Visual Fantasy

Abstract

Now that we have shown how variously the two formal creative tendencies (the ornamental—decorative and the imitative) are incorporated into a small selection of drawings, we shall take a look at several groups of more complicated works. Earlier we proceededfrom the principles of configuration and treated single works only as examples, more or less neglecting their individual expressive significance. We wanted to make clear that the anonymous formal tendencies are recognizable in any configurative process, whether at the pinnacles of art or at the level of indifferent scribbles. We expect that our preparation has made a more thorough analysis possible.