Abstract Art: Expression Beyond the Figurative

As an abstract artist, I frequently encounter questions and comments that challenge the nature of my work. "I don't get it" is just one of these reactions, for which I at least appreciate the honesty. Abstract art is divisive. This form of art goes beyond mere representation.

It challenges both the artist and the viewer to engage emotionally. The lack of clearly recognizable subjects can be confusing, but it also creates space for personal interpretations. Abstract art forces us to look beyond the obvious and feel the unspoken.

During a presentation of my art, someone asked if my painting was even finished, pointing out that there is no such thing as a white sky (it was a piece from the Shore series).

Of course, a sky can indeed appear white, but that wasn’t the point. It was never my intention to depict a sky—or the sea, for that matter.

The Shore series was created in the first half of 2022. The first two years of the pandemic had made life feel more confined for everyone. What was working within me, what I longed for, and what I wanted to express was the feeling of vastness.

Abstract landscape painting doesn't depict a landscape as it is, but rather tells how it feels to be in it.

"It doesn't matter how the paint is put on, as long as something is said."

- Jackson Pollock

What is abstract art?

Abstract art views visual language as a means to communicate complex ideas and emotions that might not be expressible in more traditional art forms. Shapes, colours, lines, and textures play a greater role than clearly identifiable objects or scenes. Without direct or even fleeting reference to the external world, and through seemingly unstructured patterns, it creates space for personal reflection and emotional responses.

"Abstraction has pushed my boundaries as an artist and helped me understand the power of composition and colour. It has also taught me how to embrace the intuitive process of painting, to learn to respond to the painting as it emerges."

- Alison Watt, Canadian artist

History of Abstract Art

The development of abstract art was closely linked to the technological and cultural changes of the late 19th and early 20th centuries.

There was industrialization (from the 19th century onwards), rapid urbanization (in the decades around the turn of the century), and the accompanying modernization (especially in the 20th century and continuing), which led to upheavals in work and life environments, new ways of living, and a changed perception of the world.

Increased mobility expanded horizons not only in terms of travel but also broadened intellectual and cultural perspectives.

New ideas in the natural sciences, physics, and mathematics challenged existing notions of time, space, and matter. The complex nature of reality, now revealed, required a new artistic expression. Architecture, music, and philosophy posed new questions and provided new answers.

Additionally, the development of photography in the second half of the 19th century particularly freed painting from its role as a documentary medium. Artists could now reinterpret reality. They were influenced not only by newer philosophical currents and deep psychological theories but also by the popular spiritual and esoteric ideas of the early 20th century.

It was the trend of the time for artists to turn to the exploration of the inner self, the unconscious, and dream worlds.

Against this complex backdrop, marked by diverse upheavals, a movement of artistic exploration emerged, in which many artists developed new visual languages.

Forerunner of Abstract Art

Impressionism (around 1860-1880)

Impressionism broke away from traditional art by prioritizing snapshots of everyday life and, in particular, the effects of light and colour over detailed representation. This movement laid the groundwork for artists to focus more on visual sensations rather than the precise depiction of reality.

Post-Impressionism (around 1880–1905)

Artists like Paul Cézanne, Vincent van Gogh, and Paul Gauguin expanded on the ideas of Impressionism by incorporating expressive colours, symbolic content, and structural experiments into their works. For example, Cézanne analysed natural forms through basic geometric shapes, which directly inspired the Cubists.

Symbolism (end of the 19th century)

Symbolism opposed Realism and emphasized the depiction of emotions, dreams, and the human psyche. This movement greatly influenced how artists represented subjective experiences and inner worlds.

Cubism (around 1906-1915)

Cubism broke down the forms of nature into geometric structures. It questioned traditional perspectives and opened up the possibility of depicting objects simultaneously from different angles, creating the basis for complete abstraction. Pablo Picasso and Georges Braque were the leading exponents of Cubism.

Expressionism and Die Brücke/Der Blaue Reiter (from 1905)

These groups in Germany placed great importance on the expressive power of colour and dynamic forms, prioritizing personal feelings and ideas over reality. Wassily Kandinsky, a founding member of Der Blaue Reiter, developed his ideas on the spiritual dimension in art here, which ultimately led him to complete abstraction.

Pioneers of Abstract Art

Wassily Kandinsky

For a long time, Wassily Kandinsky was considered the "father of abstract art." Born in Russia in 1866, he began his academic career in law and economics at the University of Moscow. At the age of 30, Kandinsky decided to abandon his legal career and devote himself entirely to painting.

This decision was sparked by an exhibition of Impressionist works he saw in Moscow. He was particularly deeply impressed by Claude Monet's "Haystacks" due to their use of colour. Kandinsky moved to Munich—at the time a leading centre of artistic innovation and avant-garde—to study at Anton Ažbe's private school and later at the Academy of Fine Arts.

Kandinsky went through several artistic phases. In his early works, he often used natural forms and Impressionist techniques but increasingly experimented with colours and forms meant to express emotions and spiritual ideas.

His development towards abstraction began around 1910. He regarded colours and forms as a universal language of the soul; Goethe's Theory of Colours was a significant source of inspiration, as was music. Kandinsky saw a natural connection between music and painting. It is said that, as a synaesthete, he could hear the sound of colours. In his book Concerning the Spiritual in Art, he described how music opened his eyes to abstract forms.

Before researching for this article, I hadn't delved deeply into Kandinsky's work and was unaware of his connection to music. Now, I see his works in a completely different light. The painting Composition VIII evokes in me the image of an orchestra pit where the instruments are being tuned before a concert begins. What do you see?

In Munich, Kandinsky, together with Franz Marc, founded the artist group "Der Blaue Reiter" in 1911, which was of great significance for the development of Expressionism in Germany. From 1913 onwards, Kandinsky began to completely detach himself from the depiction of real objects. He developed an art theory that he presented in Concerning the Spiritual in Art, where he discussed the psychological effects of colour and the representation of inner beauty.

Kandinsky was extremely influential not only as a painter but also as an art theorist. His theories on abstract art have significantly influenced the development of modern art.

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Hilma af Klint 

However, Wassily Kandinsky was neither the only pioneer of abstraction nor the first. Hilma af Klint, a Swedish artist, began creating abstract works as early as 1906. She was ahead of her time and aware of it, which is why she stipulated that her abstract works should only be shown 20 years after her death.

Af Klint's contributions to abstract art went unrecognized for a long time, partly because she was a woman. In a male-dominated art world, the contributions of women were often overlooked or marginalized. This was also the case for other female artists, whose work received less attention in art history compared to their male counterparts.

Af Klint studied traditional landscape and portrait painting at the Royal Swedish Academy of Fine Arts in Stockholm. After graduating in 1887, she initially followed conventional artistic paths to earn a living.

Her turn towards abstract art began in the late 19th century, when Hilma af Klint joined spiritualist and theosophical circles. These groups were interested in the intersections of religion, philosophy, and science, and their teachings greatly influenced af Klint. Particularly formative was her involvement with the group "De Fem" (The Five), a female artist group that engaged in spiritualism, practising automatic writing and mediumistic drawing together.

Modernism

The 1920s and 1930s were the era of "Modernism," characterized by a spirit of experimentation and innovation in the arts. It was also marked by significant political and social upheavals, including the Great Depression and the rise of totalitarian regimes in Europe, which were often hostile to abstract and modern art.

Despite—or perhaps because of—these challenges, abstract art flourished and became a symbol of artistic freedom and intellectual resistance. During this period, it evolved from an avant-garde novelty to an essential part of the international art scene.

Nazi Germany and "Degenerate Art"

During the Nazi regime in Germany, abstract art experienced a period of persecution and vilification. The National Socialists had a very specific notion of art, which, in their view, should reflect "Aryan" ideals of beauty, clarity, and moral purity.

Modern and abstract art styles that did not conform to these ideals were defamed as "degenerate" ("entartete Kunst"). This affected a wide range of art styles, including Expressionism, Dadaism, Surrealism, Cubism, and abstract art. These art forms were considered mentally ill, decadent, or subversive. Approximately 20,000 artworks were confiscated, including works by Marc Chagall, Emil Nolde, Ernst Ludwig Kirchner, and many others.

In 1937, the Nazis organized an exhibition titled "Degenerate Art" in Munich. More than 650 works by over 120 modern artists were displayed. The exhibition was designed to provoke ridicule and rejection of the displayed works. The artworks were deliberately presented in poorly lit rooms, often accompanied by offensive and derogatory comments.

The exhibition later toured several cities in Germany and Austria. It was an unprecedented success: "Degenerate Art" attracted millions of visitors from both Germany and abroad. However, not everyone was swayed by the Nazis' defamatory and demeaning presentation. Some works were purchased by collectors, and others were positively reviewed in the international press.

Nevertheless, the majority of visitors did indeed react with incomprehension or derision towards the exhibited works.

Many artists who created abstract artworks were persecuted; their works were removed from public collections, banned, destroyed, or sold. Many of them left Germany. Those who could not emigrate faced professional isolation and often personal persecution.

Relocation of the Artistic Centre to New York

The destination for many fleeing artists, including Marc Chagall, Max Ernst, and Piet Mondrian, was New York. The city was seen as a safe haven. While Europe was economically devastated by the war, with many cities lying in ruins, the US economy remained relatively stable. Its economic power attracted not only artists but also investors, gallery owners, and collectors, both during and after the war. This financial boom supported the growth of the art market and made New York the new hub of the international art scene.

Even before the war, New York had been a significant cultural centre, but the arrival of so many influential artists further enhanced its importance. The city offered a dynamic and inspiring environment, and institutions like the Museum of Modern Art (MoMA) played a crucial role in promoting modern art forms, including abstract art.

Development of Abstract Art to the Present Day

Since then, abstract art has significantly evolved and diversified. It remains a central medium for engaging with complex themes—from personal identity to social and political issues, as well as metaphysical and existential questions. Today, it is often used in multidisciplinary contexts, combined with installations, digital art, and performance, to create new experiential spaces for audiences. It continues to be part of the discussions about the nature of art and its role in society.

Diversity in Abstraction

Abstract Expressionism

Emerging in the 1940s and 1950s, primarily in New York, this movement is often regarded as the first major American art movement. It is characterized by an expressive use of colour and an emphasis on spontaneity. Key figures include Jackson Pollock, known for his iconic dripping technique, and Joan Mitchell, whose vibrant and emotionally charged paintings are marked by dynamic brushstrokes, powerful colour compositions, and deep emotional resonance.

Concrete Art

This abstraction movement emphasizes objectivity and non-referentiality. Concrete art refrains from depicting anything outside the work itself, focusing on colours and forms as independent realities. Important artists include Theo van Doesburg and Max Bill.

Informel

Also known as Tachisme, Informel emerged parallel to Abstract Expressionism, mainly in Europe. This art form emphasizes the material of the painting and the painting process itself. Jean Dubuffet and Antoni Tàpies are well-known representatives.

Colour Field Painting

A development within Abstract Expressionism, Colour Field Painting focuses on large areas of pure colour to create emotional or symbolic resonance. Mark Rothko and Barnett Newman are key artists in this genre.

Minimalism

In reaction to the emotional gestures of Abstract Expressionism, Minimalists sought a reduction to the most basic forms and colours. Their works emphasize objectivity and often an industrial production of artworks. Key artists in this movement include Donald Judd, Sol LeWitt, and Frank Stella.

Conceptual Art

Conceptual art often operates at the edges of abstraction, emphasizing the idea behind a work more than its aesthetic appearance. Prominent figures such as Bruce Nauman and Joseph Kosuth frequently implement abstract concepts in various media.

Digital Art

With the advent of digital technologies, abstract art has continued to evolve. Artists use software and digital editing to create new forms of abstract art, often interactive and exploring new aesthetics. Leading artists in this field include Casey Reas and Rafael Lozano-Hemmer.

The Challenges of Being an Abstract Artist

As an artist, I encounter a variety of challenges that touch on both personal and practical aspects of my artistic practice. This includes the public, sometimes critical, reception of my works.

Abstract art is often misunderstood; not everyone sees or comprehends the intent behind my creations. This can be frustrating—not so much when my artworks are misinterpreted, but rather when they are not taken seriously.

As an artist, I express a part of myself through my works. Criticism can thus feel very personal. However, it is crucial to develop emotional resilience and to differentiate between constructive criticism and uninformed or destructive comments.

Nevertheless, I remain open to curious exchanges and interested questions. Effective communication about my art and the themes that engage me is helpful in this regard. This often happens through exhibition texts, personal explanations on my website, or via my social media channels. I especially welcome opportunities for engaging conversations and in-depth discussions. Such encounters enrich my artistic practice and contribute to a better understanding of my work.

Why Abstract Art is the Ideal Means of Expression for me

Abstract work allows me to communicate my emotions, thoughts, and inner experiences directly and authentically. It gives me the freedom to experiment with colours, shapes, and textures, exploring and expressing deeper layers of myself.

Abstraction challenges me to rely on my intuition. Every brushstroke and colour choice becomes an expression of my inner world, making my artworks authentic reflections of my feelings and thoughts. This also enables me to focus on the essential elements of a theme. This reduction allows me to capture the essence of what I want to express more clearly and intensely.

My series "Cracked" is an example of this approach. In it, I explore themes such as fragility, healing, and transformation. The cracks and fractures in the paintings symbolize both personal and collective experiences of vulnerability and resilience. The series is a processing of my childhood experiences.

Evaluation and Perception

The perception and evaluation of abstract art have changed over time and vary greatly between the art world and the public, as well as within critical discourses. Abstract art polarizes, eliciting enthusiasm on one side and scepticism on the other.

A common criticism is that it is difficult for many people to understand, as it does not aim to depict or imitate the visible world. Critics argue that abstract art is elitist and accessible only to a small circle of art connoisseurs.

Others criticize that abstract art relies too heavily on personal interpretation, making it susceptible to subjective and unverifiable readings. This, they argue, makes it challenging to objectively assess the quality and significance of the artworks.

Supporters of abstract art value it precisely for its openness and its ability to express emotions and intellectual concepts in a non-representational way. They see abstraction as a liberation from the conventional demands of pictorial representation and an expansion of the understanding of what art can be.

Challenges in Viewing Abstract Art

This dichotomy is understandable, as viewing abstract art poses a challenge for both casual viewers and art enthusiasts.

The lack of reference points complicates the interpretation of what one sees. Abstract artworks are intended to evoke emotional or intuitive responses. However, the openness to interpretation can lead to uncertainty among viewers about how to react or what to feel, especially if they find no immediate "answer" or "solution" in the artwork.

Every viewer brings their own cultural and personal history to their art viewing. These backgrounds can significantly influence the perception and acceptance of abstract art. What may be a profound representation for one person may appear inaccessible or irrelevant to another.

Tips for Approaching Abstract Art

Stay Open

Approach abstract art with an open mind. Try to detach from the need to "understand" everything and allow yourself to experience the works on your own terms.

Allow Personal Interpretation

Seize the opportunity to find your own meaning in an abstract artwork. Abstract art is often designed to encourage personal interpretations and emotional responses.

Research Context

Learn about the artist and the context in which the work was created. Sometimes, knowing the artist's life story or the artistic goals they pursued can shed light on the work and deepen understanding.

View Repeatedly

Abstract art can offer different impressions and insights upon repeated viewing. Take time to look at a work multiple times and observe how your perception and feelings may change.

Engaging with abstract art can be challenging, but it is also immensely rewarding. It encourages us, the viewers, to think beyond conventional viewing habits and develop a more personal relationship with art.

What do you see?

Now, I would like to know your opinion: What do you feel when you look at abstract art? Do you have a favourite piece or an experience you would like to share? Do you paint abstractly yourself, and have you ever faced unpleasant comments?

Your perspectives and thoughts are valuable, and I invite you to share them with me. Comment below or contact me directly—I look forward to an inspiring exchange!