Choose the Notable Characteristic Attributed to the Abstract Expressionist Art Historical Style

American post–World War II fine art movement

Abstract expressionism

Years active	Late 1940s to present
Land	United States, specifically New York City
Major figures	Jackson Pollock, Willem de Kooning, Arshile Gorky, Mark Rothko, Lee Krasner, Robert Motherwell, Franz Kline, Adolph Gottlieb, David Smith, Hans Hofmann, Joan Mitchell
Influences	Modernism, Surrealism, Cubism, Dada

Abstract expressionism is a post–World War Ii art motility in American painting, adult in New York City in the 1940s.^[1] It was the first specifically American movement to achieve international influence and put New York at the center of the Western art globe, a role formerly filled by Paris.

Although the term "abstract expressionism" was first applied to American art in 1946 by the art critic Robert Coates, information technology had been first used in Germany in 1919 in the mag Der Sturm, regarding German language Expressionism. In the United States, Alfred Barr was the first to use this term in 1929 in relation to works by Wassily Kandinsky.^[two]

Style [edit]

Technically, an of import predecessor is surrealism, with its emphasis on spontaneous, automatic, or subconscious cosmos. Jackson Pollock'southward dripping paint onto a canvass laid on the flooring is a technique that has its roots in the work of André Masson, Max Ernst, and David Alfaro Siqueiros. The newer enquiry tends to put the exile-surrealist Wolfgang Paalen in the position of the artist and theoretician who fostered the theory of the viewer-dependent possibility space through his paintings and his mag DYN. Paalen considered ideas of breakthrough mechanics, as well as idiosyncratic interpretations of the totemic vision and the spatial structure of native-Indian painting from British Columbia and prepared the footing for the new spatial vision of the immature American abstracts. His long essay Totem Art (1943) had considerable influence on such artists as Martha Graham, Isamu Noguchi, Pollock, Mark Rothko and Barnett Newman.^[3] Around 1944 Barnett Newman tried to explain America's newest art movement and included a listing of "the men in the new movement." Paalen is mentioned twice; other artists mentioned are Gottlieb, Rothko, Pollock, Hofmann, Baziotes, Gorky and others. Robert Motherwell is mentioned with a question mark.^[4] Some other important early manifestation of what came to be abstract expressionism is the work of American Northwest artist Mark Tobey, especially his "white writing" canvases, which, though generally non big in calibration, anticipate the "all-over" await of Pollock's baste paintings.

The movement's name is derived from the combination of the emotional intensity and self-denial of the German Expressionists with the anti-figurative aesthetic of the European abstruse schools such as Futurism, the Bauhaus, and Synthetic Cubism. Additionally, it has an image of beingness rebellious, anarchic, highly idiosyncratic and, some feel, nihilistic.^[5] In practice, the term is applied to any number of artists working (by and large) in New York who had quite different styles, and even to work that is neither especially abstruse nor expressionist. California abstract expressionist Jay Meuser, who typically painted in the non-objective style, wrote virtually his painting Mare Nostrum, "It is far better to capture the glorious spirit of the sea than to paint all of its tiny ripples." Pollock'south energetic "activeness paintings", with their "busy" experience, are unlike, both technically and aesthetically, from the violent and grotesque Women serial of Willem de Kooning's figurative paintings and the rectangles of color in Rothko'south Color Field paintings (which are not what would usually exist called expressionist, and which Rothko denied were abstract). Yet all iv artists are classified as abstract expressionists.

Abstruse expressionism has many stylistic similarities to the Russian artists of the early 20th century such as Wassily Kandinsky. Although it is true that spontaneity or the impression of spontaneity characterized many of the abstract expressionists' works, most of these paintings involved careful planning, particularly since their large size demanded it. With artists such as Paul Klee, Kandinsky, Emma Kunz, and later on Rothko, Newman, and Agnes Martin, abstract art clearly unsaid expression of ideas concerning the spiritual, the unconscious, and the mind.^[vi]

Why this mode gained mainstream credence in the 1950s is a thing of debate. American social realism had been the mainstream in the 1930s. It had been influenced not only by the Great Low, but also by the Mexican muralists such as David Alfaro Siqueiros and Diego Rivera. The political climate after Earth State of war II did not long tolerate the social protests of these painters. Abstract expressionism arose during the war and began to be showcased during the early forties at galleries in New York such every bit The Art of This Century Gallery. The post-war McCarthy era was a time of artistic censorship in the The states, but if the subject matter were totally abstract then it would be seen as apolitical, and therefore safe. Or if the art was political, the message was largely for the insiders.^[seven]

While the move is closely associated with painting, collagist Anne Ryan and sure sculptors in particular were also integral to abstract expressionism.^[8] David Smith, and his wife Dorothy Dehner, Herbert Ferber, Isamu Noguchi, Ibram Lassaw, Theodore Roszak, Phillip Pavia, Mary Callery, Richard Stankiewicz, Louise Conservative, and Louise Nevelson in particular were some of the sculptors considered as existence important members of the movement. In addition, the artists David Hare, John Chamberlain, James Rosati, Marker di Suvero, and sculptors Richard Lippold, Raoul Hague, George Rickey, Reuben Nakian, and even Tony Smith, Seymour Lipton, Joseph Cornell, and several others^[9] were integral parts of the abstract expressionist motion. Many of the sculptors listed participated in the Ninth Street Show,^[ix] a famous exhibition curated by Leo Castelli on E Ninth Street in New York City in 1951. Also the painters and sculptors of the menses the New York School of abstruse expressionism likewise generated a number of supportive poets, including Frank O'Hara and photographers such as Aaron Siskind and Fred McDarrah, (whose book The Artist'southward Earth in Pictures documented the New York School during the 1950s), and filmmakers—notably Robert Frank—besides.

Although the abstruse expressionist schoolhouse spread speedily throughout the United States, the epicenters of this mode were New York City and the San Francisco Bay surface area of California.

Art critics of the post–World War 2 era [edit]

At a certain moment the canvass began to announced to one American painter afterward another as an arena in which to act. What was to go along the canvass was not a picture but an event.

In the 1940s there were not only few galleries (The Art of This Century, Pierre Matisse Gallery, Julien Levy Gallery and a few others) just too few critics who were willing to follow the work of the New York Vanguard. In that location were also a few artists with a literary background, among them Robert Motherwell and Barnett Newman, who functioned equally critics as well.

While the New York avant-garde was however relatively unknown by the late 1940s, most of the artists who have become household names today had their well-established patron critics: Clement Greenberg advocated Jackson Pollock and the color field painters like Clyfford Nevertheless, Marking Rothko, Barnett Newman, Adolph Gottlieb and Hans Hofmann; Harold Rosenberg seemed to prefer the action painters such equally Willem de Kooning and Franz Kline, as well as the seminal paintings of Arshile Gorky; Thomas B. Hess, the managing editor of ARTnews, championed Willem de Kooning.

The new critics elevated their protégés by casting other artists equally "followers"^[xi] or ignoring those who did not serve their promotional goal.

In 1958, Mark Tobey became the kickoff American painter since Whistler (1895) to win pinnacle prize at the Venice Biennale.^[12]

Barnett Newman, Onement 1, 1948. During the 1940s Barnett Newman wrote several articles near the new American painting.

Barnett Newman, a tardily member of the Uptown Grouping, wrote catalogue forewords and reviews, and by the belatedly 1940s became an exhibiting artist at Betty Parsons Gallery. His first solo show was in 1948. Soon after his first exhibition, Barnett Newman remarked in ane of the Artists' Sessions at Studio 35: "We are in the process of making the world, to a certain extent, in our own image."^[13] Utilizing his writing skills, Newman fought every stride of the mode to reinforce his newly established image every bit an creative person and to promote his work. An example is his letter on April 9, 1955, "Alphabetic character to Sidney Janis: — it is truthful that Rothko talks the fighter. He fights, however, to submit to the philistine world. My struggle against bourgeois society has involved the total rejection of it."^[14]

Strangely, the person thought to have had most to exercise with the promotion of this fashion was a New York Trotskyist: Clement Greenberg. Every bit long-time art critic for the Partisan Review and The Nation, he became an early on and literate proponent of abstract expressionism. The well-heeled artist Robert Motherwell joined Greenberg in promoting a style that fit the political climate and the intellectual rebelliousness of the era.

Greenberg proclaimed abstract expressionism and Pollock in item as the epitome of aesthetic value. He supported Pollock'southward work on formalistic grounds every bit simply the all-time painting of its day and the culmination of an art tradition going dorsum via Cubism and Cézanne to Monet, in which painting became ever-'purer' and more concentrated in what was 'essential' to it, the making of marks on a apartment surface.^[fifteen]

Pollock's work has e'er polarised critics. Rosenberg spoke of the transformation of painting into an existential drama in Pollock'south work, in which "what was to go on the canvas was not a movie but an issue". "The big moment came when information technology was decided to pigment 'just to paint'. The gesture on the canvas was a gesture of liberation from value—political, artful, moral."^[16]

1 of the virtually song critics of abstruse expressionism at the time was The New York Times art critic John Canaday. Meyer Schapiro and Leo Steinberg forth with Greenberg and Rosenberg were important art historians of the post-state of war era who voiced back up for abstract expressionism. During the early on-to-mid-sixties younger art critics Michael Fried, Rosalind Krauss, and Robert Hughes added considerable insights into the critical dialectic that continues to grow effectually abstruse expressionism.

History [edit]

Earth War II and the Post-War period [edit]

During the period leading up to and during World War II, modernist artists, writers, and poets, equally well as important collectors and dealers, fled Europe and the onslaught of the Nazis for prophylactic haven in the Usa. Many of those who didn't flee perished. Amidst the artists and collectors who arrived in New York during the war (some with help from Varian Fry) were Hans Namuth, Yves Tanguy, Kay Sage, Max Ernst, Jimmy Ernst, Peggy Guggenheim, Leo Castelli, Marcel Duchamp, André Masson, Roberto Matta, André Breton, Marc Chagall, Jacques Lipchitz, Fernand Léger, and Piet Mondrian. A few artists, notably Picasso, Matisse, and Pierre Bonnard remained in France and survived.

The post-state of war flow left the capitals of Europe in upheaval, with an urgency to economically and physically rebuild and to politically regroup. In Paris, formerly the center of European culture and majuscule of the fine art world, the climate for fine art was a disaster, and New York replaced Paris as the new center of the art world. Post-war Europe saw the continuation of Surrealism, Cubism, Dada, and the works of Matisse. Also in Europe, Art brut,^[17] and Lyrical Abstraction or Tachisme (the European equivalent to abstruse expressionism) took concord of the newest generation. Serge Poliakoff, Nicolas de Staël, Georges Mathieu, Vieira da Silva, Jean Dubuffet, Yves Klein, Pierre Soulages and Jean Messagier, amongst others are considered important figures in post-war European painting.^[18] In the United States, a new generation of American artists began to emerge and to boss the world stage, and they were chosen Abstruse Expressionists.

Gorky, Hofmann, and Graham [edit]

Arshile Gorky, The Liver is the Cock'southward Rummage (1944), oil on sheet, 73 1⁄4 × 98" (186 × 249 cm) Albright–Knox Art Gallery, Buffalo, New York. Gorky was an Armenian-born American painter who had a seminal influence on abstract expressionism. De Kooning said: "I met a lot of artists — but and then I met Gorky... He had an extraordinary gift for striking the nail on the head; remarkable. So I immediately fastened myself to him and nosotros became very good friends."^[19]

The 1940s in New York City heralded the triumph of American abstruse expressionism, a modernist movement that combined lessons learned from Matisse, Picasso, Surrealism, Miró, Cubism, Fauvism, and early Modernism via great teachers in America such as Hans Hofmann from Deutschland and John D. Graham from Ukraine. Graham's influence on American art during the early 1940s was particularly visible in the work of Gorky, de Kooning, Pollock, and Richard Pousette-Sprint among others. Gorky'due south contributions to American and globe fine art are difficult to overestimate. His work every bit lyrical brainchild^{[20] [21] [22] [23] [24]} was a "new language.^[20] He "lit the fashion for two generations of American artists".^[20] The painterly spontaneity of mature works such every bit The Liver is the Erect's Comb, The Betrothal II, and One Twelvemonth the Milkweed immediately prefigured Abstract expressionism, and leaders in the New York School have best-selling Gorky'south considerable influence. The early on work of Hyman Flower was too influential.^[25] American artists also benefited from the presence of Piet Mondrian, Fernand Léger, Max Ernst, and the André Breton group, Pierre Matisse'due south gallery, and Peggy Guggenheim'south gallery The Fine art of This Century, likewise as other factors. Hans Hofmann in particular as teacher, mentor, and artist was both important and influential to the development and success of abstract expressionism in the United States. Amidst Hofmann's protégés was Cloudless Greenberg, who became an enormously influential voice for American painting, and among his students was Lee Krasner, who introduced her instructor, Hofmann, to her husband, Jackson Pollock.^[26]

Pollock and Abstract influences [edit]

During the late 1940s, Jackson Pollock's radical approach to painting revolutionized the potential for all Contemporary art that followed him. To some extent, Pollock realized that the journeying toward making a work of fine art was as of import as the work of art itself. Like Picasso'southward innovative reinventions of painting and sculpture about the plough of the century via Cubism and synthetic sculpture, with influences as disparate as Navajo sand paintings, surrealism, Jungian analysis, and Mexican mural art,^[27] Pollock redefined what information technology was to produce art. His motion abroad from easel painting and conventionality was a liberating betoken to the artists of his era and to all that came after. Artists realized that Jackson Pollock'south process—the placing of unstretched raw canvas on the floor where it could be attacked from all four sides using artist materials and industrial materials; linear skeins of paint dripped and thrown; drawing, staining, brushing; imagery and non-imagery—essentially took art-making across any prior purlieus. Abstruse expressionism in general expanded and developed the definitions and possibilities that artists had bachelor for the creation of new works of art.

The other abstract expressionists followed Pollock's quantum with new breakthroughs of their ain. In a sense the innovations of Pollock, de Kooning, Franz Kline, Rothko, Philip Guston, Hans Hofmann, Clyfford Still, Barnett Newman, Advertizing Reinhardt, Richard Pousette-Dart, Robert Motherwell, Peter Voulkos, and others opened the floodgates to the diverseness and scope of all the fine art that followed them. The radical Anti-Formalist movements of the 1960s and 1970s including Fluxus, Neo-Dada, Conceptual fine art, and the feminist fine art motility tin be traced to the innovations of abstruse expressionism. Rereadings into abstruse fine art, done past art historians such every bit Linda Nochlin,^[28] Griselda Pollock^[29] and Catherine de Zegher^[30] critically shows, withal, that pioneer women artists who have produced major innovations in modern fine art had been ignored past the official accounts of its history, only finally began to achieve long overdue recognition in the wake of the abstract expressionist motility of the 1940s and 1950s. Abstract expressionism emerged as a major art movement in New York City during the 1950s and thereafter several leading art galleries began to include the abstruse expressionists in exhibitions and equally regulars in their rosters. Some of those prominent 'uptown' galleries included: the Charles Egan Gallery,^[31] the Sidney Janis Gallery,^[32] the Betty Parsons Gallery,^[33] the Kootz Gallery,^[34] the Tibor de Nagy Gallery, the Stable Gallery, the Leo Castelli Gallery equally well as others; and several downtown galleries known at the time as the Tenth Street galleries exhibited many emerging younger artists working in the abstract expressionist vein.

Action painting [edit]

Action painting was a manner widespread from the 1940s until the early on 1960s, and is closely associated with abstract expressionism (some critics accept used the terms activeness painting and abstract expressionism interchangeably). A comparison is ofttimes drawn betwixt the American activity painting and the French tachisme.

The term was coined by the American critic Harold Rosenberg in 1952^[35] and signaled a major shift in the aesthetic perspective of New York School painters and critics. According to Rosenberg the canvas was "an arena in which to act". While abstract expressionists such as Jackson Pollock, Franz Kline and Willem de Kooning had long been outspoken in their view of a painting as an arena within which to come to terms with the act of creation, earlier critics sympathetic to their cause, like Clement Greenberg, focused on their works' "objectness." To Greenberg, it was the physicality of the paintings' clotted and oil-caked surfaces that was the key to understanding them as documents of the artists' existential struggle.

Rosenberg'southward critique shifted the emphasis from the object to the struggle itself, with the finished painting beingness only the concrete manifestation, a kind of residue, of the bodily work of art, which was in the act or process of the painting's cosmos. This spontaneous activeness was the "activeness" of the painter, through arm and wrist movement, painterly gestures, brushstrokes, thrown paint, splashed, stained, scumbled and dripped. The painter would sometimes let the paint baste onto the canvass, while rhythmically dancing, or fifty-fifty standing in the canvass, sometimes letting the pigment fall co-ordinate to the subconscious mind, thus letting the unconscious part of the psyche assert and limited itself. All this, however, is difficult to explain or translate considering it is a supposed unconscious manifestation of the act of pure cosmos.^[36]

In practice, the term abstruse expressionism is applied to any number of artists working (by and large) in New York who had quite different styles, and even applied to piece of work which is not particularly abstract nor expressionist. Pollock'southward energetic action paintings, with their "busy" feel, are different both technically and aesthetically, to De Kooning'due south violent and grotesque Women serial. Woman V is 1 of a series of half-dozen paintings made past de Kooning between 1950 and 1953 that draw a three-quarter-length female person figure. He began the first of these paintings, Woman I, in June 1950, repeatedly irresolute and painting out the image until January or February 1952, when the painting was abandoned unfinished. The fine art historian Meyer Schapiro saw the painting in de Kooning's studio soon afterwards and encouraged the artist to persist. De Kooning's response was to begin three other paintings on the aforementioned theme; Woman II, Woman Three and Adult female IV. During the summer of 1952, spent at East Hampton, de Kooning further explored the theme through drawings and pastels. He may accept finished work on Woman I past the cease of June, or possibly as tardily as November 1952, and probably the other three women pictures were concluded at much the same fourth dimension.^[37] The Adult female serial are incomparably figurative paintings.

Another important artist is Franz Kline.^{[38] [39]} As with Jackson Pollock and other abstract expressionists, Kline was labelled an "action painter" because of his seemingly spontaneous and intense style, focusing less, or not at all, on figures or imagery, but on the bodily brushstrokes and use of canvas; equally demonstrated by his painting Number 2 (1954).^{[twoscore] [41] [42]}

Automatic writing was an important vehicle for action painters such as Kline (in his black and white paintings), Pollock, Marker Tobey and Cy Twombly, who used gesture, surface, and line to create calligraphic, linear symbols and skeins that resemble language, and resonate as powerful manifestations from the Commonage unconscious.^{[43] [44]} Robert Motherwell in his Elegy to the Spanish Republic series painted powerful black and white paintings using gesture, surface and symbol evoking powerful emotional charges.^{[45] [46]}

Meanwhile, other activity painters, notably de Kooning, Gorky, Norman Bluhm, Joan Mitchell, and James Brooks, used imagery via either abstruse landscape or as expressionistic visions of the effigy to articulate their highly personal and powerful evocations. James Brooks' paintings were peculiarly poetic and highly prescient in relationship to Lyrical Abstraction that became prominent in the belatedly 1960s and the 1970s.^[47]

Colour field [edit]

Clyfford Nevertheless, Barnett Newman, Adolph Gottlieb and the serenely shimmering blocks of color in Mark Rothko's piece of work (which is not what would normally exist called expressionist and which Rothko denied was abstruse), are classified as abstract expressionists, albeit from what Clement Greenberg termed the Color field direction of abstract expressionism. Both Hans Hofmann and Robert Motherwell tin be comfortably described as practitioners of Action painting and Color field painting. In the 1940s Richard Pousette-Dart'due south tightly constructed imagery oft depended upon themes of mythology and mysticism; as did the paintings of Gottlieb, and Pollock in that decade as well.

Color Field painting initially referred to a particular type of abstract expressionism, especially the work of Rothko, Nevertheless, Newman, Motherwell, Gottlieb, Ad Reinhardt and several series of paintings by Joan Miró. Greenberg perceived Colour Field painting equally related to but different from Action painting. The Color Field painters sought to rid their art of superfluous rhetoric. Artists like Motherwell, However, Rothko, Gottlieb, Hans Hofmann, Helen Frankenthaler, Sam Francis, Mark Tobey, and especially Ad Reinhardt and Barnett Newman, whose masterpiece Vir heroicus sublimis is in the collection of MoMA, used greatly reduced references to nature, and they painted with a highly articulated and psychological employ of color. In general, these artists eliminated recognizable imagery, in the instance of Rothko and Gottlieb sometimes using symbols and signs as a replacement of imagery.^[48] Certain artists quoted references to past or present art, merely in general color field painting presents abstraction as an end in itself. In pursuing this direction of modernistic art, artists wanted to nowadays each painting as one unified, cohesive, monolithic prototype.

In distinction to the emotional energy and gestural surface marks of abstruse expressionists such as Pollock and de Kooning, the Colour Field painters initially appeared to be absurd and ascetic, effacing the individual mark in favor of large, flat areas of color, which these artists considered to exist the essential nature of visual abstraction, forth with the actual shape of the sheet, which later in the 1960s Frank Stella in item achieved in unusual ways with combinations of curved and directly edges. However, Colour Field painting has proven to be both sensual and deeply expressive albeit in a different way from gestural abstruse expressionism.

Although abstruse expressionism spread rapidly throughout the United states of america, the major centers of this style were New York City and California, especially in the New York School, and the San Francisco Bay surface area. Abstract expressionist paintings share certain characteristics, including the use of big canvases, an "all-over" arroyo, in which the whole sail is treated with equal importance (every bit opposed to the centre being of more interest than the edges). The sheet as the arena became a credo of Activity painting, while the integrity of the picture plane became a ideology of the Color field painters. Younger artists began exhibiting their abstruse expressionist related paintings during the 1950s as well including Alfred Leslie, Sam Francis, Joan Mitchell, Helen Frankenthaler, Cy Twombly, Milton Resnick, Michael Goldberg, Norman Bluhm, Grace Hartigan, Friedel Dzubas, and Robert Goodnough amid others.

Although Pollock is closely associated with Action Painting considering of his style, technique, and his painterly touch and his concrete awarding of paint, art critics have likened Pollock to both Action painting and colour field painting. Another critical view advanced past Greenberg connects Pollock'southward allover canvasses to the large-scale Water Lilies of Claude Monet washed during the 1920s. Art critics such every bit Michael Fried, Greenberg and others have observed that the overall feeling in Pollock's most famous works – his drip paintings – read as vast fields of built-upwardly linear elements. They note that these works often read as vast complexes of similarly-valued paint skeins and all-over fields of color and drawing, and are related to the mural-sized Monets which are similarly constructed of shut-valued brushed and scumbled marks that also read equally fields of color and drawing. Pollock's use of all-over composition lend a philosophical and a physical connexion to the way the color field painters like Newman, Rothko and Still construct their unbroken and in Nevertheless's example broken surfaces. In several paintings that Pollock painted afterwards his classic drip painting period of 1947–1950, he used the technique of staining fluid oil paint and house paint into raw canvass. During 1951 he produced a series of semi-figurative black stain paintings, and in 1952 he produced stain paintings using colour. In his November 1952 exhibition at the Sidney Janis Gallery in New York Metropolis Pollock showed Number 12, 1952, a large, masterful stain painting that resembles a brightly colored stained landscape (with an overlay of broadly dripped dark paint); the painting was acquired from the exhibition by Nelson Rockefeller for his personal collection.^[49]

While Arshile Gorky is considered to exist 1 of the founding fathers of abstruse expressionism and a surrealist, he was likewise one of the first painters of the New York School who used the technique of staining. Gorky created broad fields of vivid, open, unbroken color that he used in many of his paintings as grounds. In Gorky's most effective and accomplished paintings between the years 1941–1948, he consistently used intense stained fields of color, often letting the paint run and drip, nether and effectually his familiar lexicon of organic and biomorphic shapes and delicate lines. Another abstract expressionist whose works in the 1940s call to mind the stain paintings of the 1960s and the 1970s is James Brooks. Brooks regularly used stain as a technique in his paintings from the belatedly 1940s. Brooks began diluting his oil paint in order to have fluid colors with which to pour and baste and stain into the mostly raw canvas that he used. These works often combined calligraphy and abstract shapes. During the concluding 3 decades of his career, Sam Francis' style of large-calibration bright abstract expressionism was closely associated with Color field painting. His paintings straddled both camps within the abstract expressionist rubric, Activity painting and Color Field painting.

Having seen Pollock's 1951 paintings of thinned blackness oil pigment stained into raw canvas, Frankenthaler began to produce stain paintings in varied oil colors on raw canvas in 1952. Her nigh famous painting from that period is Mountains and Sea. She is ane of the originators of the Colour Field movement that emerged in the late 1950s.^[l] Frankenthaler also studied with Hans Hofmann.

Hofmann's paintings are a symphony of color as seen in The Gate, 1959–1960. He was renowned not only as an artist simply also every bit a instructor of art, both in his native Deutschland and later in the US. Hofmann, who came to the Usa from Germany in the early 1930s, brought with him the legacy of Modernism. Every bit a young artist in pre-First Globe War Paris, Hofmann worked with Robert Delaunay, and he knew immediate the innovative work of both Picasso and Matisse. Matisse's work had an enormous influence on him, and on his understanding of the expressive language of color and the potentiality of abstraction. Hofmann was ane of the first theorists of colour field painting, and his theories were influential to artists and to critics, particularly to Clement Greenberg, likewise as to others during the 1930s and 1940s. In 1953 Morris Louis and Kenneth Noland were both profoundly influenced by Helen Frankenthaler's stain paintings after visiting her studio in New York Metropolis. Returning to Washington, DC., they began to produce the major works that created the color field movement in the belatedly 1950s.^[51]

In 1972 and so Metropolitan Museum of Art curator Henry Geldzahler said:

Clement Greenberg included the work of both Morris Louis and Kenneth Noland in a show that he did at the Kootz Gallery in the early 1950s. Clem was the beginning to see their potential. He invited them upwardly to New York in 1953, I retrieve it was, to Helen's studio to meet a painting that she had simply washed called Mountains and Sea, a very, very beautiful painting, which was in a sense, out of Pollock and out of Gorky. It also was ane of the first stain pictures, i of the first big field pictures in which the stain technique was used, perhaps the first 1. Louis and Noland saw the moving-picture show unrolled on the floor of her studio and went back to Washington, DC., and worked together for a while, working at the implications of this kind of painting.^{[52] [53]}

In the 1960s later abstract expressionism [edit]

In abstract painting during the 1950s and 1960s, several new directions, like the Hard-edge painting exemplified by John McLaughlin, emerged. Meanwhile, as a reaction against the subjectivism of abstruse expressionism, other forms of Geometric brainchild began to appear in artist studios and in radical avant-garde circles. Greenberg became the voice of Post-painterly abstraction; by curating an influential exhibition of new painting that toured of import art museums throughout the United states in 1964. Color field painting, Difficult-edge painting and Lyrical Abstraction^[54] emerged every bit radical new directions.

Abstract expressionism and the Cold War [edit]

Since the mid-1970s it has been argued that the style attracted the attention, in the early on 1950s, of the CIA, who saw it as representative of the US every bit a haven of free idea and free markets, as well every bit a challenge to both the socialist realist styles prevalent in communist nations and the potency of the European art markets.^[55] The book by Frances Stonor Saunders,^{[ citation needed ]} The Cultural Cold War—The CIA and the World of Arts and Letters,^[56] (published in the United kingdom of great britain and northern ireland as Who Paid the Piper?: CIA and the Cultural Cold State of war) details how the CIA financed and organized the promotion of American abstruse expressionists as part of cultural imperialism via the Congress for Cultural Freedom from 1950 to 1967. Notably Robert Motherwell's series Elegy to the Castilian Republic addressed some of those political issues. Tom Braden, founding main of the CIA'due south International Organizations Division (IOD) and ex-executive secretary of the Museum of Modern Art said in an interview, "I call back it was the most important division that the agency had, and I call up that it played an enormous role in the Cold State of war."^[57]

Confronting this revisionist tradition, an essay by Michael Kimmelman, chief fine art critic of The New York Times, called Revisiting the Revisionists: The Modernistic, Its Critics and the Common cold War, asserts that much of that information concerning what was happening on the American art scene during the 1940s and 50s, as well as the revisionists' interpretation of it, is false or decontextualized.^[58] Other books on the subject include Fine art in the Common cold State of war, by Christine Lindey, which also describes the art of the Soviet Spousal relationship at the same time, and Pollock and After, edited by Francis Frascina, which reprinted the Kimmelman article.

Consequences [edit]

Jean-Paul Riopelle, 1951, Untitled, oil on canvas, 54 x 64.seven cm (21 1/4 x 25 1/ii in.), private drove

Canadian painter Jean-Paul Riopelle (1923–2002), a member of the Montreal-based surrealist-inspired group Les Automatistes, helped innovate a related manner of abstract impressionism to the Parisian art globe from 1949. Michel Tapié'due south groundbreaking book, Un Art Autre (1952), was besides enormously influential in this regard. Tapié was too a curator and exhibition organizer who promoted the works of Pollock and Hans Hofmann in Europe. By the 1960s, the movement'south initial outcome had been assimilated, withal its methods and proponents remained highly influential in fine art, affecting greatly the work of many artists who followed. Abstract expressionism preceded Tachisme, Color Field painting, Lyrical Abstraction, Fluxus, Popular Art, Minimalism, Postminimalism, Neo-expressionism, and the other movements of the sixties and seventies and it influenced all those later movements that evolved. Movements which were directly responses to, and rebellions confronting abstract expressionism began with Hard-edge painting (Frank Stella, Robert Indiana and others) and Pop artists, notably Andy Warhol, Claes Oldenburg and Roy Lichtenstein who achieved prominence in the US, accompanied past Richard Hamilton in Britain. Robert Rauschenberg and Jasper Johns in the US formed a bridge betwixt abstruse expressionism and Pop fine art. Minimalism was exemplified past artists such as Donald Judd, Robert Mangold and Agnes Martin.

Even so, many painters, such as Jules Olitski, Joan Mitchell and Antoni Tàpies connected to piece of work in the abstruse expressionist style for many years, extending and expanding its visual and philosophical implications, every bit many abstruse artists continue to practice today, in styles described as Lyrical Abstraction, Neo-expressionist and others.

In the years subsequently World War Two, a group of New York artists started i of the get-go true schools of artists in America, bringing about a new era in American artwork: abstract expressionism. This led to the American art smash that brought nearly styles such equally Pop Art. This too helped to make New York into a cultural and artistic hub.^[59]

Abstract Expressionists value the organism over the static whole, becoming over being, expression over perfection, vitality over finish, fluctuation over tranquility, feeling over formulation, the unknown over the known, the veiled over the articulate, the individual over society and the inner over the outer.^[sixty]

—William C. Seitz, American artist and Fine art historian

Major sculpture [edit]

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• 

• 

List of abstract expressionists [edit]

Abstract expressionist artists [edit]

Significant artists whose mature work defined American abstruse expressionism:

Other artists [edit]

Pregnant artists whose mature work relates to the American abstract expressionist movement:

See also [edit]

Related styles, trends, schools, and movements [edit]

• Abstract Art
• Abstract Imagists
• Activity painting
• American Abstract Artists
• Arte Povera
• Asemic writing
• CoBrA
• Color field painting
• History of painting
• Informalism
• Les Automatistes
• Les Plasticiens
• Lyrical Brainchild
• Lyricism
• Minimalism
• New European Painting
• New York Schoolhouse
• Organic Surrealism
• 9th Street Art Exhibition
• Painters Eleven
• Pop fine art
• Post-painterly abstraction
• Tachisme
• Tenth Street galleries
• The Irascibles

[edit]

• Bluebeard, past Kurt Vonnegut, is a fictional autobiography written by fictional abstruse expressionist Rabo Karabekian.
• Ismail Gulgee (artist whose work reflects abstract expressionist influence in Southward Asia during the Common cold War, specially 'action painting')
• Michel Tapié (critic and exhibition organizer of import to the dissemination of abstruse expressionism in Europe, Japan, and Latin America)

References [edit]

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Books [edit]

• Belgrad, Daniel. The Culture of Spontaneity. Improvisation and the Arts in Postwar America University of Chicago Press, Chicago & London, 1998. ISBN 978-966-359-305-0
• Anfam, David. Abstruse Expressionism (New York & London: Thames & Hudson, 1990). ISBN 0-500-20243-5
• Craven, David, Abstract expressionism as cultural critique: dissent during the McCarthy period (Cambridge; New York: Cambridge University Press, 1999.) ISBN 0-521-43415-7
• Marika Herskovic, American Abstract and Figurative Expressionism: Style Is Timely Art Is Timeless (New York Schoolhouse Press, 2009.) ISBN 978-0-9677994-ii-1
• Marika Herskovic, American Abstract Expressionism of the 1950s An Illustrated Survey, (New York Schoolhouse Press, 2003.) ISBN 0-9677994-1-4
• Marika Herskovic, New York School Abstract Expressionists Artists Pick past Artists, (New York School Press, 2000.) ISBN 0-9677994-0-6
• Papanikolas, Theresa and Stephen Salel, Stephen, Abstract Expressionism, Looking East from the Far Westward, Honolulu Museum of Fine art, 2017, ISBN 9780937426920
• Serge Guilbaut. How New York Stole the Thought of Modern Fine art, University of Chicago Press, 1983.

Bibliography [edit]

• Anfam, David. Abstruse Expressionism—A World Elsewhere. New York: Haunch of Venison, 2008, Haunchofvenison.com
• Greenberg, Cloudless. "'American-Type' Painting". In Art and Culture: Disquisitional Essays. Boston: Beacon Press, 1961. 208–29.
• Jachec, Nancy. The Philosophy and Politics of Abstract Expressionism 1940–1960. Cambridge Academy Press: Cambridge, 2000 ISBN 0-521-65154-nine
• O'Connor, Francis Five. Jackson Pollock [exhibition catalogue] (New York, Museum of Modern Art, [1967]) OCLC 165852
• Saunders, Frances Stonor, The cultural cold state of war: the CIA and the world of arts and messages (New York: New Printing: Distributed by W.W. Norton & Co., 2000) ISBN 1-56584-596-10
• Tapié, Michel. Hans Hofmann: peintures 1962 : 23 avril-18 mai 1963. (Paris: Galerie Anderson-Mayer, 1963.) [exhibition catalogue and commentary] OCLC 62515192
• Tapié, Michel. Pollock (Paris, P. Facchetti, 1952) OCLC 30601793
• Wechsler, Jeffrey (2007). Pathways and Parallels: Roads to Abstract Expressionism. New York: Hollis Taggart Galleries. ISBN978-0-9759954-nine-v.

External links [edit]

• Jackson Pollock
• Louis Schanker
• Philip Guston
• Perle Fine
• Perle Fine Abstract Expressionism-1950s New York action painter' on YouTube
• Albert Kotin
• Albert Kotin Abstract Expressionism 1950s-New York School 1950s action painting on YouTube
• James Brooks Abstract Expressionist painter 1906–1992
• James Brooks Abstruse Expressionsim-New York School 1950s on YouTube
• American Abstract Artists
• Beginning of the New York Schoolhouse 1950s-Abstruse Expressionism of the 1950s on YouTube
• Clyfford Still Museum
• Abstract expressionism 1950s-New York Schoolhouse Artists of the ninth St Bear witness Reminisce on YouTube
• ninth Street Art Exhibition-abstract expressionist artists reminisce on YouTube
• Nicolas Carone-Abstract Expressionism-Creative person of the ninth St. Show on YouTube
• Conrad Marca-Relli Abstract Expressionism 1950s-New York School collage-painter on YouTube
• Robert Richenburg Abstract Expressionism 1950s-New York Schoolhouse 1950s on YouTube
• Joe Stefanelli Abstruse Expressionism 1950s-New York School 1950s on YouTube
• What is Abstruse Expressionism? on YouTube

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Source: https://en.wikipedia.org/wiki/Abstract_expressionism

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