The Proto-Renaissance, a pivotal period in art history, marks the transition from Medieval to Renaissance art. It is characterized by artists breaking away from the flat, stylized figures typical of Medieval art and experimenting with more naturalistic depictions. Key figures like Giotto di Bondone introduced greater emotional expression and depth in painting, while artists started exploring more realistic perspectives and spatial depth. Though still grounded in religious themes, the use of light, shadow, and human expression began to hint at the developments of the entire Renaissance.
Early Renaissance (c. 1400 – 1490)
The Early Renaissance, a period from around 1400 to 1490, is defined by the exploration of humanism and the revival of classical antiquity. Artists began to study the natural world, incorporating realistic human proportions, perspective, and light into their work. This period saw the development of linear perspective, notably by Filippo Brunelleschi, and artists like Donatello and Masaccio brought more depth and realism to sculpture and painting. The era also saw the rise of portraiture, a new form of art that captured the essence of individuals, and more complex compositions, focusing on religious and secular subjects.
High Renaissance (c. 1490 – 1527)
The High Renaissance is considered the pinnacle of Renaissance art, marked by harmony, balance, and the mastery of techniques like linear perspective, sfumato (the delicate blending of light and shadow), and anatomical accuracy. Iconic artists like Leonardo da Vinci, Michelangelo, and Raphael pushed artistic boundaries during this time, creating some of the most celebrated works in Western art, such as The Last Supper, The Sistine Chapel ceiling, and The School of Athens. This period epitomized the ideal of beauty, order, and humanism, focusing on the perfect human form and the divine.
Mannerism (Late Renaissance) (c. 1520 – 1600)
Mannerism emerged as a reaction to the harmonious idealism of the High Renaissance. It is characterized by exaggerated proportions, elongated forms, and complex, often unnatural poses. Artists like El Greco, Parmigianino, and Jacopo da Pontormo embraced an aesthetic that defied the classical norms of balance and order, focusing instead on emotion, tension, and artistic experimentation. Mannerism is often seen as more artificial and less grounded in nature, reflecting the social and political instability of the time. Its vivid colors and dramatic compositions set it apart from the High Renaissance’s more serene and idealized works.
Northern Renaissance (c. 1400 – 1600)
The Northern Renaissance, which refers to the flourishing of art in Northern Europe, especially in the Netherlands, Germany, and France, during the same period as the Italian Renaissance, offers a stark contrast to its southern counterpart. Artists like Jan van Eyck, Albrecht Dürer, and Hieronymus Bosch focused on incredible attention to detail, precise realism, and the use of oil paint to achieve rich textures and depth. While Italian artists were preoccupied with classical themes and the human form, Northern Renaissance artists often explored detailed landscapes, religious themes, and domestic life, focusing on minute realism and symbolism. This period also marked the rise of the portrait genre and the development of early printmaking.
Art studios in Coconut Grove, Coral Gables & South Miami
Complexes
Deering Estate 16701 SW 72nd Ave. Miami, FL 33157
Andres Cabrera Alexander Zastera Barron Sherer Gustavo Matamoros Gretchen Scharnagl Keshia Abraham Lee Pivnik Marlon Johnson Meg Wallace Michelle Grant Murray Nicole Pedraza Noreen Morelli Susana Behar Levy Vanessa Lustig
Neo-Plasticism vs. De Stijl: A Fine Line Between Art Movement and Artistic Philosophy
Neo-Plasticism and De Stijl are often used interchangeably, but understanding the distinction between the two can illuminate the nuanced evolution of modern abstraction in the early 20th century. While closely related, these concepts stem from different but complementary aspects of the same artistic revolution—one focusing on the philosophy of pure abstraction and the other encapsulating an entire movement dedicated to translating that philosophy into visual form.
At the core of this artistic transition stands Piet Mondrian, a pivotal figure whose early explorations of abstraction would ultimately lead to the birth of Neo-Plasticism. This philosophical approach, which he championed, emphasized simplicity, balance, and harmony. Born in the aftermath of the First World War, Neo-Plasticism rejected the chaotic, naturalistic representations of the past, aiming to create a visual language that conveyed universal truths through pure form. In his landmark piece Composition with Red, Blue, Yellow, Black, White, and Gray (1922), Mondrian epitomized this new approach: a grid-like arrangement of rectangular shapes filled with primary colors framed by strict horizontal and vertical lines.
The essence of Neo-Plasticism can be distilled into a few key principles: the rejection of naturalistic representation, the use of only primary colors (red, blue, yellow), black and white, and the adherence to rectilinear forms—simple, geometrically pure, and harmoniously arranged. The objective was clear: to establish a visual language free from the distractions of the natural world, where abstraction could evoke a deeper, more universal understanding of existence.
However, while Mondrian’s Neo-Plasticism became the philosophical backbone of the De Stijl movement, the two terms are not synonymous. De Stijl, meaning “The Style” in Dutch, was an artistic and architectural movement founded by Mondrian and Theo van Doesburg in 1917. Van Doesburg, a versatile artist and writer, played a crucial role in the movement, not only as a co-founder but also as a promoter and theorist. This movement sought to implement the ideas of Neo-Plasticism not just in art but across all design disciplines, from furniture and architecture to graphic design and typography. De Stijl, then, is the larger umbrella under which Mondrian’s ideas found their most significant expression.
The fundamental distinction is that Neo-Plasticism represents an artistic philosophy, whereas De Stijl is the movement that carried that philosophy into broader visual culture. Neo-Plasticism is about pursuing pure abstraction and simplifying form, while De Stijl was about applying those principles in everyday life, from building designs to home interiors. Mondrian’s role as the chief proponent of Neo-Plasticism gave the movement its theoretical backbone. At the same time, artists like Gerrit Rietveld, a leading De Stijl architect, translated those ideas into functional designs, such as his iconic Red and Blue Chair (1917), which eschewed traditional forms and embraced the rectilinear simplicity championed by Mondrian.
However, despite the differences, De Stijl and Neo-Plasticism are inextricably linked. Both shared the goal of creating a new visual order that could stand in contrast to the turmoil of war and the disorder of the modern world. While Neo-Plasticism focused on harmony through abstraction, De Stijl aimed to manifest harmony in physical, tangible forms. De Stijl’s artists were concerned not only with the abstract use of color and form but with how these could be applied to the built environment, resulting in minimalist architectural designs that prioritized function without sacrificing aesthetic purity. Their shared vision and commitment to creating a new visual order is an inspiration that continues to resonate in the art world.
The influence of De Stijl extended well beyond its immediate time and place, shaping the development of modern architecture, design, and graphic arts throughout the 20th century. The principles of grid structures, geometric abstraction, and primary color schemes would later be pivotal in movements such as Bauhaus, constructivism, and minimalism. It is in this lasting legacy that De Stijl’s relevance endures—its application of Neo-Plasticism in a broader context marked a key turning point in the relationship between art and everyday life, and its enduring influence is a testament to its significance in the evolution of modern art.
In summary, while Neo-Plasticism and De Stijl are deeply intertwined, they are not identical. Neo-Plasticism is the artistic philosophy developed by Mondrian, advocating for an abstraction that embodies universal harmony through geometric shapes and primary colors. This ‘universal harmony’ refers to the idea that the simplicity and balance of these elements can resonate with all viewers, transcending individual experience. De Stijl, on the other hand, is the movement that embraced and promoted these ideas in painting, architecture, and design, aiming to create a cohesive, harmonious environment in both art and life. Together, they form a critical juncture in the evolution of modern art—one that sought to create a universal visual language for the post-war world, transcending individual experience and reaching towards a more balanced, harmonious future.
Byzantine Art, which refers to the Art of the Eastern Roman Empire, particularly after Constantinople (modern-day Istanbul) was established as the capital, is characterized by its religious iconography. This includes richly adorned mosaics, illuminated manuscripts, and gold backgrounds. The focus of Byzantine Art was not on the realistic representation of figures, but on the spiritual and symbolic. Central to Byzantine Art are the religious icons used in Eastern Orthodox worship. Architecture from this period, such as the Hagia Sophia, features large domes and lavish interiors that emphasize the divine, connecting us to our religious roots.
Pre-Romanesque Art (c. 600 – 800 AD)
Pre-Romanesque Art marks the transition between early Christian Art and Romanesque art. It includes a variety of regional styles in the early Middle Ages, particularly in Western and Northern Europe. This period is known for its mixture of classical traditions with Germanic, Celtic, and Byzantine influences. Architecture from this time features early Christian basilicas, simple stone structures, and the first signs of Romanesque elements such as rounded arches and barrel vaults. Art and decoration were often simplified, focusing on religious symbolism rather than naturalism.
Romanesque Art (c. 800 – 1200 AD)
Romanesque Art emerged in Europe during the 11th and 12th centuries, characterized by solid, heavy forms and semi-circular arches. Architecture from this period includes large stone churches with thick walls, round arches, and small windows, creating a sense of solidity and protection. Sculpture, often featured in church portals, depicted biblical scenes in a stylized manner, and frescoes were used to adorn church interiors. The Art of the Romanesque period was deeply religious, emphasizing teaching Christian doctrine through Art. The period also saw the rise of illuminated manuscripts and decorative arts.
Gothic Art (c. 1100 – 1450 AD)
Gothic Art, which blossomed in France in the 12th century and spread its influence across Europe until the 16th century, is renowned for its soaring architecture. The cathedrals, with their pointed arches, ribbed vaults, and flying buttresses, created a sense of awe and inspiration, allowing for taller structures with larger windows. Stained glass windows, depicting biblical narratives, became a hallmark of Gothic churches. In sculpture and painting, figures became more naturalistic, emphasizing emotion and human expression. The period also saw the rise of illuminated manuscripts and early panel painting. Gothic Art aimed to inspire awe and elevate the viewer spiritually.
Medieval Art (c. 500 – 1400 AD)
Medieval Art, spanning a broad period from the fall of the Roman Empire to the beginning of the Renaissance, encompasses the Early Christian, Byzantine, Romanesque, and Gothic periods. Its strong religious themes characterize it, emphasizing the symbolic rather than the naturalistic representation of the world. Art during this time often served liturgical and instructional purposes, depicting saints, biblical scenes, and religious icons. Manuscripts were illuminated with intricate designs, and architecture focused on religious structures like churches and monasteries. The evolution of Medieval Art reflects Europe’s shifting religious, political, and social structures during the Middle Ages, providing us with a wealth of information and enlightenment.
Art Studios in Hialeah, Bird Road, Doral, Sweetwater & Miami Springs
Hialeah Art Studios
Individual Artist Studios
Ernesto Gutiérrez Moya 301 Hialeah Dr. Unit 113 Hialeah, FL 33010 Susan Lee-Chun 295 W 23rd Street Hialeah, FL 33010
Bird Road Art District
Complexes
CollaboARTive 4726 SW 75 Avenue Miami, FL 33150 All studios are on the and wheelchair accessible. and street parking available. Public Transportation: The Metro Bus 40 Line stops on Bird Road and is a short walk from the studios. Alejandro Perez Elle Barbeito Ignacio Font Jean Blackwell Font Sheherezade Thenard Sean Cruz Yossi Peled
Complexes
Studio 4724 4724 SW 75 Avenue Miami, FL 33150 All studios are on the and wheelchair accessible. and street parking available. Public Transportation: The Metro Bus 40 Line stops on Bird Road and is a short walk from the studios. Maruchi Carmona Mila Hajjar Sebastian Restrepo
Individual Artist Studios
Krystal Rodriguez 4240 SW 74 Ave Miami, FL 33155 Nestor Arenas 4720 SW 75 ave Miami FL 33155 Not Tom Weinkle 7432 SW 42nd Street Tony Mendoza 4225 SW 75th Avenue, 2nd floor Miami, FL 33155
Doral / Sweetwater/ Miami Springs
Complexes
Miami International Fine Arts 5900 NW 74th Ave Miami, FL 33166
Adriana Torres Alex Pineco Andrea Ciatti Carmen Dolores del Moral de Larrazabal Charlisa Montrope Daniela Sanchez Vegas Elkin Canas Gloria Velez Helen Lupo Helio Salcedo Ileana Rincón-Cañas Marco Caridad Maria Lino Marilyn Valiente Milixa Moron Nidia Baquero Sonia Hidalgo Tere Jessurum Uribe Pilar Tobon Peter Polyak Vero Murphy William Alonso
The Studios @W10 11575-11615 SW 11th St, Miami, FL 33174
Diego Waisman Jacob Edward Stiltner John Colon Lucia Morales Melina Tsalikis
Individual Artist Studios
Elizabeth Stainberg 5900 Northwest 74th Avenue Miami, FL 33166
The Geometric Period marks the earliest phase of Greek art after the collapse of the Mycenaean civilization. Its geometric patterns, and stylized motifs characterize art from this time. Vase painting, especially with patterns like meanders, spirals, and triangles, is a prominent feature. Human figures were depicted in a highly abstract, schematic manner, often with little detail or proportion. The period reflects a time of cultural revival and the re-establishment of Greek artistic traditions.
Archaic Period (700–480 BC)
The Archaic Period, a time of significant innovation (700-480 BC), saw the development of more recognizable human forms in art. Sculpture became more naturalistic, and the “kouros” (youthful male statues) and “kore” (female statues) emerged as key forms of expression. Vase painting also advanced, with scenes from mythology and daily life becoming more detailed. The “black-figure” and later “red-figure” pottery painting techniques allowed for greater expressiveness. This period also saw the creation of the first monumental stone temples and the establishment of the Greek orders: Doric, Ionic, and Corinthian.
Classical Period (480 – 323 BC)
The Classical Period is often considered the peak of Ancient Greek art. This period saw the refinement of naturalism, with an emphasis on idealized human proportions and balance. Sculptors like Phidias created highly detailed and lifelike statues of gods, heroes, and athletes. The Parthenon, with its intricate sculptures and architectural mastery, represents the height of Greek temple art. In painting, figures became more dynamic with the development of perspective and emotional expression. The Classical Period also marked the rise of the philosophical ideal in art, where beauty, harmony, and proportion were considered expressions of moral and intellectual virtue.
Hellenistic Period (323 – 31 BC)
The Hellenistic Period (323-31 BC), following the conquests of Alexander the Great, was characterized by a dramatic expansion of Greek influence throughout the Mediterranean and Asia. Art from this period became more diverse and expressive, focusing on movement, emotion, and realism. Sculptors like Lysippos broke traditional ideals to portray more dynamic and individualized figures. Hellenistic art often explored a wider range of subjects, including old age, the grotesque, and exotic figures, infusing the art with a deep emotional connection. Architecture also became more experimental, and dramatic compositions became prominent in sculpture, reflecting the complex and cosmopolitan nature of the time. The period ended with the conquest of Egypt by Rome in 31 BC.
Art studios in North Miami, El Portal, Little Haiti, Little River & Liberty City
North Miami, El Portal
Complexes
Bridge Red Studios 12425 NE 13th Ave Miami, FL
Kristen Thiele Luisa Basnuevo Lou Anne Colodny Robert Thiele
Individual Artist Studios
Afrikin 1600 NE 126th Street Carol Jazzar 158 NW 91 Street Dan Bondroff 8365 NE 2nd Avenue Peter Hosfeld 158 NW 91 Street
Rudolf Kohn 1343 Ne 119 st Sheila Elias 1510 NE 130 Street Stephanie Bloom 1510 NE 130th Street
Little Haiti / Little River
Laundromat Art Space 185 NE 59th St Miami, FL
Claudio Marcotulli Denise Treizman Devora Perez Donna Ruff Jose Luis Garcia Juan Henriquez Julia Zurilla Laura Villarreal Lisu Vega Nick Mahshie Pablo Contrisciani Roscoè B. Thické III Roxana Barba
Dimensions Variable 101 NW 79th St Miami, FL 33150
Amanda Keeley Tom Virgin/Extra Virgin Press Katelyn Kopenhaver
IS Projects 290 NW 73rd Street Miami FL 33150
Ingrid Schindall Brooke Frank
YO Space Gallery & Studios 294 NE 62nd Street Miami, FL 33138
Lila Lopez Hannah Banicella Nara Almeida Paul Ellenberger Yuval Ofir
Arthood 56 5600 NW 7th Ave Miami, FL 33127
Dave Ross Polen Cerci
Individual Artist Studios
Alette Simmons-Jiménez 345 NE 80th Street, No.236 Miami, FL 33138 Brigette Hoffman 6932 NE 3rd Ave Miami, FL 33138 Carlos Betancourt 115 NW 73st Miami Fl 33150 Not Carlos Rigau and Jessica Gispert 730 NE 79th Street Miami Fl 33138 Carolina Sardi 260 NE 60th St. Miami, FL 33137 Chris Hausbeck 591 NW 71st street Miami, FL 33150 David Rohn 230 NE 82nd street Miami, FL 33150 David Marsh 5708 NE 4th Ave Miami, FL 33137 Ernesto Kunde 6952 NE 3rd Ave Miami, FL 33137 Gabriela Ayza Aschmann 6932 NE 3rd Ave Miami, FL 33138 Gamayuna 6947 NE 3rd ave Miami, FL 33138 Gonzalo Fuenmayor 165 NE 64th St Miami, FL 33138 Heloisa Maia 7010 NE 4th Ct Miami, FL 33138 Hermes Berrio 6696 NE 3rd Ave Miami, FL 33138 Igor Montoya Laske 180 NE 75th Street Miami FL 33138 Javier Barrera 362 NE 80th Miami FL 33138 Jon Davis 7182 NW 6th ct Miami, FL 33150 Johanna Boccardo 6777 NE 2nd Ct Miami, FL 33138 Juan Raul Hoyos 6940 NE 4th Ave. #103 Miami, FL 33138 Kandi Stirman 201 NW 73rd St Miami, FL 33150 Non- Leslie Gabaldon 7269 NE 4th Ave, #103 Not Lila Lopez 294 NE 62nd St Miami, FL 33138 Marielle Plaisir 165 NE 64th St Miami, FL 33138 Nereida García Ferraz 50 NE 62 Street Miami, 33137 Robert Posner 730 NE 79th St Miami, FL 33138 Sadhana Bruco 7251 NE 2nd Ave Suite 106 Miami, FL 33138 Free Paloma Teppa 8484 NE 2nd Ave Miami, FL 33131 Pangea Kali Virga 7512 NW 1st Ave Miami, FL 33150 Nathali Lorenzo 230 NW 71st St, Miami, FL 33150 Nick Gilmore 7264 NW Miami Ct, Miami, FL 33150 Nirvana Sherman 201 NW 73rd Street Miami, FL 33150 Yuval Ofir 294 NE 62nd St Miami, FL 33138
Liberty City
Complexes
Collective 62 827- 901 NW 62 Street Miami, FL 33150 This complex is on one level and wheelchair accessible. There is a wheelchair accessible bathroom. Ample free parking in the lot next to 931 NW 62nd Street. Public Transportation: On the route of the 62 Metrobus Alex Nuñez Amy Gelb Capucine Safir Deryn Cowdy Flor Godward Giannina Dwin Jeanne Jaffe Marcela Marcuzzi Marina Font Marina Gonella Molly McGreevy Nina Surel Stephanie Eti Hadad Veronica Pasman
Rana Begum is a distinguished artist based in London, celebrated for her exceptional talent in translating immersive spatial and visual experiences into meticulously organized forms. With a striking blend of sculpture, painting, and architectural elements, she employs a refined approach to Minimalist abstraction that captivates the viewer’s imagination.
Her work is deeply influenced by the dynamic nature of urban landscapes, as well as the intricate geometric patterns found in traditional Islamic art and architecture. This fusion gives rise to a unique visual language that is both captivating and complex, inviting viewers to engage with her creations on multiple levels.
Light plays an integral role in Begum’s artistic exploration; her artworks are designed to absorb and reflect varying intensities of light, resulting in a dynamic temporal experience that shifts as viewers interact with them. Begum’s journey in art began with a Bachelor of Arts in Fine Art from Chelsea College of Art and Design, which she completed in 1999, followed by a Master of Fine Arts in Painting from the esteemed Slade School of Fine Art in 2002. Today, she resides and creates in London, continuing to enrich the contemporary art scene with her innovative and thought-provoking works.
Rana Begum was born in 1977 in Bangladesh, moving to Hertfordshire, England, in 1983. Begum studied painting at the Chelsea College of Art and Design, University of London, graduating in 1999 and received an MA in Painting from the Slade School of Fine Art, London, in 2002.
Begum is influenced by the geometric abstraction of minimalism and constructivism and the work of artists such as Agnes Martin, Donald Judd, Tess Jaray, Josef and Anni Albers. She works with industrial materials, such as stainless steel, aluminium, copper, brass, glass and wood to make sculptures and reliefs that explore geometry, colour and light. Light reflects and absorbs on fluorescent coloured surfaces to create changing sensations as viewers move in and around her works and the space they occupy. She is inspired by urban architecture and her childhood memories of the geometric patterns of traditional Islamic art and architecture.
Begum’s work has been internationally exhibited, with recent solo shows the Pitzhanger Manor & Gallery, London, travelling from Mead Gallery, Warwick Arts Centre, Coventry (2022); Tate St Ives, Cornwall (2018); Sainsbury Centre for Visual Arts, Norwich (2017) touring to Djanogly Gallery, Nottingham (2018); Parasol Unit, London (2016); Dhaka Art Summit, Bangladesh (2014); Delfina Foundation, London (2010). In 2017 Begum curated the Arts Council Collection in an exhibition at Yorkshire Sculpture Park and was awarded the Abraaj prize, Art Dubai. She has undertaken residencies in Italy, Philippines, Beirut, Bangkok and England.
Recent group exhibitions include: Desert X, California (2023); Yorkshire Sculpture Park, Wakefield (2021); Whitechapel Gallery, London (2019); The National Museum of Women in the Arts, Washington (2018); Frieze Sculpture Park, London (2018); Royal Academy of Arts, London (2018 and 2012); Kettle’s Yard, Cambridge (2018 and 2016); Gemeente Museum, Den Haag, The Netherlands (2016); 11th Gwangju Biennale, Korea (2016); Museum Angewandte Kunst, Vienna (2015); Long Museum, Shanghai (2015).
Her work is held in numerous private and public collections including the Government Art Collection, London; Arts Council Collection, London; British Council, London; Sainsbury Visual Art Centre, Norwich; University of the Arts, London; Collection Pictet, Geneva; Simons Foundation; New York; Taubman Museum of Art, West Virginia; Coimbatore Centre for Contemporary Arts, India; Kiran Nadar Museum of Art, India; Rajshree Pathy Collection, India; Samdani Collection; Bangladesh; Farjam Collection, Dubai; Abraaj, Dubai and MONA, Tasmania.
Cristea Roberts Gallery published Begum’s first editions in 2018.
Rana Begum lives and works in London, England.
BIO
The work of London-based artist Rana Begum distils spatial and visual experience into ordered form. Through her refined language of Minimalist abstraction, Begum blurs the boundaries between sculpture, painting and architecture. Her visual language draws from the urban landscape as well as geometric patterns from traditional Islamic art and architecture. Light is fundamental to her process. Begum’s works absorb and reflect varied densities of light to produce an experience for the viewer that is both temporal and sensorial.
Born in Bangladesh in 1977, Rana Begum lives and works in London. In 1999, Begum graduated with a BA in Fine Art from Chelsea College of Art and Design, and in 2002 gained an MFA in Painting from Slade School of Fine Art.
EDUCATION
2002 Slade School of Fine Art, London.
MFA in Painting
1999 Chelsea College of Art and Design, London.
BA (Hons) Fine Art Degree (Painting)
1996 University of Hertfordshire, Hatfield, Hertfordshire.
BTEC Diploma in Foundation Studies in Art and Design.
Marjorie Jewel "Marlow" Moss fue la primera artista constructivista británica; trabajó en pintura y escultura. Constructivismo, De Stijl.
Marlow Moss: rompiendo cuadrículas y dando forma al modernismo Explorando la audaz visión de un artista pionero en la intersección del De Stijl y el constructivismo
Translated from Marlow Moss: Breaking Grids and Shaping Modernism by Giselle Ohayon, author
Marjorie Jewel Moss nació en 1889 en Kilburn, Londres. Procedía de una familia judía de clase media-alta. En 1919 cambió su nombre por el de Marlow y adoptó una presentación de género neutra. Fue un acto de autodeterminación, un desafío a las normas sociales sobre género y sexualidad en una época en que este tipo de decisiones eran poco frecuentes y a menudo estigmatizadas.
Marlow Moss, Untitled (White, Black, Blue and Yellow), 1954.
Moss fue una artista británica pionera y una figura clave del arte modernista, conocida por sus aportaciones a la abstracción y el constructivismo. A pesar de ser menos conocida que muchos de sus contemporáneos, su obra ha ganado reconocimiento recientemente por su innovación e influencia.
Moss era lesbiana no binaria, lo que la diferenciaba aún más de la conservadora sociedad británica. Vivió abiertamente como una persona no conforme con su género, cambiando su nombre por el de Marjorie Moss y adoptando un estilo de vestir masculino. Esta elección reflejaba su inconformismo general, tanto en la vida como en el arte. Pasó gran parte de su vida con su pareja, la escritora e historiadora del arte holandesa Netty Nijhoff.
Marlow Moss taken by Stephen Storm, uncertain date.
«No soy pintora, no veo la forma, sólo veo espacio, movimiento y luz».
Esta afirmación, recordada por su socio A. H. Nijhoff, capta la distintiva visión artística de Moss, destacando su énfasis en la dinámica espacial y el juego de luces más que en la forma tradicional.
Tras estudiar en la Slade School of Fine Art, se trasladó a París en 1927 en busca de libertad e inspiración creativa. Estudió en la Académie Moderne, dirigida por Amédée Ozenfant y Fernand Léger, y se sumergió en la floreciente escena vanguardista. Su relación con el De Stijl y el Constructivismo es fascinante porque su obra está a caballo entre estos dos influyentes movimientos, al tiempo que mantiene su propia voz.
Marlow Moss, White and Yellow, 1935.
La vida y la obra de Marlow Moss están profundamente entrelazadas, lo que refleja su desafío a las convenciones y su compromiso con la innovación. Su vida como artista queer que no se ajusta a las normas de género influye en su obra, que desafía las nociones de rigidez y equilibrio. Ambos aspectos de su historia resuenan hoy en día, cuando la sociedad reexamina voces que antes se pasaban por alto.
De Stijl, fundado en 1917 en los Países Bajos, fue un movimiento centrado en la armonía y el orden universales a través de la abstracción. Sus figuras más destacadas fueron Piet Mondrian y Theo van Doesburg, y su estética se definía por las líneas rectas, los colores primarios y los ángulos rectos. Moss se vio muy influida por el compromiso de De Stijl con la abstracción geométrica y su rechazo del arte representativo. Adoptó la cuadrícula como estructura fundamental de su obra, explorando su capacidad para crear orden visual. Al igual que Mondrian, Moss utilizaba una paleta sobria, en la que predominaban el negro, el blanco y, ocasionalmente, los colores primarios, aunque su obra se inclinaba más hacia los esquemas monocromáticos. La obra de Moss está enraizada en la abstracción geométrica y el constructivismo, marcada por líneas limpias, cuadrículas y composiciones dinámicas.
Marlow Moss, Reliëf, 1957.
Moss admiraba a Mondrian y entabló una relación de trabajo con él en París a finales de los años veinte y treinta. Intercambiaron ideas y Moss incluso estudió sus técnicas. Sin embargo, su relación fue compleja. Al parecer, Mondrian consideraba a Moss una discípula prometedora, pero no abrazaba del todo sus innovaciones, ya que podía considerar que diluían la pureza de su visión al apartarse ella de su ortodoxia.
Moss compartía elementos estilísticos con De Stijl, pero introdujo innovaciones clave. A diferencia de las líneas simples de Mondrian, Moss introdujo líneas dobles paralelas, que creaban ritmo y movimiento en sus composiciones. Mondrian, que se ceñía a una estricta singularidad en sus líneas, veía esto como una desviación. Mientras Mondrian buscaba el equilibrio, Moss se decantaba por la tensión y la asimetría, ampliando los límites de la cuadrícula. Estas últimas alteraban a menudo las expectativas del espectador, haciendo su obra más dinámica que las composiciones cuidadosamente equilibradas de Mondrian. Moss desarrolló un estilo abstracto distintivo, a menudo utilizando formas geométricas, líneas y cuadrículas. Su obra refleja la influencia de artistas holandeses del De Stijl como Piet Mondrian, pero con un toque único que incorpora el movimiento dinámico y la variación.
Marlow Moss, Composition in Yellow, Black and White, 1949.
Moss estaba influida por Mondrian y compartía su interés por los colores primarios y las líneas rectas. Sin embargo, a menudo divergía introduciendo líneas dobles y asimetría, rompiendo con la estricta ortogonalidad de Mondrian. Estas innovaciones la situaron al margen del De Stijl, ya que su enfoque era menos dogmático que el de sus contemporáneos.
El Constructivismo, surgido en la Rusia revolucionaria de la década de 1910, hacía hincapié en el arte funcional, los materiales industriales y la integración del arte en la vida cotidiana. Entre las figuras clave del movimiento se encontraban Vladimir Tatlin, Kazimir Malevich y El Lissitzky. Moss compartía la fascinación del Constructivismo por la modernidad, la precisión y el uso de materiales industriales. La obra de Moss mantuvo el enfoque constructivista de crear formas universales que trascendieran la expresión individual. A menudo trabajaba con óleo sobre lienzo, pero también exploraba relieves y esculturas, experimentando con materiales industriales como el plexiglás (una forma temprana de vidrio acrílico) y el metal, ampliando los límites de los medios tradicionales. Estos materiales coincidían con su interés por la modernidad y la precisión. Sus relieves escultóricos reflejan un espíritu constructivista, combinando la geometría con la tridimensionalidad para explorar el juego de luces, sombras y materialidad. Sin embargo, su enfoque era más intuitivo y menos abiertamente político que el del constructivismo ruso. Mientras que los constructivistas rusos a menudo vinculaban su arte a los ideales del socialismo y la industria, la obra de Moss se centraba en la abstracción como exploración de las relaciones visuales y espaciales.
Marlow Moss, White with Bent Cord (Relief), 1936.
La obra de Moss es un híbrido del Constructivismo y el De Stijl, que combina el énfasis de este último en las cuadrículas planas y los colores primarios con la exploración de los materiales y la dinámica espacial del primero. Moss utilizó la cuadrícula estática del De Stijl como punto de partida, pero la rompió con el movimiento y los materiales de inspiración constructivista. Al crear relieves y experimentar con materiales industriales, Moss llevó la abstracción a la tercera dimensión, un espacio en el que prosperó el Constructivismo. Esta síntesis le permitió innovar más allá de los confines de ambos movimientos, creando obras que parecen rigurosas y dinámicas al mismo tiempo. Para Moss, la abstracción era más que un lenguaje visual: era un reflejo del orden y el caos del mundo moderno. Veía el arte como un medio de entender las estructuras universales, mezclando la lógica con la creatividad. Además, como artista queer y no conforme con su género, la obra de Moss desafía intrínsecamente las narrativas tradicionales de estos movimientos dominados por los hombres.
Marlow Moss, Composition in White, Red and Grey, 1935.
El estallido de la Segunda Guerra Mundial la obligó a abandonar Francia e interrumpió su carrera. Moss y Nijhoff se trasladaron a Cornualles, Inglaterra, donde Moss continuó su práctica artística en relativo aislamiento. Después de la guerra, su obra no recibió el mismo reconocimiento que la de algunos de sus contemporáneos, pero ella persistió, dedicándose a su visión hasta su muerte en 1958.
Marlow Moss, Untitled, 1950.
En los últimos años, la obra de Moss ha sido redescubierta y celebrada. Hoy en día, su obra se reconoce como un vínculo vital entre estos dos movimientos, tendiendo un puente entre las rigurosas cuadrículas de Mondrian y la exploración de los materiales y la espacialidad de los constructivistas. Exposiciones como Mondrian y sus estudios (Tate Liverpool, 2014) y otras han revisitado sus contribuciones, destacando cómo amplió el lenguaje de la abstracción. La posición de Moss en la intersección del De Stijl y el Constructivismo le permitió innovar de maneras que ninguno de los dos movimientos podría por sí solo.
Sin embargo, esta misma hibridez la hizo difícil de clasificar, lo que contribuyó a su marginación en vida. A pesar de sus contribuciones, Moss luchó contra la invisibilidad, eclipsada por figuras como Mondrian y Malevich. Su identidad de género y su homosexualidad, unidas a su decisión de vivir fuera de los grandes centros artísticos de la posguerra, contribuyeron a su marginación.
Marlow Moss, Linear Construction, 1956-57.
Hoy en día, Moss es considerada una artista modernista pionera e inconformista y la primera artista constructivista británica que desafió las convenciones tanto en su arte como en su vida personal. Su contribución al arte abstracto es cada vez más reconocida y su obra figura en importantes colecciones, como la Tate y el Museo Kröller-Müller.
Marlow Moss, Spatial Construction in Steel, 1956–1957.
La elección entre “geometría” y “abstracción geométrica” depende del contexto y el enfoque específico que un artista, diseñador o creador quiera explorar. Aunque ambas se relacionan estrechamente, hay diferencias clave que pueden influir en cuál es más apropiado en ciertos proyectos. A continuación, te explico las distinciones y cuál puede ser “mejor” según la intención.
Geometría:
La geometría se refiere al estudio de las formas, las propiedades del espacio y las relaciones entre figuras. En el contexto artístico, la geometría es el uso de formas geométricas regulares, como círculos, triángulos, cuadrados, líneas rectas, y otras figuras planas y tridimensionales. Las características de la geometría incluyen:
Precisión y estructura: La geometría es rígida, y sus reglas están definidas matemáticamente. Esto aporta orden, simetría y proporción.
Claridad y orden visual: El uso de figuras geométricas puede generar composiciones muy ordenadas y claras, lo que facilita la comprensión directa de la obra.
Funcionalidad: La geometría es esencial en disciplinas como la arquitectura, el diseño gráfico, la ingeniería y el arte digital. En esos campos, la geometría proporciona una base clara sobre la cual construir otras ideas.
Abstracción Geométrica:
La abstracción geométrica es una forma de arte abstracto que utiliza elementos geométricos, pero no necesariamente se adhiere a las reglas estrictas de la geometría clásica. En lugar de ser una representación directa de la realidad o de las formas matemáticas, la abstracción geométrica busca comunicar sensaciones, emociones o conceptos a través del uso de formas geométricas. Las características de la abstracción geométrica incluyen:
Libertad expresiva: Aunque se basa en la geometría, la abstracción geométrica permite mayor flexibilidad, lo que puede dar lugar a composiciones menos rígidas o predecibles.
Interpretación subjetiva: A diferencia de la geometría pura, que tiene una lógica estricta, la abstracción geométrica puede ser interpretada de diversas maneras, lo que le otorga una dimensión emocional y filosófica.
Estilo artístico: Este enfoque se encuentra a menudo en el arte moderno y contemporáneo, especialmente en movimientos como el constructivismo, el minimalismo o el arte concreto, donde la forma geométrica es usada como un lenguaje visual abstracto.
¿Cuál es mejor?
No hay una respuesta definitiva, ya que depende del propósito y la intención detrás de la obra. Aquí algunas consideraciones para cada caso:
Usar geometría es ideal si el objetivo es lograr precisión, claridad y una estructura bien definida en la obra, especialmente en áreas como la arquitectura, el diseño industrial o en arte conceptual que busca una estética ordenada y racional. Si el objetivo es representar la realidad de una manera que esté basada en principios matemáticos o si el trabajo tiene un propósito funcional, la geometría puede ser más adecuada.
Usar abstracción geométrica es más apropiado si se busca transmitir emociones, ideas filosóficas o conceptos abstractos mediante las formas. La abstracción geométrica permite una mayor libertad creativa y expresión individual, lo que la hace ideal para los movimientos artísticos donde la forma es más simbólica que literal. Si se busca crear una obra que dialogue con la percepción subjetiva o que invite a la reflexión, la abstracción geométrica puede ser una opción más potente.
Conclusión:
Si tu enfoque es racional, estructurado y preciso, entonces la geometría es lo más adecuado.
Si tu objetivo es explorar la libertad creativa, la subjetividad y la interpretación emocional, entonces la abstracción geométrica podría ser una mejor opción.
Ambas son poderosas en su propia capacidad y pueden complementarse según la visión del creador. Por ejemplo, un artista puede comenzar con la geometría estricta y luego permitir que la abstracción surja a medida que se desarrollan las composiciones.
