من الفن التشبيهي الحر الى الفن اللاتشبيهي ٥_a .. كتاب الفن في القرن العشرين

As for the Dutch Geer Van Velde, who settled in Paris since 1925, unlike previous artists, each form appears in his pictures with a clear and regular scale. Even before 1950, when he depicted a boudoir or a table set up in front of the Mediterranean Sea, we see him stripping things of all the natures that characterize them in the reality of life, and returning them to geometric shapes and to areas of individual colors. And the only role that remains for her is to distinguish the levels from one another, and to highlight and strengthen the structure of the painting. So we are not at all surprised to see these things eventually disappear completely from the painting. The real meaning of the painting is not in these things, but in the accuracy of the connection between the colors and the forms and in the quality of the light that it is a tender, pure, dreamy light that shines with the same purity. Gray, lilac, pale violet, diluted blue, deaf yellow, and few existing pigments, such as black and brown. This light does not happen in any of the paintings to sink into the darkness, or to be agitated. And that the art of Geer van Field is devoid of violent collisions, and builds its balance on the conflicting gradations of colors, not on their opposition, so this delicate art escapes from insignificance. And as we see in the paintings of the finest masters in the art of Japanese drawing, such as Harunobu and Utama Rou van Field, the gentlest colors nevertheless have a special rhythm that distinguishes and imposes them. Each of these colors is a single color, but it appears as if it is placed in a vacuum and from. And with when we find ethereal However, we find precise shapes and clear colors in Pettoruti since he was practicing cubism, and therefore we are not surprised to find similar ones also in non-figurative paintings that he painted after his return to Europe in 1952, and what is the difference, then, between him and Ger van Field??? The geometry of his shapes is more accurate, the composition of the image is more compact, and his coloring is more lively, so his art is also not devoid of delicacy. Indeed, Ptoruti must express such intangible realities as the sun in the mountain, the sea dusk, the flight of a butterfly or a bird. Therefore, we find that the shapes in his painting seem abstract, not relaxed. In conclusion, the shapes become with just thin areas of a single color. The sun, for example, is represented by an oval ribbon that undulates slightly and seems as if it is rocking like a boat. Then these single-colored areas are lined up side by side, and are arranged together in such a way that they give the impression of matter Not that the figure is prominent. However, this protrusion does not appear except for the eye, for the sense of touch. What strengthens this impression and highlights it is the color that may move in the utmost light to the velvet shade. And he always remains spiritual, and Toruti alters the real to the point where his compositions appear to be completely independent, and one imagines at first glance that he is in front of a commoner of absolute geometric abstraction.