Özet:

From the early 1900s, the abstract painting, which was considered the leading stream of almost all the western world from Russia to Germany, from France to the United States, has been regarded as the most popular form of art not only because it hosts an intense statue but also because it offers a formal innovation. Furthermore, either in academic environments, or in advance-garde, or in the art environments known as the academic opposite, abstract painting has become a condition of being a pioneer in a way, and even in some periods this stream has been considered the only real art. Interestingly, this art stream, which was set at the headquarters because of its formation of universal / basic natural forms and having a philosophical depth at the same time, has been revised after a while, and for this reason. After the 1950s, some different tendencies that show themselves in Britain and in the United States have held the ball as the abstract art is extremely sacrificed, philosophical and – if anywhere – ulvical. Until yesterday, the art environments in which objective realism is seen and condemned as a simulation that does not fit the morality of art have been confused with the passion for objectivity of this abstract/anti-exclusion group that has emerged suddenly.