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Abstraction: Holistic Significance

Abstraction
Paris 1949
Social Drama
Form and Color
Rhythm and Lyricism
Holistic Significance
These works were also shared, understood and appreciated by famous art critics and important writers. Professor Will Grohman, who wrote a book on Paul Klee, said Paul Fontaine (in comparing him with Cavael) is expansive and bursts with large forms whereas Rolf Cavael, a miniaturest, is introverted. Both artists hold their compositions together with rhythm and music. Grohman further stated that Fontaine, a symphony, relies on the creative impluse; Cavael, on the calculated. Non-objective art is formed just as individually by the realistic approach, dependent upon' personal experience, if not about an object, at least about a theme. Cavael's pictures are "small worlds" after the example of Kandinsky. Fontaine's paintings are rather outer spacescapes. Each one enjoys the paintings for their own reasons and are valid for that reason alone.

Beyond the human and social sense, Fontaine's art has a cosmic significance. It reflects the dynamics of the unstable balance between the known and unknown, and between what is dominated by man and what still dominates him.

Fontaine's abstract art expresses universal dynamism. His forms of energy float free and aspiring within his cosmos. The shapes are unbound while giving a feeling of growing, evolving and changing which is symbolic of all nature. Subtle motion is achieved through color And implied direction of shapes. He works close to the spirit of nature of which he feels a part. He loves the out-of-doors, camping in the woods or watching a bird in flight.

In analyzing Fontaine's works in their holistic significance, each work must be regarded as an extension of his personality at the time of the painting's conception. All the paintings sum up his total personality, full of forceful creative imagination but which is controlled by the conscious. The variety of feelings range from lyrical to poetic or dynamic. In studying Fontaine's art one sees a general pattern emerging which places more un-holistic  compositions expressing anxiety, vulnerability, and resentment in his earlier works. This pattern seems to climax with his compositions during World War II and the period immediately thereafter. As time passed and Fontaine apparently regained a balance to his life and a rebirth of confidence, his compositions began to express the whole-istic ideal qualities of appealing energy, beauty and idea. In some of Fontaine's latest Mexican works he also has not risen above the temptation of using objective frames of reference. Evident are structures of manlike figures and natural forms, yet removed from any conscious possible illustrative intention (see Mexico).  This source of power is questioned today by many.' Fontaine relies upon his own subconscious as his source of spiritual power. 

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This site was last updated on 08/03/00
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