In 1965, the philosopher Richard Wollheim coined the term Minimal Art. New York City was the scene where artists such as Donald Judd, Robert Morris, Carl Andre, Dan Flavin, Sol Lewitt, Tony Smith and Larry Bell, managed to impose themselves with a sober style, which reduced figures, color, shapes and the work of art in general towards the objective nucleus of its essence, towards the minimum and basic elements. Then, the Historical Artistic Avant-Garde arose, within which historians consider Minimalism the last movement of modernity.ĭirectly imbued with the Dutch neoplasticism of the twenties, Russian constructivism, geometric abstraction and modern reductivism, Minimalism consolidated itself as a movement, theoretically based on their respective manifestos, in the sixties of the twentieth century. This led contemporary artists to search for new languages, many of them totally isolated from the paradigms of classical beauty and harmony, even from the purpose of art itself. Like all ideology, minimalism is also subject to human subjectivity, which in this article leaves us faced with the challenge of interpreting an art without contradicting its own principles, that is, explaining Minimal Art in a simple way.Įxploring the context, we will begin to understand that for many of the artists of the 20th century, the traditional art and technique of Western painting and sculpture were over-exploited. Despite their differences, these have in common the desire to get rid of everything “bombastic”. We are talking about a philosophy of life, style and artistic movement transversal to several disciplines. When we think of Minimalism, a concept emerges attached to the term itself: simplicity.
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