Whatever has been said about abstraction, the topic is inexhaustible, because it has many
dimensions that were treated by the artists of the twentieth century, and before them, and the
concept still bears new treatments that the days will come. The general meaning that must be
recognized in the first place is that art, no matter how different its manifestations, is based on
abstraction, and this basis of art means the tightening of the plastic relations between parts and the
whole, or between details and formula, so that everything fuses in the crucible of the creative
process that authorizes the birth of the new creature. This is a general meaning in which it does not
matter the appearance of the pieces of art, when they approach or move away. From the apparent
nature, the lesson is not in the abstraction of the apparent meaning, but in the essence of the
relationships, their rooting and their provisions, and it does not matter if they are clothed with
clothes that bring them closer to the logic of reality, or if they are completely away from this reality
and appear as tight relationships that have visual connotations behind them, other than judgment
and the quality of links. It was self-evident that Cubism would evolve little by little to pave the way
for abstraction. Abstract art is a description of the process of extracting the essence from the natural
form and presenting it in a new form, where the lack of nature as a source for measuring creativity,
and the standard became art itself. The artistic movements of the twentieth century were advancing
with steady steps towards abstraction since the beginning of the century, as the artist resorted to
methods such as reduction, simplification, distortion and destruction, realizing through these
solutions that its elements and formulations, with their energies, have the ability to express
concepts, and that by moving away from material appearances they have the ability to Greater to
evoke a spiritual feeling. (Abstract art has been known since the dawn of history, as it is not one of
the innovations of the twentieth century, as it has a deep depth in the ancient arts. It appeared in
Egyptian art and some arts of the ancient world, and it was one of the most important characteristics
of some schools of Islamic art) Wassily Kandinsky (*)W.Kandinsky " "1866-1944And his ideas,
which revolved around the emotion that the elements with their full energy and movements can
provoke, are the first spark conscious of their goals in the abstract direction. And the figure
according to "Kandinsky" has its own spiritual entity, as this entity can be compared to a triangle
divided into horizontal segments, narrowing at the top and widening at the base, about which the
eye feels a suggestive movement heading forward and upward. Likewise, the lines, in Kandinsky’s
opinion, have spiritual characteristics that reflect the subjective and dramatic energy of them to
aspire to a beauty isolated from the nature of time and space, and that the artist transcends the
expression of feelings to reach an expression of the reality of the apparent existence of the elements
of art in themselves and in their abstract purity. The brush and its impulses are an important element
of the elements that generate potential energy and movement expressing time and space.Therefore,
the abstract works presented by Kandinsky came in three advanced stages, all of which highlight the
movement and potential energy in the elements and plastic formulations of his works.It appears in
the works of the artist Jackson Polk and Mark Toby. and Emilio Vidova Emilio " , who did
not adhere to the thinking that precedes the creative practice, and in their works they denied the
existence of time and space, and they dealt with automatic shapes and explicit colors, and they tried
to prove that shapes should not exist through spatial tricks inside
أ.د/عصام محمد محفوظ | Prof.Dr.Essam Mohamed Mahfouz | 21477