What is the perfect level of abstraction for a work of art?
May, 14; 2020. By
This article will cover the theoretically perfect point of abstraction that a work of art, be it a musical theme, a film, or a painting, can and should have, in the opinion of this publication.

We have seen that during the 20th century painters like Picasso strove to seek and lead art as a whole towards abstraction, which is fine as a principle but which we definitely do not know, in the opinion of this publisher, if it is indeed something good for art. Since we can put several examples, both in painting, as in music, as in cinema, in which an excess of abstraction means a decrease in the emotion caused to the spectator / listener.

Thus, it is quite clear that noise for music, which is the perfect abstraction in this medium, is of no benefit to the listener. Then we can talk about musical impressionism or experimental music that although it is a little more understandable, does not completely fill the ears of listeners, who definitely prefer to hear and enjoy very defined works such as those of Mozart or Beethoven, in general.

In the film field, if we talk about video art or experimental cinema, we get the same answers. It is the cinema with its classic film and narrative scheme sustained mainly by the approach-development-outcome and its multiple variants that manages to fully excite the viewer. The rest is, as a philosopher might say on this matter, conjecture. So much so that the American film producer of the 20th century Walt Disney (heh, heh, we are sure that the reader knows who we are referring to), rejected the idea of continuing on the path of his second film Fantasia (as we know the most enigmatic, symbolic and impressionistic of all his films) and focused on classical narrative so as not to confuse and surprise the viewer and so that he could fully understand what was happening on the screen in order to connect more with him, as a good filmmaker who was.

In painting, as previously discussed in this medium, abstraction leaves the viewer a little bit stupefied and often does not know what to think about the work he is seeing. It is easier to connect, and it is transmitted much more, with eminently figurative works, although these may have a point of evasion from reality such as Impressionism led by Claude Monet, who in the opinion of the editor of this publication, is the greatest exponent of pictorial level of the balance between abstraction and figuration. Behind Impressionism, as has been well established in the 20th century, there is an abyss.

Therefore, after these conclusions we can say without hesitation that although a little evasion never hurts, in fact the genius is always a little synthesized by the artist's vision as it happens in the mentioned impressionist movement; a little more abstraction manages to prevent the average viewer from connecting with the pictorial, musical or cinematographic work, as the case may be, thus losing part of the emotion that could cause a greater balance between the figurative and the abstract.

In conclusion, the aim of the editor of this publication is not to make pictorial works with a new -ism that returns a bit to the lost path, since, as has also been mentioned in our magazine, abstraction has led painting to a alley from which it can no longer get out, and need to go back to figuration a bit. There are many themes and points of view that have not yet been explored in the art world and that are closer to the figurative. But, as I have said before, it will not be the one who writes who gives too many clues on this subject, beyond expressing his own visions in his various artistic creations.