Improvisation in painting and Illustration

In 20th century, artist’s new experiences and diverse examinations along with emerging different art movements, was so immense that in every decade of last century we faced with prodigious changes in modern arts. Improvisation is one of the phenomena which enlivened in visual arts of early 20th. In 1909, among art revolutions in the west, visual arts experienced the “improvisation” in the works of Vasily Kandinsky. Artists and critics offer different comments on this vision. In the second half of the 20th century, this vision spread more widely in visual arts, performance arts, and vocal arts, so that new movements with overall title of conceptual art or modern art shaped and named under this vision; such as: performance art, accidental art, process art, body art, … . Although improvisation had long been used eastern art, but surveys show that structural and aesthetic principles of improvisational works, based on artists concepts and instant intuition, is the product of western modern art. This research, aims to the study expressive qualities of improvisation in visual arts, especially in painting and illustration. Functions and samples of this vision show that improvisation bases on personal concepts of individuals, and it can not be identified as a union format or restricted method. In fact, this research shows that improvisation, before becoming visible should shape in concept and idea, and artist chooses and makes his visual elements by his instant intuition. This intuitional approach, in one hand, proves that improvisation not only doesn’t belong to a specific period of time, but also it can pass among local and tribal memories, and create works suiting its time. On the other hand, as improvising is a conceptual and intuitional process and it is not restricted to some especial formats, many artists in different fields of art and even in innovative combined approaches of artistic and non artistic materials, make new works based on these meanings. Besides the flexibility of structural principles of this vision, there would be a new method for teaching art. Having faith in countless qualities of this vision in perceiving pure intuitional moments is another important factor which can just be understood by creating conceptual and intuitional works. We will find that visual structure of a painting or volume or even vocal structure of a musical composition (whether it comes from public tradition or rise from artist s individual historical memory) in expression is much weaker than abstract meanings. It seems that, artist by educating himself with improvisations can experience the moment of discovery and instant intuition from a meaning and give an external existence to it. The outputs are works that comes from the purest inner feelings.This style prevents the artist from mere representation, and showing objects with out understanding meanings, and guides his artistic talent to a new life which is appropriate to its time.