Cubism and Abstract Art  

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"At the risk of grave oversimplification the impulse towards abstract art during the past fifty years may be divided historically into two main currents, both of which emerged from Impressionism. The first and more important current finds its sources in the art and theories of Cezanne and Seurat, passes through the widening stream of Cubism and finds its delta in the various geometrical and Constructivist movements which developed in Russia and Holland during the War and have since spread throughout the World. This current may be described as intellectual, structural, architectonic, geometrical, rectilinear and classical in its austerity and dependence upon logic and calculation. The second—and, until recently, secondary— current has its principal source in the art and theories of Gauguin and his circle, flows through the Fauvisme of Matisse to the Abstract Expressionism of the pre-War paintings of Kandinsky. After running under ground for a few years it reappears vigorously among the masters of abstract art associated with Surrealism. This tradition, by contrast with the first, is intuitional and emotional rather than intellectual; organic or biomorphic rather than geometrical in its forms; curvilinear rather than rectilinear, decorative rather than structural, and romantic rather than classical in its exaltation of the mystical, the spontaneous and the irrational. Apollo, Pythagoras and Descartes watch over the Cezanne-Cubist geometrical tradition; Dionysus (an Asiatic god), Plotinus and Rousseau over the Gauguin-Expressionist-non-geometrical line." --Cubism and Abstract Art (1936) by Alfred H. Barr, Jr., page 19

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Cubism and Abstract Art was a 1936 exhibition curated by Alfred H. Barr Jr.. The catalogue to this exhibition promulgated the term biomorphism.

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