Cel\u00e1 historie civilizace minul\u00e9ho stolet\u00ed je zalo\u017eena na vzorc\u00edch, algoritmech, principech, rovnic\u00edch a pravidlech. \u010clov\u011bk se v\u0161ak sna\u017e\u00ed o rovnov\u00e1hu a harmonii! V souvislosti s t\u00edm se na po\u010d\u00e1tku stolet\u00ed v\u011bdeck\u00e9 a technologick\u00e9 revoluce objevuje um\u011bleck\u00e9 hnut\u00ed, kter\u00e9 nenaslouch\u00e1 klasick\u00fdm k\u00e1non\u016fm malovan\u00ed. Naopak sp\u00ed\u0161 slou\u017e\u00ed k tomu, \u017ee poskytuje svobodu podv\u011bdom\u00e9mu, chaotick\u00e9mu a zd\u00e1nliv\u011b bezv\u00fdznamn\u00e9mu. D\u00e1v\u00e1 \u010dlov\u011bku p\u0159\u00edle\u017eitost osvobodit se norem a dogmat a zachovat vnit\u0159n\u00ed harmonii.<\/p>\n
Abstrakcionismus (z latiny abstractus – vzd\u00e1len\u00fd, nekonkr\u00e9tn\u00ed) je docela \u0161irok\u00fdm sm\u011brem v um\u011bn\u00ed 20. stolet\u00ed. Vznikl na po\u010d\u00e1tku 20. let minul\u00e9ho stolet\u00ed a to hned v n\u011bkolika evropsk\u00fdch zem\u00edch. Abstrakcionismus je charakterizov\u00e1n pou\u017eit\u00edm \u010dist\u011b form\u00e1ln\u00edch prvk\u016f prezentuj\u00edc\u00edch realitu. Imitace nebo p\u0159esn\u00e9 zobrazov\u00e1n\u00ed skute\u010dnosti nen\u00ed samo o sob\u011b c\u00edlem.<\/p>\n
Zakladateli abstraktn\u00edho um\u011bn\u00ed jsou ru\u0161t\u00ed um\u011blci Vasily Kandinsk\u00fd a Kazim\u00edr Malevich, Holan\u010fan Pete Mondrian, Francouz Robert Delone a \u010cech Franti\u0161ek Kupka. J\u00e1drem jejich metody kreslen\u00ed bylo nal\u00e9zt touhu po “harmonizaci”, vytvo\u0159en\u00ed ur\u010dit\u00fdch barevn\u00fdch kombinac\u00ed a geometrick\u00fdch forem tak, aby vyvol\u00e1valy u pozorovatele r\u016fzn\u00e9 asociace.<\/p>\n
V abstrakcionismu lze rozli\u0161it dva sm\u011bry: geometrickou abstrakci zalo\u017eenou hlavn\u011b na jasn\u011b definovan\u00fdch seskupen\u00edch (Malevich, Mondrian, Theo van Doesburg, Ellsworth Kelly) a lyrickou abstrakci, ve kter\u00e9 je kompozice organizov\u00e1na z voln\u011b tekouc\u00edch forem (Kandinsky, Helen Frankenthaler, Gerhard Richter). Existuje v\u0161ak i n\u011bkolik dal\u0161\u00edch v\u00fdznamn\u00fdch nez\u00e1visl\u00fdch proud\u016f.<\/p>\n
Mnoho abstrakcionist\u016f m\u00e1 klasick\u00e9 vzd\u011bl\u00e1n\u00ed a vynikaj\u00edc\u00ed akademick\u00e9 dovednosti. To znamen\u00e1, \u017ee jsou schopni namalovat hezkou v\u00e1zu s kv\u011btinami, z\u00e1pad slunce na mo\u0159i nebo portr\u00e9t. Z n\u011bjak\u00e9ho d\u016fvodu ale necht\u011bj\u00ed. Vyb\u00edraj\u00ed si vizu\u00e1ln\u00ed z\u00e1\u017eitek, kter\u00fd nen\u00ed zat\u00ed\u017een objektivitou. Um\u011blci div\u00e1ku usnad\u0148uj\u00ed jeho \u00fakol. Neumo\u017e\u0148uj\u00ed mu rozpt\u00fdlit vn\u00edm\u00e1n\u00ed na objekty zobrazen\u00e9 na obr\u00e1zku. Pom\u00e1haj\u00ed mu okam\u017eit\u011b se pono\u0159it do emoc\u00ed.<\/p>\n
Nejlep\u0161\u00ed zp\u016fsob, jak proc\u00edtit pr\u00e1ci abstraktn\u00edho um\u011bn\u00ed, je st\u00e1t p\u0159ed d\u00edlem a jen se d\u00edvat a d\u00edvat a d\u00edvat. N\u011bkter\u00e9 pr\u00e1ce mohou pono\u0159it div\u00e1ka do hlubok\u00e9 existenci\u00e1ln\u00ed zku\u0161enosti nebo extatick\u00e9ho vytr\u017een\u00ed. To se \u010dasto st\u00e1v\u00e1 p\u0159ed malbami Marka Rothka a objekty Anishe Kapoora, ale podobn\u00fd \u00fa\u010dinek m\u016f\u017ee m\u00edt i d\u00edlo nezn\u00e1m\u00e9ho um\u011blce.<\/p>\n
Boj\u00edte se vz\u00edt do ruky barvy kv\u016fli va\u0161\u00ed \u201eneschopnosti kreslit\u201c nebo \u201enedostatku talentu\u201c? V\u017edy\u0165 pr\u00e1v\u011b abstraktn\u00ed techniky jsou pou\u017e\u00edvan\u00e9 i v arteterapii \u010dast\u011bji ne\u017e jin\u00e9. Pom\u00e1haj\u00ed vyj\u00e1d\u0159it slo\u017eit\u00e9 pocity, pro kter\u00e9 je t\u011b\u017ek\u00e9 naj\u00edt slova. Pro mnoho um\u011blc\u016f, kte\u0159\u00ed trp\u00ed vnit\u0159n\u00edm rozporem a jejich vlastn\u00ed neslu\u010ditelnost\u00ed s okoln\u00edm sv\u011btem, se abstrakce stala t\u00e9m\u011b\u0159 jedin\u00fdm zp\u016fsobem, jak se sm\u00ed\u0159it s realitou.
\nP\u0159i vytv\u00e1\u0159en\u00ed vlastn\u00edch abstraktn\u00edch obraz\u016f a p\u0159i setk\u00e1n\u00ed s uzn\u00e1van\u00fdmi mistry je hlavn\u00ed v\u011bc\u00ed b\u00fdt p\u0159\u00edtomn\u00fd v okam\u017eiku a c\u00edtit radost z vlastn\u00edho intelektu\u00e1ln\u00edho \u00fasil\u00ed.<\/p>\n","protected":false},"excerpt":{"rendered":"
Cel\u00e1 historie civilizace minul\u00e9ho stolet\u00ed je zalo\u017eena na vzorc\u00edch, algoritmech, principech, rovnic\u00edch a pravidlech. \u010clov\u011bk se v\u0161ak sna\u017e\u00ed o rovnov\u00e1hu a harmonii! V souvislosti s t\u00edm se na po\u010d\u00e1tku stolet\u00ed v\u011bdeck\u00e9 a technologick\u00e9 revoluce objevuje um\u011bleck\u00e9 hnut\u00ed, kter\u00e9 nenaslouch\u00e1 klasick\u00fdm k\u00e1non\u016fm malovan\u00ed. Naopak sp\u00ed\u0161 slou\u017e\u00ed k tomu, \u017ee poskytuje svobodu podv\u011bdom\u00e9mu, chaotick\u00e9mu a zd\u00e1nliv\u011b bezv\u00fdznamn\u00e9mu. […]<\/p>\n","protected":false},"author":8,"featured_media":27770,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2],"tags":[225,147,190,226,127,213],"class_list":["post-27773","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog-en","tag-abstract-en","tag-abstrakce-en","tag-art-en","tag-emoce-en","tag-modern-art-en","tag-umeni-en"],"acf":[],"yoast_head":"\n