Painting Feeling

During the creative process when artists are closest to the feeling of Simple Reality, they are most likely to connect to the True self, to the Implicate Order, and often find themselves on the cutting edge of the unfolding of Creation itself. It happened in the lives of three painters creating revolutionary paintings in the first decade of the 20th century as they helped give birth to abstract expressionism.

In František Kupka’s Disks of Newton, Study for Fugue in Two Colors (1911-12), he, like Delaunay, believed that “feeling” could be experienced directly through colors alone. Piet Mondrian in such paintings as Composition No. 10, Pier and Ocean (1915), attempted to transcend the world of form, trying to separate art from nature and he was influenced by the mysticism of Helena Blavatsky and her Theosophy as well as Eastern symbolism. He seemed to intuit that the world of form was illusory and would block a painter’s expression of pure truth.

Kazimir Malevich was traveling the same avenue toward “feeling” that Kupka and Mondrian were but, of course, in his own way. Again, he saw the attempts to depict objects or form as blocking the artist’s ability to express something more profound beyond the world of sensory illusions. Malevich “arrived at his ‘Suprematist compositions’ in which he liberated art ‘from the useless weight of the object’ and made paintings which signified solely ‘the supremacy of pure feeling and perception.’”  His Suprematist Composition: White on White (c. 1918) is an example of his “completely nonobjective works—that is, works representing no specific object—such as this penetrated to the essence of creation.”  That is why immersion in the beauty of art is a wonderful way to experience the joy of Simple Reality.

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ILLUSTRATIONS in Art in Our Times, by Peter Selz (1981).

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References and notes are available for this essay.
Find a much more in-depth discussion in books by Roy Charles Henry.

 

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