Abstract landscape oil painting (purely realistic figures) is such a high-order for all artists. What are the basic qualities that make up an abstract oil painting in the landscape?
The narrative focus becomes less evident, and the visual perception gradually turns towards the graphical devices themselves. Let’s read on and see how the artists are dealing with this issue.
Abstract art is not a proposition of “everything goes”
In contemporary abstraction, there is a great misunderstanding — that everything goes because it’s non-representational.
This can not be any further from the facts. Successful abstract art uses the same structural concepts as the great art of representation — line, figure, figure, meaning, movement, composition, light, etc. It is the proper use of those forces that makes a successful work of art.
The only main distinction between truly representative painting and abstract painting is that the object takes on a more genetic role in abstract work. The dominant force is optical beauty and not the background.
Top 3 best types of abstract landscape oil painting to know
When abstraction puts more focus on aesthetics such as meaning, color, design, form, shading, etc. than it does on the narrative subject, then underlining one of those styles will make the drawing very conceptual.
With what I call modes, we can induce abstraction in many ways: super-simplification, color modification, brushwork, and creative mark-making, and flatness. It is possible that only one mode will move painting into abstraction, but many of them would more likely work together.
This approach fills the visual world with complexity and detail. Simplification may remove extraneous details through the artist’s eye to expose clearer patterns and shapes.
If we simplify in the extreme, we also remove in extreme detail, which leads to the dissolution of subject matter and greater abstraction of the subject matter. Selecting close-in vantage points is an easy way to simplify.
Imaginative brushwork on abstract landscape oil painting
The visible universe isn’t packed with lines and bold or descriptive marks. That’s an artistic standard, reserved for our paintings’ flat two-dimensional world.
In the natural world, everything is made in sharpness and clarity (fog and clouds being the exception). When strokes are stronger, softer, and more imaginative, greater attention is given to the mark and the surface itself.
We know on one point that the horizon is closer to us and that the mountains are further away. However, the foreground and the mountains are very much on the same level, in strictly visual terms. Such visual signs which defy space can help to foster abstraction.
Shift in color
Another manner in which we classify representational representations is by color, e.g. Trees are green. The skies are bright blue. If we change colors away from what we consider to be symbolic, then abstract landscape oil painting can appear.
Indeed, it is mostly packed with bright colors, rarely punctuated with bursts of vivid color. Highly saturated color is not a “realistic” representation of the natural world, distributed over the entire picture.
For this reason, it will heighten the metaphor when applied to the paintings. (Note: Saturated color can be overpowering anywhere except in abstract work, providing little visual relief. As Sir Kenneth Clark put it, “Pure color is not light.”)
In conclusion, when an artist wants to make an abstract landscape oil painting, he or she consciously try to let go of the object orientation; that is, the part clings to what it is. If all you see is “house,” then I will not be able to easily abstract it.
If you see dark rectangles against a bigger, brightly colored rectangle (the dark windows against the house’s sunlit exterior), then you start reflecting on an architectural trend.
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