Arte gráfico y vectorial abstracto son hermosos! Instalar este tema para obtener fondos de pantalla abstractos en la Página…
If you like abstract graphic and vector art, install this theme to get HD wallpapers of abstract background in every newtab.
- Select your favourite wallpaper from many available abstract wallpapers, or Shuffle (randomized background images). Updated wallpapers for abstract art are coming soon.
- Check Date & Time instantly with a digital clock in Chrome NewTab.
- Weather indicator, current weather status is displayed directly in Chrome NewTab.
- Search with Google in the new Chrome new tab page.
- Images are included, make it loads faster. Work offline (the addon does not download anything when you open a new tab).
- Added "Most Visited sites" to menu for quick navigation.
- Allow users to mark images as favorite, shuffle all images or shuffle favorite images only.
- New weather indicator service which is much better and more accurate.
- Allow users to switch between 12 hours and 24 hours format, switch between Celsius & Fahrenheit temperature.
- Simple & clean theme, more stunning HD pictures were added.
- Bug-fixes and UI/UX improvements.
- Easier to change theme and shuffle images.
- Faster New Tab loading time.
- Weather indicator can be turned on/off.
How to uninstall:
Right-click on the icon of the extension and choose "Remove from Chrome".
Visit our homepage for more wallpapers and themes: http://freeaddon.com/
For your information (source: wikipedia.org): Abstract art uses a visual language of shape, form, color and line to create a composition which may exist with a degree of independence from visual references in the world. Western art had been, from the Renaissance up to the middle of the 19th century, underpinned by the logic of perspective and an attempt to reproduce an illusion of visible reality. The arts of cultures other than the European had become accessible and showed alternative ways of describing visual experience to the artist. By the end of the 19th century many artists felt a need to create a new kind of art which would encompass the fundamental changes taking place in technology, science and philosophy. The sources from which individual artists drew their theoretical arguments were diverse, and reflected the social and intellectual preoccupations in all areas of Western culture at that time. Abstract art, non-figurative art, non-objective art, and nonrepresentational art are loosely related terms. They are similar, but perhaps not of identical meaning. Abstraction indicates a departure from reality in depiction of imagery in art. This departure from accurate representation can be slight, partial, or complete. Abstraction exists along a continuum. Even art that aims for verisimilitude of the highest degree can be said to be abstract, at least theoretically, since perfect representation is likely to be exceedingly elusive. Artwork which takes liberties, altering for instance color and form in ways that are conspicuous, can be said to be partially abstract. Total abstraction bears no trace of any reference to anything recognizable. In geometric abstraction, for instance, one is unlikely to find references to naturalistic entities. Figurative art and total abstraction are almost mutually exclusive. But figurative and representational (or realistic) art often contains partial abstraction. Both geometric abstraction and lyrical abstraction are often totally abstract. Among the very numerous art movements that embody partial abstraction would be for instance fauvism in which color is conspicuously and deliberately altered vis-a-vis reality, and cubism, which blatantly alters the forms of the real life entities depicted.
* Abstract art in America mid-century (Modernism, Late modernism, American Modernism, and Surrealism): During the Nazi rise to power in the 1930s many artists fled Europe to the United States. By the early 1940s the main movements in modern art, expressionism, cubism, abstraction, surrealism, and dada were represented in New York: Marcel Duchamp, Fernand Léger, Piet Mondrian, Jacques Lipchitz, André Masson, Max Ernst, André Breton, were just a few of the exiled Europeans who arrived in New York. The rich cultural influences brought by the European artists were distilled and built upon by local New York painters. The climate of freedom in New York allowed all of these influences to flourish. The art galleries that primarily had focused on European art began to notice the local art community and the work of younger American artists who had begun to mature. Certain artists at this time became distinctly abstract in their mature work. During this period Piet Mondrian's painting Composition No. 10, 1939–1942, characterized by primary colors, white ground and black grid lines clearly defined his radical but classical approach to the rectangle and abstract art in general. Some artists of the period defied categorization, such as Georgia O'Keeffe who, while a modernist abstractionist, was a pure maverick in that she painted highly abstract forms while not joining any specific group of the period. Eventually American artists who were working in a great diversity of styles began to coalesce into cohesive stylistic groups. The best known group of American artists became known as the Abstract expressionists and the New York School. In New York City there was an atmosphere which encouraged discussion and there was new opportunity for learning and growing. Artists and teachers John D. Graham and Hans Hofmann became important bridge figures between the newly arrived European Modernists and the younger American artists coming of age. Mark Rothko, born in Russia, began with strongly surrealist imagery which later dissolved into his powerful color compositions of the early 1950s. The expressionistic gesture and the act of painting itself, became of primary importance to Jackson Pollock, Robert Motherwell, and Franz Kline. While during the 1940s Arshile Gorky's and Willem de Kooning's figurative work evolved into abstraction by the end of the decade. New York City became the center, and artists worldwide gravitated towards it; from other places in America as well.
* Abstraction in the 21st century (Abstract expressionism, Color field, Lyrical abstraction, Post-painterly abstraction, Sculpture, and Minimal art): A commonly held idea is that pluralism characterizes art at the beginning of the 21st century. There is no consensus, nor need there be, as to a representative style of the age. There is an anything goes attitude that prevails; an "everything going on", and consequently "nothing going on" syndrome; this creates an aesthetic traffic jam with no firm and clear direction and with every lane on the artistic superhighway filled to capacity. Consequently, magnificent and important works of art continue to be made albeit in a wide variety of styles and aesthetic temperaments, the marketplace being left to judge merit. Digital art, computer art, internet art, hard-edge painting, geometric abstraction, appropriation, hyperrealism, photorealism, expressionism, minimalism, lyrical abstraction, pop art, op art, abstract expressionism, color field painting, monochrome painting, neo-expressionism, collage, decollage, intermedia, assemblage, digital painting, postmodern art, neo-Dada painting, shaped canvas painting, environmental mural painting, graffiti, figure painting, landscape painting, portrait painting, are a few continuing and current directions at the beginning of the 21st century. Into the 21st century abstraction remains very much in view, its main themes: the transcendental, the contemplative and the timeless are exemplified by Barnett Newman, John McLaughlin, and Agnes Martin as well as younger living artists. Art as Object as seen in the Minimalist sculpture of Donald Judd and the paintings of Frank Stella are still seen today in newer permutations. The poetic, Lyrical Abstraction and the sensuous use of color seen in the work of painters as diverse as Robert Motherwell, Patrick Heron, Kenneth Noland, Sam Francis, Cy Twombly, Richard Diebenkorn, Helen Frankenthaler, Joan Mitchell, among others. There was a resurgence after the war and into the 1950s of the figurative, as neo-Dada, fluxus, happening, conceptual art, neo-expressionism, installation art, performance art, video art and pop art have come to signify the age of consumerism. The distinction between abstract and figurative art has, over the last twenty years, become less defined leaving a wider range of ideas for all artists.