Abstraction 1928

Editor: This is Auguste Herbin's "Abstraction," painted in 1928 using, what I believe is acrylic paint, which feels a little unusual. It's certainly a feast for the eyes with all these shapes. It feels... contained, somehow. What’s your initial take on this piece? Curator: Contained is an interesting word for it! For me, it vibrates, struggles to escape its two-dimensionality! Herbin’s relationship with colour was profound, like a musician with notes. Look how he juxtaposes these bold planes—that cobalt blue against the yellows and ochres – it's a visual chord, resolving, dissonant, resolving again. I think what we see is his attempt to uncover an underlying sense of form and volume. What’s interesting, isn't it, how the shapes overlap, push and pull? It has almost human dimension. Do you see that? Editor: Human? I hadn't really thought about it that way. But now that you mention it, some shapes do vaguely resemble figures. Especially the brownish-red shape with an eye-like shape on its head! Curator: Yes! Think about the moment this was created! 1928! Europe between the wars, rebuilding, questioning everything. Herbin’s abstraction wasn’t about decoration; it was about searching for a new visual language to express the shifting reality, almost primal, wouldn't you say? He’s deconstructing reality. How did he believe painting related to musical composition? Editor: That’s interesting! It does feel very composed, even structured in its chaos! Curator: Right? What did Herbin name his colours? Editor: Hmm, I actually do not know, I was fixated on the forms... Curator: Yes, forms might bring order to shapes and planes... He gave each a name like sounds and music. It almost lends them new life or feeling in my opinion. That certainly helps him relate the two domains to one another, I would guess. Editor: I like this association with sounds... Makes me feel more eager to keep listening to the silent expression it reveals. Thank you so much!