Abstract vs Non Objective: Key Differences

Defining the nuances between styles in modern art often presents a challenge, particularly when exploring the concepts of abstract vs non objective art. Wassily Kandinsky, a pivotal figure associated with the Bauhaus school, championed abstract art, which, while departing from representational accuracy, often retains some reference to the natural world. Conversely, Piet Mondrian’s compositions, characterized by geometric forms and primary colors, exemplify non-objective art, a style that aims for complete autonomy from visual reality. Understanding the core principles that differentiate abstract vs non objective approaches provides critical insight into the diverse intentions and outcomes within 20th-century art movements and beyond.

Decoding the World of Abstract and Non-Objective Art

Abstract and Non-Objective Art represent a profound departure from the traditions of representational art. They mark a radical shift in artistic focus, challenging conventional notions of subject matter and artistic purpose.

These movements emerged against a backdrop of rapid social, philosophical, and technological change, fundamentally reshaping the landscape of visual expression.

Defining Abstract Art

Abstract art, at its core, involves a deliberate move away from depicting reality with photographic accuracy. Instead of mirroring the external world, abstract artists explore the realms of form, color, and line, often distorting or simplifying recognizable objects.

The degree of abstraction can vary widely. Some artworks retain vestiges of recognizable imagery, while others venture into completely non-representational territories.

Defining Non-Objective Art

Non-objective art, also known as Concrete Art, takes abstraction a step further. It eschews any recognizable subject matter altogether.

The emphasis shifts entirely to the intrinsic qualities of the artistic elements themselves: the interplay of colors, the rhythm of lines, the texture of the surface.

The artwork exists solely as a self-referential entity, divorced from any external referent.

Historical Context: A Crucible of Change

The early 20th century witnessed a period of unprecedented upheaval. Scientific discoveries, like Einstein’s theory of relativity, challenged long-held assumptions about the nature of reality. Philosophical currents, such as existentialism and psychoanalysis, explored the complexities of human consciousness.

These intellectual and social shifts fostered a climate of experimentation and innovation across all fields, including the arts. Artists began to question the traditional role of art as a mere imitation of nature, seeking new ways to express the inner world and the underlying forces shaping modern life.

This historical backdrop was fertile ground for the birth of Abstract and Non-Objective Art.

Paris: A Hub of Artistic Innovation

Paris, during this transformative era, served as a vibrant melting pot of artistic ideas and talent. Artists from around the globe flocked to the city, drawn by its atmosphere of intellectual ferment and artistic freedom.

The city’s numerous galleries, salons, and cafes provided platforms for artists to showcase their work, debate new theories, and challenge established norms. It was in this dynamic environment that many of the pioneers of Abstract and Non-Objective Art found inspiration and support, solidifying Paris’s crucial role in the development of these groundbreaking movements.

Pioneers of Abstraction: The Artists Who Broke the Mold

Following the initial shift towards abstraction, several key figures emerged, each pushing the boundaries of artistic expression and challenging conventional representations of the world. These pioneers laid the groundwork for future generations of abstract artists, shaping the landscape of modern art with their innovative approaches and unique perspectives.

Wassily Kandinsky: The Spiritual in Art

Wassily Kandinsky stands as a pivotal figure in the development of abstract art. He is widely credited with creating some of the first purely abstract works. Kandinsky sought to express inner spiritual truths through his art.

His groundbreaking work, often characterized by vibrant colors and dynamic compositions, moved beyond the depiction of recognizable objects.

The Power of Color and Form

Kandinsky believed that colors and forms could directly evoke emotions and spiritual experiences in the viewer.

He meticulously explored the relationships between color, form, and music. He developed a theoretical framework that underpinned his artistic practice. His abstraction was not merely a rejection of representation, but a conscious effort to access a deeper, more profound reality.

Piet Mondrian: De Stijl and the Pursuit of Universality

Piet Mondrian was a key figure in the De Stijl movement (also known as Neoplasticism). He championed a style of geometric abstraction that sought to express universal harmony and order.

Mondrian’s art is characterized by its strict adherence to simple geometric forms—primarily straight lines and rectangles—and a limited palette of primary colors (red, blue, yellow) along with black, white, and gray.

Neoplasticism: A New Plastic Art

Mondrian aimed to eliminate subjective expression from his art, instead focusing on the creation of a purely objective visual language. He believed this language could transcend individual experience and reveal universal truths.

His theories on pure abstraction influenced not only painting but also architecture and design, reflecting the De Stijl movement’s broader vision of integrating art into everyday life.

Kazimir Malevich: Suprematism and the Realm of Pure Feeling

Kazimir Malevich was the founder of Suprematism. This abstract art movement focused on basic geometric forms, such as squares, circles, and rectangles. He aimed to liberate art from the burden of representation entirely.

Malevich sought to create a new visual language that could express pure feeling and spiritual experience, untethered from the material world.

"Black Square": Icon of a New Art

His iconic work, "Black Square," is a radical statement of artistic intent. It embodies the core principles of Suprematism. The artwork is often seen as a symbolic representation of the zero point of art—a complete break from the past and a gateway to a new realm of artistic possibilities. The black square, floating against a white background, became a powerful symbol of artistic freedom and the potential for infinite creation.

Theo van Doesburg: Concrete Art and Interdisciplinary Vision

Theo van Doesburg, co-founder of the De Stijl movement alongside Piet Mondrian, was a highly influential figure in the development of concrete art. He advocated for an approach to abstraction that emphasized the autonomy of the artwork.

Van Doesburg believed that art should be constructed from purely abstract elements. These elements should possess their own inherent qualities and not be dependent on representation or symbolism.

Abstraction Across Media

Van Doesburg explored the application of abstract principles across various media, including painting, architecture, typography, and design. He theorized that abstraction had the potential to transform all aspects of visual culture. His interdisciplinary approach reflected the De Stijl movement’s broader goal of creating a unified and harmonious environment.

Key Movements and Styles: Shaping the Landscape of Abstraction

Following the initial shift towards abstraction, several key movements and styles emerged, each solidifying the departure from representational art in unique ways. These movements not only defined distinct aesthetic approaches but also reflected the socio-political contexts in which they arose, leaving an indelible mark on the trajectory of modern art. We will examine Suprematism, De Stijl (Neoplasticism), and Abstract Expressionism.

Suprematism: The Supremacy of Pure Feeling

Suprematism emerged in Russia during the early 20th century, spearheaded by Kazimir Malevich. This movement marked a radical departure from traditional art forms, rejecting any semblance of representational imagery.

Malevich sought to liberate art from the burden of object depiction, aiming instead for the "supremacy of pure feeling" in creative art.

The Essence of Geometric Forms

At the heart of Suprematism lies the deliberate use of fundamental geometric forms, such as squares, circles, and lines. These shapes were not intended to symbolize anything beyond themselves; they were the building blocks of a new artistic reality.

Malevich’s iconic "Black Square" (1915) epitomizes this principle, representing a pivotal moment in art history where the canvas became a field for pure, non-objective sensation.

This bold statement challenged the very definition of art, paving the way for subsequent abstract movements.

De Stijl (Neoplasticism): Harmony Through Abstraction

De Stijl, also known as Neoplasticism, arose in the Netherlands around the same time as Suprematism. Though geographically separated, it shared a common goal: the pursuit of pure abstraction and universality.

Piet Mondrian was a central figure in this movement, advocating for a rigorous reduction of visual elements to their most essential forms.

The Language of Lines and Colors

De Stijl’s visual vocabulary is characterized by simplified geometric forms – primarily horizontal and vertical lines – and a limited palette of primary colors (red, blue, and yellow), along with black, white, and gray.

This austere aesthetic was intended to reflect a harmonious and ordered universe.

Beyond the Canvas: An Integrated Vision

De Stijl extended its principles beyond painting, influencing architecture and design.

The movement sought to create a total work of art, integrating aesthetics into all aspects of the environment.

Architects and designers associated with De Stijl, such as Gerrit Rietveld, translated the movement’s visual language into functional spaces and objects, emphasizing clarity and geometric precision.

Abstract Expressionism: Freedom and Emotion on a Grand Scale

Abstract Expressionism emerged in the United States after World War II, shifting the center of the art world from Paris to New York.

This movement embraced gestural abstraction and spontaneous creation, emphasizing the artist’s individual expression and emotional experience.

The Canvas as Arena

Unlike the geometric precision of Suprematism and De Stijl, Abstract Expressionism prioritized intuition and improvisation. Artists like Jackson Pollock developed innovative techniques, such as drip painting, allowing for a direct and unfiltered expression of their inner states.

The canvas became an arena for action, capturing the energy and emotion of the artist’s creative process.

Two Branches: Action Painting vs. Color Field

Abstract Expressionism is often divided into two main branches: Action Painting and Color Field painting. Action Painting, exemplified by Pollock and Willem de Kooning, focused on the physical act of painting, emphasizing gesture and dynamism.

Color Field painting, associated with artists like Mark Rothko and Barnett Newman, explored the emotional resonance of large fields of color, creating contemplative and immersive experiences for the viewer.

Exploring the Spectrum of Abstraction: Emotional Content and Form

Following the initial shift towards abstraction, several key movements and styles emerged, each solidifying the departure from representational art in unique ways. These movements not only defined distinct aesthetic approaches but also reflected the socio-political contexts in which they arose. This section delves into how individual artists navigated the expansive possibilities of abstraction, specifically focusing on emotional expression and the enduring connection to the natural world. We will consider the nuanced contributions of Mark Rothko, Barnett Newman, and Jackson Pollock, examining their distinct approaches to abstract language.

Mark Rothko: Non-Objective or Profoundly Emotional?

Mark Rothko’s large-scale color field paintings have captivated and perplexed viewers for decades. Rothko aimed to evoke fundamental emotions through his work.

His paintings, often consisting of stacked, hazy rectangles of color, prompt contemplation on the nature of non-objective art itself.

Is Rothko’s work purely non-objective? Or does it transcend the purely formal to communicate something deeply personal and universal? The debate endures.

The Essence of Emotional Content in Abstract Art

Rothko’s enduring significance lies in his ability to infuse abstraction with emotional depth. He eschewed traditional subject matter to communicate directly with the viewer’s subconscious. The sheer scale of his canvases envelops the viewer, creating an immersive experience. Colors bleed and vibrate, fostering introspection and emotional response.

His paintings are not simply arrangements of color. Instead, they are invitations to confront raw, unfiltered feelings. Critics and viewers alike have described experiencing awe, grief, and transcendence when encountering Rothko’s work. This intense emotional resonance distinguishes his abstraction, positioning him as a master of conveying profound feeling through purely non-representational means.

Barnett Newman: The Sublime and the "Zip"

Barnett Newman sought to capture the sublime, a sense of awe and overwhelming power, in his abstract works. His paintings, often characterized by large, monochromatic fields bisected by vertical lines known as "zips," are deceptively simple in appearance. However, they possess a remarkable capacity to evoke profound contemplation.

The Impact of Scale and the "Zip"

The sheer scale of Newman’s canvases is crucial to understanding his artistic intent. Like Rothko, Newman understood the importance of enveloping the viewer in the artwork. The "zip," rather than being a mere compositional device, acts as a point of focus, a conduit through which the viewer engages with the vastness of the color field.

The verticality of the "zip" suggests a striving towards the infinite, a connection to something beyond human comprehension. Newman’s work invites viewers to confront their own insignificance in the face of the sublime. While seemingly austere, his paintings are charged with spiritual and existential meaning.

Jackson Pollock: Abstraction and the Echoes of Nature

Jackson Pollock’s revolutionary drip paintings pushed the boundaries of abstract expressionism. His chaotic yet controlled application of paint onto the canvas yielded dynamic compositions, often described as resembling natural forms and processes.

Distinguishing Types of Abstraction

Pollock’s work presents a compelling point of distinction within abstract art. While his paintings lack recognizable subject matter, they evoke a sense of organic energy, reminiscent of landscapes, celestial bodies, and microscopic organisms. This distinguishes him from more geometric or purely formalist approaches to abstraction.

The very act of creation—Pollock’s physical engagement with the canvas, his spontaneous gestures—became integral to the artwork. Pollock’s abstraction is not a complete rejection of the natural world. Instead, it’s a reinterpretation, a translation of its underlying forces into a unique visual language. His works are testaments to the enduring influence of nature, even in the realm of non-representational art.

Minimalism and Beyond: Stripping Down to Essentials

Following the initial shift towards abstraction, several key movements and styles emerged, each solidifying the departure from representational art in unique ways. These movements not only defined distinct aesthetic approaches but also reflected the socio-political contexts in which they arose. One such movement, Minimalism, represents a further distillation of abstract principles, pushing the boundaries of artistic expression to their most fundamental form.

Minimalism emerged in the late 1950s and early 1960s as a reaction against the perceived excesses of Abstract Expressionism. Characterized by extreme simplicity, reduction, and a focus on industrial materials, Minimalist art sought to eliminate subjective expression and illusionism, presenting the viewer with pure, unadulterated form.

Core Principles of Minimalism

At its core, Minimalism championed a radical reduction of form. The "less is more" ethos dictated that artworks should be stripped down to their bare essentials, devoid of ornamentation or extraneous detail. This emphasis on simplicity extended to the materials used, with artists favoring industrial materials like steel, aluminum, and concrete for their inherent neutrality and lack of artifice.

Objecthood was another key tenet of Minimalism. Minimalist sculptures, often referred to as "objects," aimed to occupy real space in a direct and unmediated way. They rejected the traditional pedestal, instead resting directly on the floor or mounted on the wall, blurring the lines between art and everyday objects.

Donald Judd: The Object as It Is

Donald Judd stands as one of the most influential figures in the development of Minimalist art. His sculptures, typically composed of simple geometric forms arranged in serial progressions, exemplify the movement’s core principles. Judd’s work focused on the object itself, devoid of any symbolic or metaphorical content.

His sculptures, often fabricated from industrial materials like steel and Plexiglas, emphasized the physical properties of the materials and the spatial relationships between the forms. Judd believed that art should be experienced directly, without the need for interpretation or subjective interpretation.

The Significance of Seriality

Judd’s use of seriality—the repetition of identical or similar forms—was a deliberate attempt to eliminate hierarchy and compositional complexity. By presenting a series of identical boxes or units, Judd aimed to create a sense of visual neutrality, allowing the viewer to focus on the object’s physical presence and its relationship to the surrounding space. This use of repetition has been highly influential in modern art and design.

Frank Stella: From Painting to Relief and Beyond

Frank Stella initially gained recognition for his Black Paintings of the late 1950s, which consisted of black enamel stripes separated by thin lines of unpainted canvas. These early works, characterized by their stark simplicity and geometric precision, marked a significant departure from the gestural abstraction of Abstract Expressionism.

Stella’s work quickly evolved beyond the confines of traditional painting. He began to explore shaped canvases, creating non-objective forms that challenged the conventional rectangular format. These shaped canvases blurred the lines between painting and sculpture, pushing the boundaries of artistic categorization.

The Evolution of Form

Over time, Stella’s work became increasingly complex and sculptural. He experimented with relief, adding three-dimensional elements to his paintings, and eventually transitioned to creating freestanding sculptures constructed from a variety of materials, including metal, fiberglass, and wood.

These later works, characterized by their dynamic forms and vibrant colors, represent a departure from the austere simplicity of his early Minimalist paintings. Yet, they retain a commitment to non-objective abstraction, exploring the formal possibilities of shape, color, and space.

The Role of Critics and Institutions: Shaping the Narrative

Following the initial shift towards abstraction, several key movements and styles emerged, each solidifying the departure from representational art in unique ways. These movements not only defined distinct aesthetic approaches but also reflected the socio-political contexts in which they arose. On the fringes of art history, however, stood the critics and the institutions, the often-unseen hands shaping perception and valuation. Their role in legitimizing abstract and non-objective art cannot be overstated.

The Influence of Art Critics

Art critics serve as mediators between the artist and the public, interpreting complex visual languages and positioning artworks within broader cultural contexts. Their writings often dictate what is considered worthy of attention, study, and ultimately, canonization.

The discourse surrounding abstract art was particularly reliant on critical interpretation, given its departure from easily recognizable subject matter. Without the familiar anchors of representation, viewers often turned to critics to decipher the meaning and significance of these novel forms.

Clement Greenberg: Champion of the Avant-Garde

Among the most influential voices in shaping the narrative of abstract art was Clement Greenberg. His writings not only championed Abstract Expressionism but also laid the theoretical groundwork for Formalism, a critical approach that profoundly impacted the art world.

Greenberg and Abstract Expressionism

Greenberg played a pivotal role in elevating Abstract Expressionism to international prominence. He saw in the works of artists like Jackson Pollock, Barnett Newman, and Mark Rothko a uniquely American artistic vision, one that broke free from European traditions and embraced pure, unadulterated expression.

His essays, published in journals such as Partisan Review, became essential reading for anyone seeking to understand the movement’s aesthetic and philosophical underpinnings. He helped legitimize their radical departure from traditional art.

The Tenets of Formalism

Greenberg’s critical framework was rooted in Formalism, which emphasizes the formal elements of art—line, color, composition, and texture—over its subject matter or historical context. Formalism focuses on the intrinsic qualities of the work itself.

For Greenberg, the value of a painting lay in its ability to explore the unique properties of its medium. He argued that each art form should strive for purity, shedding any elements borrowed from other disciplines. This concept of medium specificity became a cornerstone of his critical approach.

Artistic Autonomy

Another key aspect of Greenberg’s philosophy was the belief in artistic autonomy. He argued that art should be judged solely on its own terms, independent of any social, political, or moral considerations. This emphasis on autonomy aligned with the Abstract Expressionists’ desire to create art that was free from external constraints and purely self-referential.

Criticisms of Greenberg’s Formalism

While Greenberg’s Formalism profoundly influenced the reception of abstract art, it also drew criticism. Some argued that his emphasis on medium specificity and artistic autonomy was overly restrictive.

His theories may have overlooked the socio-political dimensions of art making. Critics also pointed out that Greenberg’s selective canonization of certain artists and movements marginalized other voices and perspectives. His views favored particular forms of abstraction.

Institutions and Their Enduring Impact

Museums, galleries, and art schools are also essential institutions in the shaping of art historical narratives. They acquire, exhibit, and interpret artworks, thereby conferring value and influencing public perception.

By including abstract and non-objective art in their collections and exhibitions, institutions have played a vital role in legitimizing these movements and ensuring their continued relevance. The presence of abstract masterpieces in prestigious museums solidifies their place in art history.

Key Concepts in Understanding Abstraction: A Glossary of Terms

Following the initial shift towards abstraction, several key movements and styles emerged, each solidifying the departure from representational art in unique ways. These movements not only defined distinct aesthetic approaches but also reflected the socio-political contexts in which they arose. To fully grasp the nuances of abstract and non-objective art, a clear understanding of several core concepts is essential. This section will delve into these concepts, providing a glossary of terms crucial for navigating this often-misunderstood realm of artistic expression.

Representation vs. Abstraction: A Fundamental Dichotomy

The most fundamental distinction lies in the concept of representation. Representational art aims to depict subjects from the real world, whether it be a landscape, a portrait, or a still life. The degree of accuracy in this depiction can vary, but the intent to portray something recognizable remains.

Abstract art, conversely, departs from this aim. It may allude to the real world, but its primary focus shifts to elements such as color, form, and composition. The goal isn’t to create a mirror image of reality, but rather to evoke emotions, explore ideas, or simply celebrate the inherent qualities of the artistic medium.

Non-objective art (also known as concrete art) takes this departure even further, completely abandoning any reference to the external world. It exists purely as an arrangement of lines, shapes, and colors, with no intention of representing anything beyond itself.

Subject Matter: Presence or Absence?

The concept of subject matter is inextricably linked to representation. In representational art, the subject matter is readily apparent – the portrait of a woman, the depiction of a battle scene, the arrangement of fruit in a bowl.

In abstract art, the notion of subject matter becomes more ambiguous. While the artwork may not depict a specific object or scene, it can still be said to possess a subject in the form of an idea, emotion, or aesthetic concept.

For example, an abstract painting composed of swirling blues and greens might be said to have the subject of melancholy or the ocean. In non-objective art, however, subject matter is effectively absent. The artwork is its own subject, a self-referential entity that exists solely as a visual experience.

Geometric Abstraction: The Language of Shapes

Geometric abstraction represents a specific branch of abstract art characterized by its exclusive use of geometric shapes. This style, often associated with movements like De Stijl and Suprematism, seeks to express universal truths and harmonies through the purity and precision of geometric forms.

Squares, circles, triangles, and straight lines become the primary visual vocabulary, arranged in compositions that emphasize balance, order, and clarity. Geometric abstraction often carries with it a sense of intellectual rigor and a rejection of subjective emotion.

Formalism: An Emphasis on Visual Elements

Formalism is a critical approach that focuses on the formal elements of an artwork – its color, line, shape, texture, and composition – rather than its subject matter, historical context, or emotional content.

Formalist critics analyze how these elements interact to create a visual experience, often emphasizing the artist’s technical skill and the aesthetic qualities of the work itself. Clement Greenberg, a prominent formalist critic, championed abstract expressionism, arguing that its strength lay in its exploration of the inherent properties of paint and canvas.

Formalism has been influential in shaping the understanding and appreciation of abstract art, but it has also been criticized for neglecting the social, political, and cultural contexts that inform artistic creation.

Significance of Institutions and Movements: Environments for Innovation

Following the initial shift towards abstraction, several key movements and styles emerged, each solidifying the departure from representational art in unique ways. These movements not only defined distinct aesthetic approaches but also reflected the socio-political contexts in which they arose, often nurtured and amplified by forward-thinking institutions. Understanding the environments that fostered artistic innovation is crucial to grasping the full impact of abstract and non-objective art.

This section delves into the significance of two prominent catalysts: the Bauhaus school in Germany and the vibrant artistic milieu of early 20th-century Russia. These environments provided fertile ground for artists to experiment, collaborate, and ultimately redefine the boundaries of art.

The Bauhaus: Where Art Met Function

The Bauhaus, founded in Weimar, Germany in 1919 by Walter Gropius, was more than just an art school; it was a radical experiment in art education and design philosophy. At its core, the Bauhaus sought to bridge the gap between art, craft, and technology.

This holistic approach aimed to create a Gesamtkunstwerk, a total work of art, that permeated all aspects of life. The school’s curriculum was intentionally diverse, encompassing architecture, painting, sculpture, graphic design, and more.

Promotion of Abstract and Functional Design

The Bauhaus championed abstract art as a means to achieve functional and aesthetically pleasing design. The faculty, which included luminaries like Wassily Kandinsky, Paul Klee, and Josef Albers, encouraged students to explore the fundamental elements of form, color, and composition.

This emphasis on abstraction was not merely an aesthetic preference, but a deliberate attempt to create designs that were universally accessible and free from the constraints of representational imagery. The goal was to distill objects and spaces to their essential forms, emphasizing functionality and clarity.

The Bauhaus promoted the idea that good design should be available to all, not just a privileged elite. The school’s influence extended far beyond its physical location, shaping the course of modern architecture and design worldwide. Even though it was forced to close in 1933 due to Nazi pressure, the Bauhaus principles continue to resonate in contemporary design.

Revolutionary Russia: A Crucible of Avant-Garde Art

The early 20th century was a period of immense social and political upheaval in Russia. This tumultuous environment, however, also proved to be remarkably fertile ground for artistic innovation. The Russian Revolution of 1917, in particular, created a brief window of opportunity for artists to challenge traditional norms and explore radical new forms of expression.

Birthplace of Suprematism and Constructivism

Two of the most influential abstract art movements of the 20th century, Suprematism and Constructivism, emerged from this vibrant Russian context. Kazimir Malevich, the founder of Suprematism, sought to create a purely non-objective art based on basic geometric forms, most famously exemplified by his iconic "Black Square."

Suprematism aimed to transcend the material world and express a sense of spiritual purity through abstract forms. In contrast, Constructivism, led by artists like Vladimir Tatlin and Alexander Rodchenko, embraced a more utilitarian approach to art.

Constructivists believed that art should serve the needs of the new socialist society. They rejected the idea of "art for art’s sake" and instead focused on creating functional objects and designs for everyday life. Both movements, though distinct in their philosophies, shared a commitment to abstraction and a belief in the transformative power of art.

The artistic fervor in Russia during this period was fueled by a network of art schools, museums, and artist collectives. These institutions provided platforms for experimentation and debate, fostering a collaborative environment where artists could push the boundaries of artistic expression.

However, the period of artistic freedom was short-lived. By the 1930s, the Soviet regime had begun to suppress avant-garde art in favor of Socialist Realism. Despite this repression, the legacy of Suprematism and Constructivism continued to influence artists around the world, solidifying Russia’s place as a pivotal force in the development of abstract art.

So, hopefully, that clears up the distinction! While both abstract and non-objective art might seem similar at first glance, understanding the "why" behind the art – whether it’s abstracting from a real-world subject or creating something entirely from scratch – can really change how you view and appreciate both abstract vs non objective pieces. Happy art gazing!