The classification provides four or more codes placed on four axis (A - formalism, B - matériality, C - involvement body/mind, D - communication). These codes are positionning the artist in the art history.
A axis : FORMALISM
When looking at the work, what type of formalisation first strikes the eye? Is it more abstract or more figurative, etc ? (on a scale from more "immaterial" to more "realist").A290 : Figures Imaginary Visionary, mediumistic, fantasy
Dream monsters or creatures of the night are depicted with greater solidity and realism than in A280 (Matta, Max Ernst, Gustave Moreau, Paul Delvaux, Dado, Vito Tangiani, ... or the recent "Fictionists": Marko Mori, ...). A270 : Figures slightly deconstructed
Not as "Hard" as "Constructions not based on right angles
" (A150), figures are broken down into a nearly "Post Cubist" style (Picasso, Villon, …) or reveal an "interior geometry" (Bazaine, Jacques Hérold, Veira da Silva, …), while still remaining on the whole recognizable.
B axis : MATERIALITY
How does the materiality of what is shown come across?
(on a scale from more "immaterial" to more "real").B220 : Materiality
in painting, but also with all other materials with the following possibilities: Structured predominance of volumes
particularly in sculpture and assemblages. Specially for "Minimal Art" and its derivatives (Sol Le Witt, Tony Smith, …). B210 : Materiality
in painting, but also with all other materials with the following possibilities: Structured with materials predominant
their thickness, composition or the way they are worked as structures (the way they are "built up") are here the most important aspect (Eugène Leroy, Bertrand Lavier, ...). B200 : Materiality
in painting, but also with all other materials with the following possibilities: Structured with colours predominant
with their intrinsic or symbolic strength, (Monory's "blues", G.Fromanger's "reds") historical or social meaning etc., and their structuring, the colours here are the most important (Jules Olitsky, Peter Halley, ...).
C axis : INVOLVEMENT BODY/ MIND
With what body:mind ratio does the artist enter into his work?
Classify from the most "intellectual" (e.g."Concept Art"...) to the most "physical" (e.g. "Body Art", ...).C160 : tending towards the corporeal / the senses via expression with "humanity" (the passage from Life to Death)
- in a literal manner (John de Andrea, Duane Hanson, Itsvan Sandorfi, ...)
- or a symbolic manner (James Ensor, G. Rouault, F. Gruber, Zoran Music, Rebeca Stevenson, Jan Vercruysse, ...), ...
D axis : COMMUNICATION
Does the artist have the deliberate intention to convey a message of any sort through his work?
(classified from the most "mystical" to the most "worldly").D110 : via what is meant with various spiritual or less marked religious influences
(from Barnett Newman to Mark Rothko, from Roman Opalka to Arnulf Rainer, ...).
BRUN Pierre
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