As the nineteenth century drew to a close and the twentieth century began, designers across the disciplines of architectural, fashion, graphic, and product design searched for new forms of expression. Technological and industrial advances fed these concerns. The artists and designers moved away from the floral and curvilinear elements of art nouveau toward a more_________ style of composition.

Geometric style is a type of unique workmanship dependent on the utilization of geometric frames some of the time, however not constantly, put in non-illusionist space and consolidated into non-objective (non-authentic) syntheses.

Despite the fact that the class was advanced by cutting edge craftsmen in the mid twentieth century, comparative themes have been utilized in craftsmanship since antiquated occasions.

All through twentieth century workmanship verifiable talk, pundits and craftsmen working inside the reductive or unadulterated strains of reflection have frequently recommended that geometric deliberation speaks to the tallness of a non-target craftsmanship practice, which essentially stresses or points out the root pliancy and two-dimension of painting as a creative medium.

Along these lines, it has been proposed that geometric deliberation may work as an answer for issues concerning the requirement for innovator painting to dismiss the illusionistic practices of the past while tending to the intrinsically two dimensional nature of the image plane just as the canvas working as its help.