A Movement in Literature and Art That Was Based Upon Revealing the Unconscious Mind in Green Images

The Development of Abstract Expressionism

Abstract expressionism was an American, mail service–World War Two art movement.

Learning Objectives

Explicate the abstract expressionist move of the 1940s

Central Takeaways

Key Points

• Abstract expressionism has an epitome of being rebellious, anarchic, highly idiosyncratic, and nihilistic. In exercise, the term is applied to any number of artists working (mostly) in New York who had quite different styles, and even to work that is neither especially abstract nor expressionist.
• Although information technology is truthful that spontaneity or the impression of spontaneity characterized many of the abstruse expressionists works, nigh of these paintings involved careful planning, especially since their big size demanded it.
• Abstract expressionist paintings share sure characteristics, including the use of large canvases and an all-over arroyo, in which the whole canvass is treated with equal importance.

Key Terms

• New York School: The New York School (synonymous with abstract expressionist painting) was an informal group of American poets, painters, dancers, and musicians active in the 1950s and 1960s in New York City.

Abstract Expressionism Overview

Abstract expressionism was an American post–World War Ii art motion. Although the term abstract expressionism was kickoff applied to American art in 1946 by the fine art critic Robert Coates, it had been used previously in Germany's Der Sturm magazine in 1919.

Abstract expressionism is derived from the combination of the emotional intensity and cocky-deprival of the German expressionists with the anti-figurative artful of the European abstract schools, such equally futurism, the Bauhaus, and synthetic cubism. Additionally, it has an epitome of being rebellious, anarchic, highly idiosyncratic, and nihilistic. In practice, the term is practical to whatsoever number of artists who worked (mostly) in New York during the 1940s.

Abstract 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, in reality most of these paintings involved conscientious planning, especially since their large size demanded it. In many instances, abstruse art unsaid the expression of ideas that concern the spiritual, the unconscious, and the mind.

Characteristics of Abstract Expressionist Painting

Abstract expressionism expanded and developed the definitions and possibilities that artists had available in the creation of new works of fine art. Although abstract expressionism spread quickly throughout the The states, the major centers of this fashion were New York and California. Abstract expressionist paintings share certain characteristics, including the use of large canvases and an all-over approach, in which the whole canvas is treated with equal importance (every bit opposed to the center being of more involvement than the edges).

No. 5: Jackson Pollock is known for his techniques in action painting, a way of abstruse expressionism in which pigment is spontaneously dribbled, splashed, or smeared onto the sail, rather than being advisedly applied, as seen in this painting done in 1948.

Jackson Pollock's energetic action paintings, with their busy feel, are different both technically and aesthetically from the violent and grotesque Women series of Willem de Kooning. In contrast to the emotional energy and gestural surface marks of Pollock and de Kooning, the color-field painters initially appeared to be cool and austere, eschewing the individual mark in favor of large, apartment areas of color, which these artists considered to exist the essential nature of visual brainchild, forth with the actual shape of the canvas. In later years, colour-field painting has proven to be both sensual and deeply expressive, albeit in a different way from gestural abstract expressionism.

New York

During the period leading upward to and during World War Two, modernist artists, writers, and poets, as well as of import collectors and dealers, fled Europe and the onslaught of the Nazis for safe haven in the United States. New York replaced Paris every bit the new center of the art world.

The 1940s in New York City heralded the triumph of American abstruse expressionism—a modernist motility that combined lessons learned from Henri Matisse, Pablo Picasso, Surrealism, Joan Miró, Cubism, Fauvism, and early Modernism via the great teachers who arrived in America, like Hans Hofmann from Federal republic of germany and John D. Graham from Russian federation.

Graham's influence on American fine art during the early 1940s was particularly visible in the work of Arshile Gorky, Willem de Kooning, and Jackson Pollock. Gorky'south contributions to American and world art are difficult to overestimate. His works—such as The Liver is the Cock's Rummage, The Betrothal II, and 1 Year the Milkweed—immediately prefigured abstract expressionism.

Jackson Pollock

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 journey toward making a piece of work of art was as important as the work of art itself.

Pollock redefined what it was to produce art. His move away 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'due south process—the placing of unstretched raw canvas on the floor where it could be attacked from all iv sides using artist materials and industrial materials—substantially took making art beyond whatsoever prior boundary.

Jackson Pollock and Activeness Painting

Activeness painting, created past Jackson Pollock, is a style in which paint is spontaneously splattered, smeared, or dripped onto the canvass.

Learning Objectives

Describe Jackson Pollock's method of action painting

Key Takeaways

Central Points

• Activeness painting was developed as part of the abstruse expressionism movement that took place in post–Earth War 2 America, peculiarly in New York, during the 1940s through until the early 1960s.
• Activity painting places the emphasis on the act of painting rather than the final work equally an artistic object.
• Jackson Pollock challenged traditional conventions of painting past using synthetic, resin-based paints, laying his sail on the floor, and using hardened brushes, sticks, and even basting syringes to utilise pigment.

Key Terms

• abstract: Art that does non draw objects in the natural world, but instead uses color and course in a non-representational mode.
• aesthetic: Concerned with dazzler, artistic touch, or advent.

Action Painting

Action painting is a style of painting in which paint is spontaneously dribbled, splashed, or smeared onto the sheet, rather than being carefully practical with a brush. The resulting work oft emphasizes the physical human activity of painting itself as an essential attribute of the finished work.

Action painting is inextricably linked to abstruse expressionism, a schoolhouse of painting popular in mail service-Globe War 2 America that was characterized past the view that art is non-representational and importantly improvisational. The major artists associated with this movement are Jackson Pollock, Willem de Kooning, Robert Motherwell, Franz Kline, and Mark Rothko, among others.

The term activeness painting was coined past the American art critic Harold Rosenberg in 1952 in his essay The American Activity Painters, signaling a major shift in the artful perspective of the New York School painters and critics. Co-ordinate to Rosenberg, the canvas was non an object, but rather "an arena in which to human action. "

Rosenberg's critique shifted the accent from the object to the struggle of painting itself, with the finished work being only the physical manifestation, a kind of residue, of the actual work of art, which was in the process of the painting'south creation.

Activity painting refers to the spontaneous activity that was the action of the painter—through arm and wrist motion, painterly gestures— and led to paint that was thrown, splashed, stained, splattered, poured, and dripped. The painter would sometimes permit the pigment drip onto the canvass while rhythmically dancing or even while standing on top of the unstretched canvas laying on the floor—both techniques invented by one of the most important abstruse expressionists: Jackson Pollock.

Jackson Pollock

My painting does not come from the easel. I adopt to tack the unstretched canvas to the hard wall or the floor. I need the resistance of a hard surface. On the floor I am more at ease. I feel nearer, more part of the painting, since this fashion I can walk around it, work from the four sides, and literally be in the painting.

Built-in in Cody, Wyoming in 1912, Jackson Pollock moved to New York Metropolis in 1930, where he studied under Thomas Hart Benton at the Art Students League of New York. In 1948 he married the American painter Lee Krasner, and they moved to what is now known as the Pollock-Krasner House and Studio in the Springs area of East Hampton, Long Isle, NY.

The Pollock Barn: Pollock's studio in Springs, New York.

Materials and Procedure

After his move to Springs, he began painting with his canvases laid out on the studio flooring, turning to synthetic, resin-based paints called alkyd enamels. These were much more fluid than traditional paint and, at that time, were a novel medium. Pollock described his use of household paints, instead of fine fine art paints, as "a natural growth out of a need."

He used hardened brushes, sticks, and even basting syringes equally paint applicators. Past defying the convention of painting on an upright surface, he added a new dimension by being able to view and use paint to his canvases from all directions—the term all-over painting has been used to depict some of his work, besides equally the work of other artists from that time.

In the procedure of making paintings in this mode, he moved abroad from figurative representation, and challenged the Western tradition of using easel and brush. In addition, he likewise moved away from the use of simply the hand and wrist, since he used his whole body to paint.

Jackson Pollock in his studio: The artist threw, splashed, stained, splattered, poured, and dripped pigment to create his works.

Titles with Numbers

Pollock wanted an stop to the search for figurative elements in his paintings, so he abandoned titles and started numbering his paintings instead. The numbering relates to the way composers title their works. Furthering the musical metaphor, Pollock's activeness paintings have been oft described as improvisational works of fine art, like to how jazz musicians arroyo the performance of a piece.

Death

At the peak of his fame, Pollock abruptly abandoned the baste style and by 1951 his works had turned darker in color. This was followed by a return to color, and he reintroduced figurative elements. During this menses Pollock moved to a more than commercial gallery and there was great demand from collectors for his new paintings.

In response to this pressure level, along with personal frustration, his long-term problem with alcoholism worsened. He painted his 2 last works in 1955. On Baronial 11, 1956, Pollock died in a single-car crash in his Oldsmobile convertible while driving under the influence of alcohol.

After Pollock'due south demise at age 44, his widow, Lee Krasner, managed his estate and ensured that Pollock'due south reputation remained strong despite changing art-world trends. They are both buried in Greenish River Cemetery in Springs, Long Island, NY.

Color-Field Painting

Colour-field painting can be recognized by its large fields of solid color spread across or stained into the canvas to create areas of unbroken surface and a flat picture show plane.

Learning Objectives

Differentiate colour-field painting from other gimmicky abstract art such as abstract expressionism

Key Takeaways

Key Points

• Color-field painting is a way of abstract painting that emerged in New York City during the 1950s and 1960s. Information technology is closely linked to abstruse expressionism, mail service-painterly abstraction, and lyrical abstraction.
• Distinct from the emotional energy and gestural surface marks and pigment handling seen in the work of abstract expressionists like Jackson Pollock, color-field painting came across as cool and austere.
• The motion places less emphasis on gesture, brushstrokes, and action in favor of an overall consistency of form and process, with color itself becoming the bailiwick thing.
• Mark Rothko, Frank Stella, Clyfford Still, Barnett Newman, Adolph Gottlieb, and Morris Louis are amongst the many artists who used color-field techniques in their work.
• Color-field painters revolutionized the way paint could be effectively applied, through their use of acrylic paint and techniques such as staining and spraying.

Central Terms

• abstruse expressionism: An American genre of modern art that used improvised techniques to generate highly abstract forms.
• action painting: A genre of modern art in which the paint is dribbled, splashed, or poured onto the canvass to obtain a spontaneous and totally abstract image.
• lyrical abstraction: A type of abstruse painting related to abstract expressionism; in use since the 1940s.

Colour-Field Painting

Colour-field painting is a style of abstruse painting that emerged in New York City during the 1950s and 1960s. Inspired by European modernism and closely related to abstract expressionism, many of its notable early proponents were among the pioneering abstract expressionists.

Color-field is characterized primarily by its use of large fields of flat, solid color spread across or stained into the sail to create areas of unbroken surface and a apartment flick aeroplane. The movement places less emphasis on gesture, brushstrokes, and action than abstract expressionism, favoring instead an overall consistency of class and process, with color itself becoming the subject area matter.

Encompassing several decades from the mid-20th century through the early on 21st century, the history of  color-field painting can be separated into three split but related generations of painters:

1. Abstract expressionism.
2. Mail service-painterly brainchild.
3. Lyrical abstraction.

Some of the artists made works in all three eras that relate to all of the iii styles.

Clement Greenberg

The focus of attending in the contemporary art world began to shift from Paris to New York after Globe War 2 and the development of American Abstruse Expressionism. During the late 1940s and early 1950s, Clement Greenberg was the outset art critic to suggest and place a dichotomy between differing tendencies within the abstruse expressionist canon—peculiarly between action painting and what Greenberg termed post-painterly abstraction (today known equally color-field).

Colour-Field Formats

By the late 1950s and early 1960s, immature artists began to break away stylistically from abstract expressionism, experimenting with new ways of treatment paint and color. Moving away from the gesture and malaise of action painting towards flat, clear picture planes and a seemingly calmer language, color-field artists used formats of stripes, targets, and simple geometric patterns to concentrate on color equally the dominant theme their paintings.

Color-field painting initially referred to a detail type of abstract expressionism, exemplified especially in the work of Mark Rothko, Clyfford Still, Barnett Newman, Robert Motherwell, Adolph Gottlieb and several series of paintings by Joan Miró.

Color-field painting sought to rid art of superfluous rhetoric and gesture. Artists like Morris Louis, Jules Olitski, Kenneth Noland, Friedel Dzubas, and Frank Stella often used greatly reduced formats, simplified or regulated systems, and basic references to nature to draw the focus of the painting to color, and the interactions of colour, as the most important element.

Harran Two: During the late 1950s and early 1960s, Frank Stella was a pregnant figure in the emergence of minimalism, post-painterly abstraction, and color-field painting. His shaped canvases of the 1960s revolutionized abstract painting, such every bit this 1 from 1967.

Kickoff: This color-field painting is characterized by simple geometric forms and repetitive, regulated systems. It was painted by Kenneth Noland in 1958.

Who'due south Agape of Red, Yellow and Bluish?: The flat, solid picture plane that is typical of color-field paintings is evident in this 1966 piece past Barnet Newman, where the color red takes centre stage.

An important distinction between color-field painting and abstruse expressionism is the style paint is handled. The well-nigh basic defining technique of painting is the application of paint, and the color-field painters revolutionized the way paint could exist effectively practical.

H2o-soluble, artist-quality acrylic paints commencement became commercially bachelor in the early 1960s, coinciding with the color-field motility. The most mutual applications were:

• Stain painting, where artists mix and dilute their pigment in buckets or coffee cans to go far a more fluid liquid, so pour it onto raw, unprimed canvas and draw shapes and areas as they stain.
• Spray painting, a technique using a spray gun to create large expanses and fields of color sprayed across the sail.
• The use of stripes.

Color-field painting initially appeared to exist cool and austere due to these methods of handling paint that tended to eschew the individual mark of the artist. However, color-field painting has proven to be both sensual and securely expressive, albeit in a different way from gestural abstract expressionism.

Big A: Jack Bush was a color-field painter who used geometric, elementary forms to highlight the pure interaction of color, as can be seen in this 1968 work.

The New York School

The New York School was an breezy grouping of American abstract painters and other artists that was active in the 1950s and 1960s.

Learning Objectives

Explain what the New York Schoolhouse is known for and who its proponents were

Key Takeaways

Key Points

• The New York School was an informal group of abstract painters and other artists in NYC though it has go associated most with the abstruse expressionist motility. Although abstruse expressionism spread rapidly throughout the United States, the major centers of this manner were New York City and California.
• New York Schoolhouse artists drew inspiration from surrealism and contemporary art movements such as action painting, abstract expressionism, jazz, improvisational theater, and experimental music.
• The work of the New York School was documented through annual exhibitions of painting and sculpture from 1951–1957, most notably in the 9th Street Art Exhibition.
• In add-on to painting, the New York School was associated with many poets, dancers, composers, jazz musicians, and writers.

Key Terms

• surrealism: An artistic movement and an aesthetic philosophy, pre-dating abstract expressionism, that aims for the liberation of the mind by emphasizing the disquisitional and imaginative powers of the hidden.
• GI Bill: The Servicemen's Readjustment Act of 1944, known informally equally the GI Bill, was a police that provided a range of benefits for returning World War II veterans (unremarkably referred to every bit GIs).
• abstract expressionism: An American genre of mod art that used improvised techniques to generate highly abstract forms.

The New York School

The New York School was an breezy grouping of American poets, painters, dancers, and musicians that was active in the 1950s and 1960s in New York Metropolis. It represented, and is often synonymous with, the fine art movement of aAbstract expressionism, such as the work of Jackson Pollack and Willem de Kooning.

The artists of the New York School drew their inspiration from surrealism and other contemporary, avant-garde art movements, in particular action painting, abstract expressionism, jazz, improvisational theater, experimental music, and the interaction of friends in the New York City art world's vanguard circle.

No. 5: Jackson Pollack is known for his techniques in action painting, a style of abstract expressionism in which pigment is spontaneously dribbled, splashed or smeared onto the sheet, rather than advisedly practical, such as this one done in 1948.

Adult female V: Willem de Koonig was an influential abstruse expressionist painter.

Abstract Expressionism

A school of painting that flourished after Globe War Two until the early 1960s, abstract expressionism is characterized by the view that fine art is non-representational and chiefly improvisational. Abstract expressionist paintings share sure characteristics, including the apply of large canvases, and an all-over approach whereby the whole sail is treated with equal importance (as opposed to the center being of more involvement than the edges). The sail equally the loonshit became a credo of action painting, while the integrity of the motion picture plane became a credo of the color-field painters.

The post-World War II era benefited some of the artists who were recognized early on past art critics. Some artists from New York, such equally Norman Bluhm and Sam Francis, took advantage of the GI Beak and left for Europe, to return later with acclaim.

Many artists from all across the U.S. arrived in New York City to seek recognition, and past the finish of the decade the list of artists associated with the New York School had profoundly increased. Painters, sculptors, and printmakers created art that was termed action painting, fluxus, color-field painting, hard-edge painting, pop art, minimal art and lyrical abstraction, among other styles and movements associated with abstract expressionism.

9th Street Art Exhibition

The ninth Street Fine art Exhibition was held on May 21–June 10, 1951. It was a historical, ground-breaking exhibition that gathered a number of notable artists, and it was the stepping-out of the mail service-war New York avant-garde, collectively known as the New York School.

The evidence was hung by Leo Castelli, as he was liked past most of the artists and thought of every bit someone who would hang the exhibition without favoritism. The opening of the evidence was a peachy success. According to the critic, historian, and curator Bruce Altshuler, "It appeared every bit though a line had been crossed, a step into a larger art earth whose futurity was bright with possibility."

Interdisciplinary Influences in the New York School

In improver to painting, the New York Schoolhouse was associated with many poets, dancers, composers, jazz musicians, and writers. Poets drew on inspiration from surrealism and the contemporary avant-garde art movements, in particular the action painting of their friends in the New York Metropolis art world like Jackson Pollock and Willem de Kooning.

In the 1960s, the work of the avant-garde minimalist composers La Monte Young, Philip Glass, Tony Conrad, Steve Reich, and Terry Riley became prominent in the New York art globe. The new bebop and cool jazz musicians in the 1940s and 1950s (such every bit Charlie Parker, Miles Davis, John Coltrane, and Gerry Mulligan) coincided with the New York Schoolhouse and abstract expressionism.

At that place are also commonalities among the New York School and members of the crush-generation poets who were active in the 1940s, 1950s, and 1960s in New York City, including Allen Ginsberg, Jack Kerouac, William Due south. Burroughs, Diane Wakoski, and several others.

Abstruse Expressionist Sculpture

During the postwar catamenia, many sculptors made work in the prevalent styles of the time: abstract expressionism, minimalism and pop art.

Learning Objectives

Evaluate how sculpture from 1945–1970 was influenced by abstract expressionism, minimalism, and pop art

Fundamental Takeaways

Fundamental Points

• Abstract expressionist sculpture was greatly influenced past surrealism and its emphasis on spontaneous or subconscious creation.
• Minimalist sculptures often set out to expose the essence or identity of a field of study through the elimination of all not-essential forms or concepts. These works are often characterized past geometric, cubic forms, equality of parts, repetition, neutral surfaces, and the utilize of industrial materials.
• The sculptors Claes Oldenburg and George Segal were of import proponents of pop art in their use of found-objects and how they reproduced everyday commercial objects equally art.

Cardinal Terms

• popular art: An art move that emerged in the 1950s, that presented a challenge to traditions of fine art past including imagery from popular culture such as ad, news, etc.
• found object: A natural object, or one manufactured for some other purpose, considered as part of a work of art.

Abstruse Expressionism and Sculpture

While Abstract Expressionism is nigh closely associated with painting, a number of sculptors were integral to the movement as well. David Smith, Dorothy Dehner, Herbert Ferber, Isamu Noguchi, Ibram Lassaw, Theodore Roszak, Phillip Pavia, Mary Callery, Richard Stankiewicz, Louise Bourgeois, and Louise Nevelson in particular were considered to be important members of the movement.

Like to abstract expressionist painting, sculptural work from the movement was greatly influenced by surrealism and its emphasis on spontaneous or subconscious cosmos. Abstract expressionist sculpture, similar painting from the movement, was more interested in process than product, which can get in difficult to visually distinguish works by aesthetics alone, so it is important to take into account what the artist has to say about their procedure.

The sculptures of David Smith, for example, sought to limited two-dimensional subjects that had never before been shown in three dimensions. His work blurred the distinctions between sculpture and painting, generally making employ of delicate tracery rather than solid course, with a 2-dimensional appearance that contradicted the traditional idea of sculpture in the round.

Aboriginal Household: David Smith was an important abstract expressionist sculptor.

Minimalism

Minimalism during the 1960s and 1970s was a reaction confronting the painterly subjectivity of abstract expressionism that dominated the previous decades. Minimalist artists explicitly stated that their fine art was not about self-expression. Instead, Minimalist works often set out to betrayal the essence or identity of a subject through the elimination of all non-essential forms or concepts.

These works are often characterized by geometric, cubic forms, equality of parts, repetition, neutral surfaces, and the use of industrial materials. Some prominent artists who worked with sculpture and were associated with minimalism (though non all agreed with the association) include Donald Judd, John McCracken, Anthony Caro, Tony Smith, Sol LeWitt, Carl Andre, and Dan Flavin.

Dan Flavin

Dan Flavin was an American minimalist famous for creating sculptural objects and installations from commercially available fluorescent lite fixtures. The lack of the mark of the artist'southward hand in these cases speak to the notion of exposing the truthful form of the sculptural object, a pregnant tenet of the minimalist move.

Donald Judd

Donald Judd, who disavowed the term minimalism, and preferred to refer to his sculptures as specific objects, used uncomplicated, repeated forms to explore space. His works were often fabricated (rather than sculpted) out of metals, industrial plywood and concrete, and therefore defied easy classification as sculpture.

Judd'southward "Untitled," 1977, applies the simplicity and geometric grade typical of minimalist works. Made from concrete, the piece comes across equally potentially industrially created equally it lacks the mark of the creative person'southward hand that is and then frequently seen in works of fine art, favoring instead a cool austerity that highlights the qualities of the form and the material used to fabricate it.

Untitled: Donald Judd, who disavowed the term minimalism, preferred to refer to his sculptures as specific objects. Judd uses simple, repeated forms to explore space.

Pop Art

There were numerous artists working in sculpture who were associated with the popular art motility. Two important examples are Claes Oldenburg and George Segal.

Claes Oldenburg

Oldenburg began his artistic practice as office of a group of artists reacting to Abstract Expressionism'southward sublime gestures with figural drawings and papier mache sculptures. His creative trajectory took him from making found-object paintings littered with urban droppings to plaster sculptures of everyday commercial and manufactured objects. He subsequently created sculptures of similar subjects on larger and larger scales, first sewing soft sculptures out of canvas, and then turning to large outdoor monuments in public spaces.

George Segal

George Segal, another artist associated with the pop-fine art movement, was best known for his life-size figures fabricated from plaster and bandage casts. These figures, ofttimes left with minimal color and item and given a ghostly, hollow appearance, inhabited tableaux synthetic of establish objects such as a street corner, a motorbus, or a diner.

Common practices seen in popular-art sculptural work include the brandish of found art objects, the representation of consumer appurtenances, the placing of typical not-art objects within a gallery setting, and the abstraction of familiar objects. We can meet this abstraction in such works every bit Plug by Oldenburg.

This reproduction of a familiar or mundane object is displayed at such an increased size that the discipline matter becomes bathetic, its original function simultaneously altered and highlighted.

Plug: Claes Oldenburg produced oversized reproductions of familiar objects in increased sizes to abstract the subject thing, such as this one washed in 1970.

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Source: https://courses.lumenlearning.com/boundless-arthistory/chapter/abstract-expressionism/

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