However, Kupka agreed to continue traveling. He went to Scandinavia, then, in 1896, in Paris, where he lived his compatriot, Alphonse Mucha, who earns his living by placards and posters. Kupka decided to follow the Flies, but in parallel to pursue painting. These date from the time of his posters for the cabaret "Black Cat" and "red ass", as well as custom work, which he did for Aristide Briand. In addition, he worked as an illustrator for many magazines in Paris, his satirical drawings were a great success. He remained interested in the occult sciences. In his works of these years significantly influence of symbolism.
In 1906 he settled in a small house in Puteaux - a suburb of Paris, and began to attend courses estestvennyzh sciences at the Sorbonne because he was convinced that such knowledge will help him in the art. At this time it was interested in the deformation of shape of objects immersed in water. Since 1908, he began to progressively stylized form and color in his work and walked steadily toward abstraction.
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In 1908 in the works Kupkai observed a short period of fascination with Fauvism.
In 1909, in the work of Kupka appears verticality theme that pervades all the later work. He tries to portray the movement and introduce their work the fourth dimension - time. Inspired chronophotography Etienne-Jules Marais and the experiments of the Futurists, Kupka breaks up the surface of his works in color bands that indicate the passage of time.
Initially, these motifs appear in the substantive work (standing man, the cathedral), but then they become self-deprived of figurative elements.
In his essay "On creativity in the plastic arts," Kupka said: "The vertical lines cut at right angles or diagonally, give the impression of movement up or down. This impression is further enhanced when the surface, they restrict, painted in different colors or tones. Solemn vertical - is the backbone of life in space, the axis of all structures. Horizontal placed at the top of the picture, should not be confused with the horizontal, located in the center or the bottom of it. In each case - is a special way to describe the silence. Horizontal gives us a sense of stillness, calm, the horizon, the broad road that stretches before us. Anyone who wants to chain the attention of the audience, must enter into the picture of the vertical.
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A vertical Kupka tried to resolve the question of the shape functions in the organization of pictorial space, it led him to the geometric abstraction.
Along this theme verticality Kupka working on a roundabout. In numerous drawings and sketches of lotus flowers Kupka treats his subject in the abstract, he is interested in the interaction tsentrostemitelnogo and centrifugal motion, reflecting the universal gravitation. Abstract Kupka is specific in that it combines his interest in scientific laws and its metaphysical aspirations.
At this time, the nascent movement Cubists, and Marcel Duchamp, have followed with interest his work, invited him to participate, but declined Kupka - he valued his independence.
At the beginning of the war, in 1914, Kupka went into the French army as a volunteer. Returning from the front, he finished the revision of his essay "On creativity in the plastic arts", which began in 1910 (it was published in Czech in 1923). There he wrote: "One can distinguish two broad categories of works of plastic arts. On the one hand, those that reflect the artist's choice to depict his impression of nature as it is reflected in its creation. On the other - works in which the painter or sculptor invites us to decipher its speculative idea, which he embodied in a combination of plastic and chromatic elements. "
The theoretical foundation for Kupka painting was very important.
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Clinging to the side and from the Dadaists, and the Surrealists, he worked hard. In the early 1920's. He finished or rewrote most of their older works created in the early 1910's.
He remained interested in astronomy, which gave him the ground for new works.
In 1921 he had his first solo exhibition, which was noticed and the public, and critics.
In 1925 his works have a new theme - the movement mechanisms.
In 1931-34 gg. Kupka joined the group "Abstraction - Creation" whose members, adherents of geometric abstraction, fought against the aesthetics of the "New objectivity" and the Surrealists.
Since 1935 Kupka interested and music - he painted on the "Pacific 231" Arthur Honegger, and a series of "Hot Jazz", and then, in 1936, now called the "Music".
In 1936, Kupka work were presented at a large exhibition "Cubism and abstract art in the Museum of Modern Art in New York. In the same year he participated in the official exhibition in the Hall for ball games »(Jeu de paume) in Paris.
Since the beginning of World War II, Kupka, heavily bolevshy, was forced to stop work.
After the war, his work is gaining recognition. His works are bought the most prominent museums in the world.
Site of the prices - while still not high, as you can see:
http://www.findartinfo.com/search/li...franz%29_Kupka