Art Isms: Joy Walker, Jack Tricarico, Anna Feld |
The Abstract Expressionists
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Abstract painting is free of the representational demands that limit improvisation. Abstraction is concerned with the order of shapes inside the picture. |
Abstract Expressionism, a movement originating in New York City in the 1940s. It emphasized spontaneous personal expression, freedom from accepted artistic values, surface qualities of paint, and the act of painting itself. Pollock, de Kooning, Motherwell, and Kline, are important abstract expressionists. Abstract Expressionism is visually diverse, emphasizing color and non-figurative abstraction through the spontaneous act of painting. Attitude, rather than technique, is the bond Abstract Expressionists shared, in both self-expression and the actual art of painting. Abstract Expressionism is generally divided into two groups: Color-Field artists (Mark Rothko, Piet Mondrian), used broad unified blocks of color while Gestural artists (Jackson Pollock, Franz Kline), used visible strokes to create movement, texture and art. |
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Abstract Expressionism However great a disaster World War II was, it did at least mean that artists such as Piet Mondrian and Max Ernst, in leaving Europe for the safety of the USA, greatly extended their artistic influence. It is impossible to estimate how much they affected American art, but the fact remains that in the 1940s and '50s, for the first time, American artists became internationally important with their new vision and new artistic vocabulary, known as Abstract Expressionism. The first public exhibitions of work by the ``New York School'' of artists-- who were to become known as Abstract Expressionists-- were held in the mid '40s. Like many other modern movements, Abstract Expressionism does not describe any one particular style, but rather a general attitude; not all the work was abstract, nor was it all expressive. What these artists did have in common were morally loaded themes, often heavyweight and tragic, on a grand scale. In contrast to the themes of social realism and regional life that characterized American art of previous decades, these artists valued, above all, individuality and spontaneous improvisation. They felt ill at ease with conventional subjects and styles, neither of which could adequately convey their new vision. In fact, style as such almost ceased to exist with the Abstract Expressionists, and they drew their inspiration from all directions. The painters who came to be called ``Abstract Expressionists'' shared a similarity of outlook rather than of style -- an outlook characterized by a spirit of revolt and a belief in freedom of expression. The main exponents of the genre were Pollock, de Kooning, and Rothko, but other artists included Guston, Kline, Newman and Still. The term Abstract Expressionism was first used by Robert Coates in the March issue of the New Yorker in 1936. The movement was hugely successful, partly due to the efforts of the critics Harold Rosenberg and Clement Greenberg who also originated the terms Action Painting and American Style. |
Abstract Expressionism One of the most influential art teachers of the 20th century, Hans Hoffman (1880-1966) pioneered a method of improvisational painting that helped shape the development of abstract art after World War II. The Golden Wall (1961) features his trademark "push and pull" technique: geometric shapes that animate the canvas by seeming to shift and overlap. Influencing much of the American abstract art that followed, Arshile Gorky (1904-1948) developed an original style that combined cubism and surrealism with his own disguised imagery. The Liver is the Cock's Comb (1944) -- one of his largest and greatest pictures -- uses abstract forms to camouflage a deeply personal portrait of his family at home. Adolph Gottlieb (1903-1974) created a uniquely American blend of inspiration from late medieval and early Italian Renaissance masters, European cubism, and the freely expressive line of surrealism in his innovative "Pictographs" of the 1940s. Romanesque Facade (1949) brings together his aspiration to be intuitively understandable to everyone and to convey a universal emotional reality. Joan Mitchell (1925-1992) created expansive paintings with an energetic style distinguished by large gestural strokes, driving brushwork, and emotional intensity. She is perhaps best known for her ability to communicate the visual sentiments of nature -- or, in her own words, "to convey the feeling of the dying sunflower." La Grand Valee O (1983) is one of 21 opulent French landscapes. Clyfford Still (1904-1980) painted ponderous, abstract canvases to convey universal themes about the human condition. 1948-C (1948) illustrates his signatory style of richly textured surfaces, expressive lines and shapes, and sublime color in an expansive field. Still kept tight control of his work, much of whcih has never been said. |
Untitled 2091 © Anna Feld Untitled 2093 © Anna Feld |
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