Space, from illusion to the surface of the painting

Plastic art is a way of shaping form. Shaping is three dimensional in architecture and sculpture, and two dimensional in painting. Shaping the form is at the same time shaping the space around the form. When a line borders the form and drawing shows the volume of the form, they also construct the space organization by plan or volume. In this thesis, the contents of space, space in painting, surface is examined throughout their changing meaning during European modern art history as previously researched. Also, the effects of the evolution of conceived space, from substance to an experimental reality is discussed in order to understand space in painting. In section two, types of space, techniques of maintaining the illusionary and surface space are illustrated by following the systematic in basic design elements and principles. Planimetric, perspective, volumetric, pyramidal, coincidental, irrational, conceptual, abstract and concrete, classical-modern-contemporary space and the canvas as an art object are researched. It is aimed to follow the evolution of concept of space and different levels of depth throughout the history of art. The two faces of space, three dimensional, haptic and "real" space is and secondly two dimensional, optic and illusionary space is defined as the field of research. The three dimensional illusory space in a picture is related to the spatial cognition of that space. Therefore, the process of perception in a narrow scope is explained in order to make some assumptions in the field of visual arts. Here, the perception of depth is taken into consideration alongside the concept of illusion while looking into representative and descriptive painting. Beginning with the modern painting, a plastic grammar of painting was rediscovered and used instead of illusion, and it was also used to bring the expression to the surface. Different approaches to the usage of that plastic language, e.g. impressionism, expressionism, cubism, surrealism, futurism, reveal the divisions of abstract space- concrete space and classical space- modern space- contemporary space. This process prepared the beginning of abstract art in the United States. Space is the stated main issue of American abstract expressionists as they don't create the space by painting, they just declare it. In action painting, space is a record on surface of coincidental painting process which creates in pushes and pulls along the whole length of the canvas. It creates labyrinths for the viewer. In color-field painting, the color expands on the surface and takes place before the form. In the surface space where the haptic and optic space meets, occurs a new kind of focus-less, wholistic kin of composition: "all-over". It prepares a flow all-over the entire surface and leaves the viewer free by not preparing a route for the eyes. After Malevich's black square claiming to be the "zero point" and "nothing", here it is suggested that we must experience a "new-nothing" including many ways of "seeing". Before this new formation, new body, the viewer shall act, and now must also process the face of the canvas. Sometimes the viewer needs to look at the canvas form the side at an angle, so that they discover the cosmos in chaos, feel themselves as a part of this uncertainty and sense a meaning in nothingness. This whole process is a silent conversation between the artist and the viewer and they both escape from their traditional passive situations. That meeting takes place in a vertical meeting line drawn by the surface of the painting, instead of taking place in space with a horizon line. This research aims to be a guide to investigating the matter of space in European modern painting as the roots of American abstract expressionism. It is also to discover, to understand, and to criticize it. The research of comprehensive pictorial space should be the basis for those whom are going to go forward in that field. Beyond that, the new space opening to the "white cube" in contemporary art is only mentioned briefly. Keywords Space, Pictorial Space, Illusion, Basic Design Elements and Principles, Perspective, Modern Painting, Surface, Flatness, Field, Abstract Expressionism, Color-field Painting, All-over Composition