Pintura Madí, 1948
Vibración A10, 1950
This attitude and the elements involved, connected the movement with design, architecture, machines and invention, creating an aesthetics that coherently articulated with the technical and scientific discoveries of the time. It was thus that art replied to the requirements of a new world and tried to foster a suitable environment for the emergence of a harmonious social organization.
In 1930, Dutch artist Theo van Doesburg published in Paris the unique issue of Art Concret magazine, a six-point manifesto that established the theoretical basis of Concrete Art –a calculated, logical art, which required the conception of a work “in the mind, before its execution.” In addition, he exhibited La composition arithmétique, a geometrical work with an order determined by logical relationships and deductive structures, applying the axiom that “the construction of a picture, as well as its elements, must be simple and visually controllable”.
By that time, the Alsatian artist Hans Arp stated that, “A painting or a sculpture not modeled from a real object is in itself as concrete and sensual as a leaf or a stone”.
The Swiss Max Bill, a former Bauhaus student, continued developing the principles of Concrete Art. He deepened the objective method of creation by using grids, modules, series, and arithmetical and geometrical progressions. In 1944, he organized an important international exhibition of this trend in Basel.