Frantisek Kupka

Art can help enrich people's lives, and it is unfortunate, that many people limit their joy of art to realism. 5 He abandoned this realistic painting, Girl with a Ball, unfinished, and set out to solve his idea of showing movement on a canvas. Therefore, it was not easy to find sources on this particular artist, and I was only able to find two books and no useful magazine articles on him. 9 Serge also believes, that "this art piece shows that Kupka was aware that painting was not mere imitation or a fanciful interpretation of nature but a subjective transfiguration of nature into an ensemble of graphic and plastic elements and gradations of light and color in order to create another reality" (15) 10. Kupka decided to drop the colors and focus on the motion by drawing pencil sketches and reducing the figure to basic outlines, stressing the pivotal points of the knee and elbow joints. Serge Fauchereau expresses his belief, that the colors in this painting, Piano Keys: The Lake, show Kupka's theory in the inner analogy between art and musical expression. Thus, he strived to find scientific and theoretical basis for his work. There is a much bigger and more exciting world of art than realism, and with a little education, anyone can enjoy it. This is, because he strives to find scientific and theoretical basis for his work, and his thought processes that concluded in his paintings Amorpha: Fugue in two Colours and Piano Keys: The Lake are the perfect examples to show this. These strokes mimic the piano keys that are added in the bottom half of the picture. Frank Kupka: Pioneer of Abstract Art by Ludmila Vachtova, and Kupka by Serge Fauchereau, can be found at the Salem Library, and the Chemeketa Library in Salem, respectively. 6 This produced a drawing of elliptical circles and curves, which amazingly show motion, even though the body and ball are barely recognizable. A musician's hand is playing the 'A' major chord and the vibrations cause ripples on the water, which merge with the ripples in the lake. Ludmila Vachtova says on page 77, that "he showed that he could record not only objects but also their logical meaning, not only a moving model but also the movement itself" (77) 7. In his next picture he keeps the lake and women; this time, however, he uses broad, vertical strokes to represent them.