The circle form has always fascinated artists throughout history and has played an important role in the creation of works of art. This form is often used to depict nature and still life, and at the same time, it is the main element of Abstract compositions. Beyond its aesthetic appeal, the circle embodies deep meanings that help interpret the content of works of art. This study initially examines the representation of the circle form in the works of painters of early modernism. Subsequently, it traces the evolution of this form in Abstract paintings. To address these goals, this research seeks to answer several key questions: What role does the circle play in the works of artists of early modernism? How do these works compare in terms of similarities and differences with Abstract art? What are the underlying factors affecting the emergence of the role of the circle in the works of artists of the two periods?The spiritual developments that paved the way for modernism in the fine arts, occurred in the closing decades of the 19th century. The significant advances made by leading figures of modernism, including Monet, Cézanne, and Van Gogh, led to a revival of visual aesthetics and a profound shift in the interpretation of the artistic process (Bocola, 2014, p. 100). Over time, and with the emergence of different styles of painting, the term Abstraction emerged. This concept, introduced within the context of modern Western art, marked a fundamental departure from the representational aspects that had defined naturalistic art in various styles and movements. As a result, this shift initiated a transformative movement in the 20th century in which artists who championed Abstract art claimed to be able to convey a range of human experiences, such as mental processes, emotions, and unique thoughts, without relying on the depiction of recognisable external subjects (Ravanju & Pedram, 2021).The present study was conducted using a descriptive-analytical method, with library data collection and purposive sampling. The statistical sample of this study includes eight paintings by artists such as Claude Monet, Vincent Van Gogh, Paul Cézanne, Wassily Kandinsky, and Hilma af Klint. The early stage of modernism, characterised by movements such as Impressionism and Post-Impressionism, represents a progressive integration of scientific perspective and contemporary philosophical thought. The aim of Impressionist artists was to convey to their audience the concept of forms immersed in a luminous space, which required extensive exploration of light as a fundamental element affecting our perception of colour. Thus, in the twentieth century, building on the advances of visual artists in the nineteenth century, a significant transformation in the realm of art called "Abstract art" took place.In contemporary art movements, the "circle" serves as a fundamental element for the development and valorisation of Abstract art, cubism, and movements such as structuralism and Orphism, and is even the foundation of the Impressionist movement (Dobokor, 1994, p. 110). Monet is known as a pioneering figure of Impressionism, who used natural outdoor light to express the instantaneous changes of landscapes as they were illuminated by sunlight (Wang , 2022). In his “Sunrise”, he used the complementary colours of blue and orange, placing the sun as an orange circle on a blue background. Despite its small size, the circle acts as the focal point of the composition due to the striking contrast it creates with the surrounding blue. It should be noted that in the Impressionist movement, the accurate depiction of the physical qualities of light was considered a fundamental principle of painting. As a result, it is not surprising that the circular shape of the sun, representing light and radiance, often appears in the landscapes of Impressionist painters. Claude Monet, in line with his contemporaries, praised the beauty of sunlight and transformed the sun into a luminous ring (Dobokor, 1994, p. 111).Another early modernist artist who used the circle to depict the sun in his works was the Post-Impressionist painter Vincent van Gogh. The circular disk of the sun was one of Van Gogh's favourite subjects. Van Gogh's "The Extravagant" is bathed in light that shines from a huge halo that the painter's pen has drawn in the form of concentric circles. This luminous circle illuminates the cultivated land, indicating that the wheat ears are bearing fruit. Van Gogh seems to have shown in his paintings the presence of the Christian sun in the lives of the weakest social classes (Villas Boas, 2024, p. 20). In this way, it demonstrates the bond and friendship between religion and people. Van Gogh states: "If light is a symbol of goodness and truth, then the sun, which is the most important source of light, must be one with God." (Dobokor, 1994, p. 111). This analysis suggests that the importance of light, especially the sun, which is depicted as a luminous circle, is deeply rooted in Van Gogh's religious upbringing. He saw the source of light as a divine being, which influenced the brightness of his artwork.Cézanne was another artist whose goal was to strengthen the foundations of Impressionism, which led him to explore the theory of colour and form and integrate theoretical concepts with practical application (Pakbaz, 2017, p. 313). The sphere or circle is one of the three forms that Paul Cézanne envisioned as the fundamental shapes that make up the universe. He recreates nature using cylinders, cones, and spheres, ensuring that in three-dimensional space, the edges of every object and every view tend toward a central point. As a result, after prolonged observation and exploration, the viewer's gaze is focused. Cézanne believed that within every orange, apple, marble, and container, there is a focal point (Dobokor, 1994, p. 111).Klint was a prominent artist known for his landscapes and portraits in the late 19th and early 20th centuries. Klimt's fame among American audiences was further enhanced by his appearance in an exhibition titled "The Spiritual in Art: Abstract painting" held in 1986 (Ohrner, 2019). Unlike Kandinsky, Mondrian, and Malevich, whose artworks were influenced by spirituality, Klint considered spirituality to be the core essence of her artistic practice (Isenberg, 2020). She created a series of paintings consisting of forms of circles, ovals, and spirals that depicted supernatural force (Furio, 2014). One of these series was based on the discovery of the atom and its impact on the artist. All of these developments and changes had a direct impact on the creation of works by artists such as Klimt. He frequently organised his Abstract works into series, each with recognisable titles that reflected his deep interests in both science and spirituality, such as Atom and Parsifal (Friedman, 2020).The results of this study show that analysing works of art from two distinct periods reveals a noticeable evolution in the expressive techniques employed by artists, which can be attributed to changes in lifestyle, personal and religious beliefs, culture, and scientific discoveries. In early modernist works, the circle form was mainly used to depict tangible and observable shapes, while Abstract works, influenced by cultural influences and inspired by pioneering discoveries such as the discovery of the atom, began to explore unfamiliar territories.  

Today the face of Tehran metropolis defaced and in term s of identity and communicating with citizens is extremely weak. The urban landscape has direct connection with urban walls, and from this perspective, the significance of wall art can be considered. Wall paintings that can, along with the improvement of the quality of the environment, provide a means for transmitting the themes of identity, religion, history, culture, and so on. The fundamental belief in this study is that paintings with conceptual (Abstract) themes and newer techniques of execution, and more consistent with other applied approaches, such as simulation and memory, are more successful in terms of cohesion and identity and their impact on citizens. Researches that have been carried out so far have examined most of the technical aspects of wall-painting and technical capabilities, but this research has specifically focused on three dominant approaches to contemporary urban painting. It is difficult to satisfy the most of audience of a wall paintings in the public space of the city. However, recognizing the common characteristics of citizens (such as nationality, culture, religion, historical background, etc. ) with regard to the proper understanding of the timing and needs of society. Able to create works that have the minimum qualifications necessary to satisfy the majority of citizens. Help, also general themes expressed in the wall painting to the expressive features of the environment and culture where the audience is taken, so that the effect of the wall to create a sense of belonging contacts. . In this way, muralism in urban space should, in the light of field research, be of such a kind as to be useful to and useful to citizens. Considering the emphasis on theoretical foundations of works, along with monitoring their implementation with new techniques, in line with the intellectual development of citizens, can contribute to improving the status of this art. The present study is based on the nature and purpose of the applied research type, which has a definite prioritization, and uses a descriptive method to explain theoretical foundations of researchThe method of explaining the findings of the research is also qualitative. The data base was based on the study of library documents as well as survey and distribution of the questionnaire. Therefore, 300 questionnaires were distributed in different regions of Tehran with the same conditions and randomly distributed among the three groups. The results of the research reflect the fact that the late mural paintings from the viewpoint of Tehranian citizens are more favorable than the works before them(Wall paintings of the 70s and 80s ), This research clearly shows that the Abstract approach, despite being new, is considered as a new experience in the urban space of Tehran. Although there are still shortcomings in the message transfer, then the simulation approach and then the memorandum approach have gained the highest scores, the results of which are raising the level of artistic understanding of citizens, paying attention to the themes and techniques of execution, and expressing the desire for quality against Quantity

This article is an intertextual study that investigates the similarities between the blind owl as the initiator of the modern Persian story and Wassily Kandinsky's Abstract painting and how the sensory-perceptual layer works in them And it shows the similarity between the opening scene of the blind owl and the beginning of Wassily Kandinsky's Abstract art that he himself described,with the aim of studying the blind owl as an "in-text", i. e. a text that reflects the presence of other texts. Kandinsky, who is one of the founders of Abstract art, is one of the most famous and influential artists of the 20th century, and Sadegh Hedayat is also a famous writer in Iranian and world literature. In the present article, which was conducted using the qualitative matching method, the results of the research show a similarity in the beginning of the creation of verbal art (the story of the blind owl) and the creation of visual art (Kandinsky's painting), which marks the movement towards Abstraction. This movement in both arts begins with a revelation that Light plays an essential role in it and in both, what is pleasurable for the subject is to get away from reality, and this is rooted in the critical aspect of the blind owl and Kandinsky's art.

Gender Differences Arise From The Interaction Between Gender Physics And The Economic And Social Aspects Of Societies. This Approach Leads To The Emergence Of Characteristics Unique To Each Sex, Psychologically And Physically, And Ultimately The Acceptance Of These Characteristics By The Sexes Themselves, Societies And Cultures, Stereotypes And Gender Axioms. They Bring. Adopting These Stereotypes, Gender Patterns As A Background Affect All Relationships, Behaviors, And Social And Cultural Norms Of The Sexes. Behavioral Stereotypes That Always Exist In Evaluating The Performance Of Men And Women In Society Are The Differences Between The Way Of Thinking Of These Two Sexes And The Attribution Of Rational Behavior To Male Gender And Emotional Behavior To Female Gender. In Art, The Difference Between These Two Ways Of Thinking Is Reflected In Abstract And Realistic Works. Based On These Two Dimensions Of Mental Stereotypes In Society, It Seems That More Abstract And Geometric Works Are Considered Masculine And Realistic Works That Express A Kind Of Feeling Are Considered More Feminine. While Men And Women Do Not Differ Much In Terms Of Orientation Towards Different Arts And Also The Degree Of Success In Achieving Their Goals In Art. Based On This Assumption, In Addition To The Existence Of Various Styles And Artistic Tendencies, The Main Core Of The Present Study Is The Study Of Works With Realistic Style And Abstract Works To Help Achieve This Category Of Whether Gender Stereotypes In Attribution Is A Work Of Art Effective For A Man Or A Woman? The Present Research Method Is Of Survey And Field Type And Has Been Done By Relying On Experimental Methods And Quantitative Method As Well As Studying And Reviewing Scientific Documents. In Order To Measure The Research Hypothesis (Gender And Social Maps Affect The Attribution Of Works Of Art To Men And Women), The Scale Of Speculation Of The Gender Of The Creator Of The Work Was Used. Findings Show That In The Application Of A Work Of Art To A Particular Genre, It Is Influenced By The Audience, Stereotypes Or Gender Ideas, As Well As Gender Roles. For Example, The Adaptation Of The External Space To Men And The Internal Space To Women Is Due Same Mental Stereotypes In Assigning Social Roles To Gender. In Other Words, Audience Of The Work, By Default, Imagines Women In The Home And Indoor Environment, Which Depends On The Descriptive And Obligatory Aspects Of Gender Roles That Are Accepted Among Some Cultures And Societies That Women Are Involved In Housework And Affairs. They Are Closely Related To Breeding. Another Common Attitude In Judging Gender Is Color. Participants Attributed Most Of The Works With Limited Color Spectrum To Men, As Opposed To Those With A Wide Range Of Colors And Red, Pink, And Orange. This Stereotypical Behavior Towards Men And Women Can Be The Result Of Accepting Superficial Differences Between The Sexes; Basically, Men Recognize A Limited Range Of Colors, While Women Tend To Be Pink, Red, And Orange, And Have A High Degree Of Color Recognition.

In 1940, two major art movements emerged in New York that significantly shaped the course of modern art: "Abstract Expressionism" and "Abstract Impressionism." While these movements were distinct in their styles and philosophical underpinnings, both were rooted in a reaction to the traditional art practices of the time, drawing upon the achievements of Impressionism and Abstract art to create new, innovative forms of expression. Abstract Expressionism, one of the more dominant movements of the mid-20th century, is often divided into angular or gestural painting, also known as motion painting, and lyrical Abstraction. On the other hand, Abstract Impressionism is an intellectual or mental reception of Impressionism, focusing on the conceptual and perceptual aspects of painting, often driven by the artist's emotional state and subjective experience of the world. Both movements, though initially emerging in the context of New York’s post-war atmosphere, soon transcended national boundaries and gained recognition from artists around the world. The primary purpose of this article is to explore the ideas and approaches of painters and printmakers working within the framework of Abstract Impressionism. These artists sought to break from past artistic traditions, creating a new form of art that was not just a continuation of Impressionism but a novel combination of intellectual depth and Abstract expression. The article delves into the factors that led to the rise of Abstract Impressionism in New York and considers the social and cultural currents of the time that influenced the artists involved in its development. The questions that this research aims to address include: What were the underlying factors that caused the emergence of Abstract Impressionism? How did the social and cultural climate of the time affect its development? And in what ways did New York-based artists navigate their creative processes in pursuit of new forms of expression, eventually contributing to the formation of a distinctive style? Although much has been written about Abstract Expressionism and its development throughout the 1940s and 1950s, the later years of the movement and the influence of Abstract Impressionism are often overlooked. By the late 1960s, some critics began to argue that these movements had come to an end, yet the impact of Abstract Expressionism and Abstract Impressionism continued to resonate within the art world. Even today, these movements remain of great interest to contemporary artists in New York and around the world. This article seeks to fill a significant gap in the existing literature by introducing Abstract Impressionism as a legitimate and influential art movement, providing insights into the artists, the works that emerged after 1960, and the lasting legacy of this style. Despite the extensive writings on Abstract Expressionism, particularly in the field of art history, few studies have focused on Abstract Impressionism, especially within the context of New York’s art scene. Additionally, this research addresses the lack of attention given to these movements within Iranian scholarly literature, where their contributions have yet to be thoroughly explored. In this article, not only will the central artistic concepts and elements of Abstract Impressionism be examined, but the research will also trace the historical roots of modernism and modernity, providing a broader understanding of the movements' context. The origins of Impressionism and Abstract Art will be reviewed, followed by an analysis of how these styles contributed to the development of Abstract Impressionism. Additionally, the article will introduce the key artists involved in this movement, highlighting their unique works and contributions to the evolution of the style. This study explores how the historical and social contexts of the time influenced the formation of Abstract Impressionism and Abstract Expressionism in New York. The period of the 1940s and 1950s in New York was marked by significant social, political, and cultural changes. The post-World War II era, with its rapid industrialization and the rise of the United States as a global superpower, created an environment that was conducive to artistic experimentation and innovation. The artists involved in both Abstract Expressionism and Abstract Impressionism sought to reflect the turbulent and uncertain world around them, using Abstract forms as a means of conveying deep emotional and intellectual responses to the human condition. The research further argues that, while the social and cultural currents of the time were pivotal in shaping these movements, it was also the rejection of the "boring" and increasingly irrelevant art styles of the past that spurred the creation of new artistic approaches. Artists were eager to break free from the constraints of traditional representation and explore new means of self-expression. Abstract Expressionism and Abstract Impressionism both provided ways to articulate the emotional and psychological experiences of the artist in an increasingly fragmented and alienating world. These movements also played a crucial role in establishing New York as the new center of the international art world. By the 1950s, New York had replaced Paris as the capital of modern art, and the emergence of Abstract Expressionism and Abstract Impressionism was central to this shift. While many critics and historians of the time dismissed these movements in the late 1960s, believing they had run their course, Abstract Expressionism and Abstract Impressionism continued to influence subsequent generations of artists. The lasting impact of these movements can be seen in the works of artists who followed in their footsteps, both in New York and abroad. This article thus aims to introduce and analyze the works that continued to emerge after 1960, emphasizing the ongoing relevance of Abstract Impressionism and the artists who contributed to its legacy. Through a descriptive-analytical approach, this research draws upon a wide range of library resources, as well as valid internet sources, to provide a comprehensive overview of Abstract Impressionism and its historical development. In addition to examining the art itself, the study also considers the broader cultural and social factors that influenced the movement, including the political climate of the post-war period, the rise of consumerism, and the shifting role of the artist in society. By analyzing the works of key artists associated with Abstract Impressionism, the article provides a deeper understanding of how these artists navigated the challenges and opportunities of their time, ultimately contributing to the evolution of modern art. The research concludes by asserting that the social and cultural currents of the time, along with the rejection of traditional artistic conventions, were crucial in the formation of Abstract Impressionism and Abstract Expressionism. These movements not only influenced the course of modern art but also helped to establish New York as the epicenter of the art world. Through the continued exploration of these movements and their influence on contemporary art, the article aims to shed light on the enduring legacy of Abstract Impressionism and its role in the development of modern art. Research Method: The research employs a descriptive-analytical methodology, collecting and analyzing both library resources and reliable internet sources.

In this paper, we present an example in which the sum of two maximal Abstract monotone operators is maximal. Also, we shall show that the necessary condition for Rockafellar's surjectivity which was obtained in ([19], Theorem 4.3) can be sufficient.