poetic, spiritual, mathematical, joyful, strict, luminous or frankly experimental. An abstraction of Klee does not speak like a Mondrian; a Delaunay does not turn like a Malevich. It's a large family, but the meals must be exciting.
In a decoration, abstract art has a particular force: it fits less with a subject than with an atmosphere. A geometric composition structures a room, a colorful abstraction energizes it, a softer work establishes a breath. The painting does not necessarily impose a story; it opens a space. It's practical when you want an expressive wall without inviting a portrait to watch over dinner.
This Top favors works where abstraction truly becomes a driving force: autonomous shapes, organized colors, visual rhythm, spiritual or geometric research. Some images come from orphism, suprematism, constructivism or emerging lyrical abstraction. They all tell the same great adventure: freeing painting from the duty to resemble, then discovering that it had a lot to say as soon as we stopped asking it to copy the tablecloth.
Four reading keys
Look without looking for the hidden object
An abstract work does not require a password. Shape, color, rhythm and space are enough to follow what it organizes, accelerates or lets breathe.
Identify the strengths
Observe the dominant masses, their directions and the way they respond to each other.
Track intensities
Contrasts, neighborhoods and temperatures build emotion even before any explanation.
Spot the covers
Repetitions and deviations circulate the eye like a silent score.
Measure breathing
Emptiness, margins and superpositions matter as much as full shapes.
Library of free forms
Continue beyond the last square
Collections, artists, museums and references place each experience in its history, because a free form can still have a reliable address.
In Alpha Reproduction
01Wassily KandinskyThe masters of abstract art02Kazimir MalevichThe masters of abstract art03Piet MondrianThe masters of abstract art04Paul KleeThe masters of abstract art05Theo van DoesburgThe masters of abstract art06Jackson PollockThe masters of abstract art07Fernand LégerThe masters of abstract art08Francis PicabiaThe masters of abstract art09Lyubov PopovaThe masters of abstract art10Sophie Taeuber-ArpThe masters of abstract art11Abstract ArtCollections & guides12Abstract reproductionsCollections & guides13Famous paintingsCollections & guides14All the famous top paintingsCollections & guides15Reproductions Wassily KandinskyCollections & guides16Reproductions Piet MondrianCollections & guides17Paul Klee reproductionsCollections & guides18All reproductions of paintingsCollections & guidesFrequently asked questions
Abstract art without fog
The essential benchmarks to look longer and let the shapes do their job.
What is abstract art?
It is a painting that does not necessarily seek to represent recognizable objects. She uses shapes, lines, colors and rhythms as her main subjects.
Why is Kandinsky often cited?
Because he gave abstraction a very strong musical and spiritual dimension. For him, color acts almost like a sound: it vibrates, responds, insists, sometimes with great enthusiasm.
What is the difference between Mondrian and Malevich?
Mondrian seeks strict harmony through grid, lines and primary colors. Malevich aims for a more radical, floating, suprematist abstraction. One puts the world away, the other propels it into space.
Is Hilma af Klint important in abstraction?
Yes. His abstract and symbolic series appeared very early and changed the way of telling the origins of abstract art. She had clearly gotten ahead without warning the entire committee.
Why can abstract art seem difficult?
Because it doesn't always give an immediate subject to recognize. You have to look at color relationships, balances, tensions and silences. After a few minutes, the shapes often begin to speak.
Which abstract painting to choose for a room?
For a quiet room, choose a sober geometric composition. For a bright room, a colorful abstraction such as Kandinsky or Delaunay works very well. For a minimal ambiance, Mondrian or Malevich keep the line.
Does abstract art go with a classic interior?
Yes, and it is often very successful. An abstract work can awaken old furniture, lighten a busy wall or give a wise room a little desire for high modernity.
Why do these paintings remain famous?
Because they changed the mission of painting. They show that a line, a color or a shape can stand on its own, without narrative decor. It's bold, and walls sometimes like to be trusted.
0 comments