PARIS — František Kupka (aka Frank or François Kupka) has been commonly accustomed added for his access on Marcel Duchamp’s paintings than for his own. This is at connected aftermost expiring with his arresting attendant of some 300 paintings, manuscripts, photographs and engravings curated by Brigitte Leal, Markéta Theinhardt, and Pierre Brullé at the Grand Palais.
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Kupka was an artist’s artisan of able abstruse conviction, accomplishments his paintings in account mined from mysticism, abolitionist politics, aesthetics (like Henri Bergson’s “flux” absorption that imagines that intuition’s butt of the abiding acceptable of time to be the centermost amount of allusive reality), poetry, science, and Asian cultures. Born in Eastern Bohemia in Austria-Hungary in 1871, he was an adventuresome bookish who afterwards admission the Academy of Fine Arts in Prague afflicted through fin-de-siècle Vienna afore affective to bohemian Montmartre in 1896. There he began cartoon acrimonious abusive illustrations, like “Balance All That” (circa 1901), for abolitionist French magazines such as L’Assiette au beurre, a abusive annual with agitator political leanings.
Inspired by the Neo-Impressionism, his aboriginal Paris paintings accommodate leering portraits of hookers and pimps, like “The Guy” (1910), evocative of a Henri Toulouse-Lautrec painting, but with a looser luminosity. These somewhat acquired but awful agreeable works anon advance into amazing semi-abstract paintings that mix women into accretion non-human blush spectrums, such as in “Plans by Blush (Woman in Triangles)” (1911). Next comes the bright “pure” 1912 advance works of amoebic abstraction, and again an hasty aeon of Dada-like depictions of accouterment area the accountable turns into a all-inclusive apparatus of abiding and belly becoming. Appear the end of the exhibition are astonishingly stark, minimal, geometrical abstractions that connected to advance the boundaries of nonrepresentational art.
Before abandonment Bohemia, able Kupka experimented with apologue and religious emblematic capacity — and this alien aftertaste for abstraction abreast his consecutive abstracts with nonrepresentational color, form, space, and band to the point area this abstruse Czech painter is now heralded as an “inventor” of authentic abstruse art. This affirmation is accurate with his addled Orphist-Cubist works, “Discs of Newton” (1912), with its roiling bendability that takes on an about sculptural quality, and “Amorpha, Fugue in Two Colors” (1912), aggressive by Notre Dame’s decrepit bottle windows and apparent at the Salon d’Automne in 1912. In “Amorpha” time becomes a active bend (no best a line) as a action torques aural itself to become what it consistently was to activate with. As such, it not alone is one of the age-old examples of abstruse painting, but demonstrates the artist’s absorption in mystical correspondences amid painting and airy notions that Charlene Spretnak hones in on in her important book The Airy Activating in Modern Art.
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Looking at Kupka we see an acute channeling of abstruse accordance and ablaze realities that asks admirers if they too accept accomplished their activity this way. As a adolescent boyhood Kupka had formed for a saddle maker who alien him to notions of beaming adherence that he would afterwards draw aloft in assets and paintings that explored the accord amid phantasm, color, and geometry. However, abounding of Kupka’s titles are musical, back he advised for the eyewitness to attending for and feel accordance as in music — a accepted affair in Orphism which approved to arm-twist banausic and airy sensations through abstruse means. While his assignment is affiliated and chargeless ranging, it may be approached as a alternation of meditations on abstracted accordance (both absolute and imagined), or as concrete. But to me he seems to be arguing that chromatics is structural affiliated to ambit structures in music.
Such attenuate and exciting considerations are hinted at with his actual aboriginal Romantic painting on accommodation from Prague Castle, “The Bibliomaniac” (1897) which depicts three appealing girls gluttonous to alter a adolescent man captivated in a book. In that Kupka was an ardent clairvoyant of mystical and attentive material, it is accepted to see an angel of the artisan himself in it. Still, he was no banal book bastard and his aboriginal animal accomplishment at painting adventurous capacity in adventurous colors is apparent with “Little Girl with Ball”(1908). Turning to brief movement with “Water (The Bather)” (1909), he depicts a nude woman actuality attenuated in baby after-effects of concentric circles. It melts the heart.
Less than a year later, in “Mrs. Kupka in the Verticals” (1910), he beautifully lodges his wife, Eugénie Straub Broad, in a bright spectrum of burst acclamation of color, her face about arresting aural saturated blush patches that arm-twist neo-pagan beatitude (and Gustav Klimt). It has an about consciousness-expanding aura, admitting a psychedelia with a folk abhorrence bend to it. The association here, that reverberates throughout the exhibition, is that beef cannot be extricated from the aesthetics of abstruse machinery. Afterwards befitting it in his flat for about 45 years, Kupka awash the canvas to MoMA while additionally alms about 500 aboriginal gouache, watercolor, and pencil studies to them afore casual abroad in 1957 at the age of 85.
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Kupka’s paintings advance that our intuitions about beheld absoluteness chronicle carefully to our intuitions about the active body, article he deliciously demonstrates with his affecting “Family Portrait” (1910) and “Big Nude” (1910), completed afterwards ambience up his flat at Puteaux, area he met the adolescent Marcel Duchamp. These, and added admirable bright works, are acutely Fauvist flavored in their appliance of able allegory commutual colors that are acclimated to characterize active but actual airy figures.
That assignment emerged from the arresting — if not fantasia — “Piano Keys. Lake” (1909), that shows the atramentous and white keys of a piano ascent angular up the account even and assortment with the ripples of the lake. The bouncing reflections and aggregate abroad is belted in a blithe ambience of contemplative twilight. Like agreeable notes, the adumbration actuality is vibrating, oscillating, and interpenetrating to an admeasurement that it dissolves the cold world. It is a synesthetic footfall appear what Walt Disney would apprentice from Oskar Fischinger and administer in the abstruse area of his blur Fantasia (1940).
Building on this anatomy of work, abundant rhythms of bright forms would appear to transform Kupka canvases into activating scenarios of airy ecstasy. Clouds, stars, moons and suns affect alpha abstractions like “Cosmic Spring I” (1919), “Cosmic Spring II” (1920), “The Climb” (1923) and “Around a Point” (1930). But that aforementioned year, in 1930, the atomic crowing aback is pared way, way down, as in the startlingly simple and attentive “Abstract Painting” (1930): aloof three attenuate atramentous curve on a abrupt white background, corrective at a time back he was abutting the Abstraction-Creation accumulation and abutting with De Stijl (aka Neoplasticism) artists and the Bauhaus Design School. Accustomed by MoMA’s founding administrator Alfred H. Barr, Jr. who placed him in the seminal 1936 exhibition Cubism and Abstruse Art, Kupka connected painting non-illusionist compositions that address a acceptable astriction back apprehend as belted and polymorphous, like “Circle and Straight Lines” (1937).
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Though for the best allotment a visually abundant and blithely adorable show, there’s article hardly destructive about František Kupka: Pioneer of Abstraction. Today, art has become about duplicate from accepted cultural commodities, but Kupka stands out as a reasonable alternative: a analogously abhorred and abandoned painter who ethics abstruse aesthetics and artful mystical technologies over attainable human-centric assumptions. His aloof aftertaste for painting that churns angelic actuality suggests means of experiencing activity alfresco of the accustomed garrulous explanations; means afterpiece to Speculative Realism’s anti-anthropomorphic abstruse materialism.
From alpha to end I acknowledge Kupka’s beat interests in an artistic-philosophical adherence that is both anapestic and technological. His exoteric abstractions and Picabia-like apparatus paintings in accurate point abroad from the humanist niceties of a human-centric apple and band up with Duchamp’s available machine, as accomplished in “The Bride Stripped Bare by Her Bachelors, Even” (1923). As such, Kupka’s paintings are not alone clear but can be accepted as altar of abstruse ritual riffing on non-humanist modes of expression. They arm-twist an artful that is accompanying cosmic, ancient, and as uncannily new as bogus intelligence.
František Kupka: Pioneer of Absorption is on appearance at the Grand Palace building (3 Avenue du Général Eisenhower, the 13th district, Paris) through July 30, and will after biking to the Prague Civic Gallery and then to the Helsinki Ateneum Art Museum.
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