Modular paintings as a form of art

A variety of modular paintings, which today have become an important part of interior design, are only part and a consequence of the development of modular art, whose history spans many centuries.

Modular art is an art created by combining together separate parts, modules, resulting in a more complex composition. Some paintings allow the movement of modules or even their partial use. Thus, each time a new composition is obtained, which differs from the original in semantic content and configuration.

Jerome Bosch - Garden of Earthly Delights

The first modular paintings appeared in the Renaissance. Perhaps the most famous example of such art is the classic triptych “Garden of Earthly Delights” by Hieronymus Bosch (The Garden of Earthly Delights, Hieronymus Bosch) . It is also known as a “variable altar”, where the motive of the image can be revised depending on the current dates of the church calendar. Other examples of modular altars include the world-famous Isenheim Altar by Matthias Grünewald (Isenheim Altarpiece, Matthias Grünewald) or the Paumgartner Altar by Paumgartner altarpiece, Albrecht Dürer.

But these are only isolated examples of such creativity. Modular art received a second wind in the works of young artists since the first half of the twentieth century. In an effort to overcome the seemingly obsolete static nature of art, they began to use kinetic methods in their work. The most famous in this sense are the works of Alexander Calder (Alexander Calder), perfectly demonstrating the principles of physical dynamics in art, the potential of the form through perpetual motion, sometimes even without human intervention. Finally, the postulates of modular art were formulated in the manifesto of Victor Vasarely in 1955. It was he who fixed the concept of art not only as immovable objects, but also as processes unfolding in time.

Today, modularity is one of the favorite principles of artists, designers, architects. The modular kitchens that we are all used to using appeared in Belgium in 1932 with the help of the architect Louis Herman De Koninck. The modularity in modern art began with the White Painting by Robert Rauschenberg (White Painting, Robert Rauschenberg, 1951), which consisted of four squares with interconnected geometry.

Modular art involves the co-creation of the artist and the viewer. Perhaps this is one of the reasons why more and more designers use this particular type of painting for decoration of both residential and office premises. It is worth buying modular paintings, and you become a co-author of the final result, changing the form and content of your own free will. However, modern technology gives us a chance to become the main author of the work. Special studios have the ability to create Modular pictures from your favorite photos or drawings, or pick a picture you like from your own huge photo bank. The possibilities of creating modular paintings are almost endless.

Of all the options, the most in demand are paintings of two, three and four parts. Such a number of modules is most suitable for decorating small rooms, apartments, rooms, offices. The drawing can be applied both to plastic panels and to a real canvas. The final form of the modules can also be different - stepwise, with a shift, abstract.

Modular paintings as a form of art Automatic translate