Business Art STEPHAN WELZ & CO. swelco.co.za

Thereis an emergence of abstract art within the current contemporary canon of art which could either denote a contradiction to more traditional forms of art, or it could be seen as an indicative element within art to reflect the current digital age that seems to be influencing our society. Another factor contributing to the rise of abstract art could be explained by an increase in demand from collectors and art buyers alike. Regardless, the evolution and popular presence of abstract art has become imperative in understanding the ever-changing zeitgeist of the art world.

Abstract art has influenced multiple artistic eras both globally and within a South African context. The presence of abstract forms within art previously denoted a contradiction to more conservative perceptions of what defines art. Abstract art is often defined by its use of colour, line, form, and texture to create a visual language using non-representational forms, meaning it is not necessarily concerned with the subject matter but rather the conviction of emotion, technique, and the onlooker’s reaction to these elements. However, its purpose and intent has been interpreted differently throughout various art movements.

Abstract art was formed in the 20th century when artists such as Wassily Kandinsky and Kazimir Maevich began using nonrepresentational forms within their worksallowing artists to experiment with technique and form.

Later in the 1930’s and 1940’s the American Abstract Expressionist art movement led by artists such as Jackson Pollock and Mark Rothko sparked a fascination with expressive techniques and colour which conveyed pure emotion and represented the artist’s state of mind.

In the 1950’s we saw the emergence of German Abstract Expressionism which took place after World War II. The movement was primarily a direct response to the aftermath and trauma of war and was seen as a divergence from more academically inclined art. It also addressed themes and motifs such as the sublime, the subconscious, the body, and mythical archetypes. German Abstract Expressionist artists were often inspired by African art as the geometrical elements and natural abstract nature of cultural art in Africa encapsulate a sense of movement and energy that was sought after within the canonical understanding of abstract art at the time. They also believed that African art tapped into a primal and more spiritual aspect of the human experience – a point which has been both revered and criticized by art historians. This movement lead to an ongoing and nuanced dialect between German and South African art.

During this time, South African artists also began to revoke traditional ideas of what defines art and began working towards art that depicted the socio-political turmoil of South Africa during Apartheid. This was the onset of the modernist movement within South Africa which included influential artists such as Irma Stern, Gerard Sekoto, Walter Battiss and Alexis Preller. Similarly to the German Abstract movement, these artists began to use more non-representational forms, gestural mark making, expressive brushstrokes and vibrant colours within their artworks to reflect a socio-political commentary on South Africa. These artists were imperative to the canon of South African art history as they challenged conventional ideas, political regimes, social practices, and the ongoing struggle within South Africa during that period, paving the way for contemporary artists. This era of art is where artists in South Africa became concerned with making a unique African aesthetic that would later became globally recognized.

Nowadays, abstract art is commonly seen in contemporary art and the historical rise and evolution of such art has had a lasting impact which has influenced the way in which collectors buy art. For example, there has been an increase in interest in abstract artists such as Andrzej Urbanski and Mark Tobey within the South African secondary market. There is also consistent interest shown in artists such as George Boys, Esther Mahlangu and Bettie Cilliers-Barnard to name a few. This pattern of interest is not surprising given the historical ripple effect abstract art has had on the global canon of art history.

Stephan Welz & Co. stays in tune with trends in the market and we are excited to offer several of these artists on our upcoming Premium Auctions in June (Cape Town) and in July (Johannesburg). To register to bid please visit www.swelco.co.za. For any enquiries or condition reports please contact us on either info@swelco.co.za or ct@swelco.co.za or call us on 021 794 6461 or 011 880 3125.

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Paul, S. (2004) The Met: Heilbrunn Timeline of Art History: Abstract Expressionism [O]. https://www.metmuseum.org

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Campbell, M. & Schwartz, J. (2006). South African Art Now. HarperCollins. South Africa.

Koloane, D. (1997). The Neglected Tradition: Towards a New History of South African Art (1930 – 1988). Johannesburg Art Gallery.

Barr, A. (1936). Cubism and Abstract Art Routledge. South Africa. 110 – 200.