In the next section of the abstraction, space is given to develop the color virtues that has the painter, in parallel with the gestural freedom and intensity, the expansive tendency properly served by large surfaces. It is noteworthy that no has been influenced by German expressionism, as one might assume due origin. To some extent it is related, without consciously seeking it, to French painting, mainly the Delaunay Orphism. Moving away from visual reality as well the overcoming of chromatic asceticism, we observe that new expressive ones open up horizons. The transcendence of the synthetic statics that characterized the previous period is crucial. The morphological language is now starring as a theme, color and form spread rhythmically. Curvilinear themes are broken by a variety of color bursts, motion and light prevail.

Katia Kilesopoulou

Dr. Art History