What Was a Key Group in the Development of Happening as Art?

American postal service–World War 2 fine art movement

Abstract expressionism

Years agile	Tardily 1940s to present
Country	Usa, specifically New York Metropolis
Major figures	Jackson Pollock, Willem de Kooning, Arshile Gorky, Marker 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 State of war Ii art movement in American painting, developed in New York City in the 1940s.^[1] Information technology was the kickoff specifically American motion to accomplish international influence and put New York at the center of the Western art globe, a part formerly filled by Paris.

Although the term "abstract expressionism" was first applied to American art in 1946 by the fine art critic Robert Coates, it had been offset used in Deutschland in 1919 in the magazine Der Sturm, regarding German Expressionism. In the United States, Alfred Barr was the first to use this term in 1929 in relation to works by Wassily Kandinsky.^[2]

Manner [edit]

Technically, an of import predecessor is surrealism, with its accent on spontaneous, automated, or subconscious creation. Jackson Pollock'due south dripping paint onto a canvas laid on the floor is a technique that has its roots in the work of André Masson, Max Ernst, and David Alfaro Siqueiros. The newer inquiry 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 magazine DYN. Paalen considered ideas of quantum mechanics, every bit well as idiosyncratic interpretations of the totemic vision and the spatial construction of native-Indian painting from British Columbia and prepared the ground for the new spatial vision of the young American abstracts. His long essay Totem Fine art (1943) had considerable influence on such artists as Martha Graham, Isamu Noguchi, Pollock, Mark Rothko and Barnett Newman.^[3] Effectually 1944 Barnett Newman tried to explain America'south newest fine art motion 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 marking.^[4] Another of import early on manifestation of what came to exist abstract expressionism is the work of American Northwest artist Marker Tobey, especially his "white writing" canvases, which, though generally non big in calibration, anticipate the "all-over" await of Pollock'due south drip paintings.

The motility's name is derived from the combination of the emotional intensity and self-denial of the German Expressionists with the anti-figurative artful of the European abstruse schools such as Futurism, the Bauhaus, and Synthetic Cubism. Additionally, it has an image of being rebellious, anarchic, highly idiosyncratic and, some feel, nihilistic.^[5] In exercise, the term is applied to whatsoever number of artists working (mostly) in New York who had quite different styles, and even to work that is neither specially abstract nor expressionist. California abstract expressionist Jay Meuser, who typically painted in the non-objective fashion, wrote about his painting Mare Nostrum, "It is far amend to capture the glorious spirit of the sea than to pigment all of its tiny ripples." Pollock's energetic "action paintings", with their "busy" experience, are different, both technically and aesthetically, from the fierce and grotesque Women series of Willem de Kooning'southward figurative paintings and the rectangles of color in Rothko's Color Field paintings (which are not what would ordinarily exist called expressionist, and which Rothko denied were abstract). All the same all four artists are classified every bit abstruse expressionists.

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, almost of these paintings involved conscientious planning, especially since their large size demanded information technology. With artists such every bit Paul Klee, Kandinsky, Emma Kunz, and later on on Rothko, Newman, and Agnes Martin, abstract art clearly implied expression of ideas concerning the spiritual, the unconscious, and the mind.^[6]

Why this style gained mainstream acceptance in the 1950s is a matter of contend. American social realism had been the mainstream in the 1930s. It had been influenced non only by the Groovy Depression, but also past the Mexican muralists such as David Alfaro Siqueiros and Diego Rivera. The political climate after Globe War Two 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 mail-state of war McCarthy era was a time of creative censorship in the United 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 bulletin was largely for the insiders.^[7]

While the movement is closely associated with painting, collagist Anne Ryan and sure sculptors in particular were too integral to abstract expressionism.^[8] David Smith, and his married woman Dorothy Dehner, Herbert Ferber, Isamu Noguchi, Ibram Lassaw, Theodore Roszak, Phillip Pavia, Mary Callery, Richard Stankiewicz, Louise Conservative, and Louise Nevelson in item were some of the sculptors considered as beingness important members of the movement. In addition, the artists David Hare, John Chamberlain, James Rosati, Mark 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 movement. Many of the sculptors listed participated in the Ninth Street Show,^[ix] a famous exhibition curated by Leo Castelli on East Ninth Street in New York City in 1951. Besides the painters and sculptors of the menses the New York School of abstract expressionism too generated a number of supportive poets, including Frank O'Hara and photographers such as Aaron Siskind and Fred McDarrah, (whose book The Artist'due south Globe in Pictures documented the New York School during the 1950s), and filmmakers—notably Robert Frank—also.

Although the abstract expressionist schoolhouse spread apace throughout the United states of america, the epicenters of this fashion were New York City and the San Francisco Bay surface area of California.

Art critics of the mail–World War II era [edit]

At a certain moment the canvass began to announced to one American painter after some other as an loonshit in which to act. What was to go on the canvas was not a pic but an effect.

In the 1940s there were non only few galleries (The Art of This Century, Pierre Matisse Gallery, Julien Levy Gallery and a few others) but besides 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 as critics too.

While the New York advanced was still relatively unknown by the late 1940s, near of the artists who take become household names today had their well-established patron critics: Clement Greenberg advocated Jackson Pollock and the color field painters similar Clyfford Still, Mark Rothko, Barnett Newman, Adolph Gottlieb and Hans Hofmann; Harold Rosenberg seemed to adopt the action painters such as Willem de Kooning and Franz Kline, as well every bit the seminal paintings of Arshile Gorky; Thomas B. Hess, the managing editor of ARTnews, championed Willem de Kooning.

The new critics elevated their protégés past casting other artists as "followers"^[11] or ignoring those who did not serve their promotional goal.

In 1958, Marker Tobey became the starting time American painter since Whistler (1895) to win top prize at the Venice Biennale.^[12]

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

Barnett Newman, a belatedly member of the Uptown Group, wrote catalogue forewords and reviews, and by the late 1940s became an exhibiting artist at Betty Parsons Gallery. His first solo bear witness was in 1948. Presently subsequently his first exhibition, Barnett Newman remarked in 1 of the Artists' Sessions at Studio 35: "We are in the process of making the world, to a certain extent, in our ain paradigm."^[13] Utilizing his writing skills, Newman fought every footstep of the way to reinforce his newly established image as an artist and to promote his work. An case is his letter on April 9, 1955, "Letter to Sidney Janis: — it is true that Rothko talks the fighter. He fights, however, to submit to the philistine world. My struggle against conservative club has involved the total rejection of it."^[14]

Strangely, the person thought to take had nigh to do with the promotion of this style was a New York Trotskyist: Clement Greenberg. Equally long-time art critic for the Partisan Review and The Nation, he became an early and literate proponent of abstract expressionism. The well-heeled creative person 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 particular as the prototype of aesthetic value. He supported Pollock'due south piece of work on formalistic grounds as simply the best painting of its mean solar day and the culmination of an art tradition going back via Cubism and Cézanne to Monet, in which painting became ever-'purer' and more than concentrated in what was 'essential' to it, the making of marks on a apartment surface.^[fifteen]

Pollock's work has always polarised critics. Rosenberg spoke of the transformation of painting into an existential drama in Pollock'due south piece of work, in which "what was to keep the canvas was not a picture only an event". "The big moment came when it was decided to pigment 'simply to pigment'. The gesture on the canvas was a gesture of liberation from value—political, artful, moral."^[sixteen]

1 of the virtually vocal critics of abstract expressionism at the fourth dimension was The New York Times art critic John Canaday. Meyer Schapiro and Leo Steinberg along with Greenberg and Rosenberg were important art historians of the mail-war era who voiced support for abstract expressionism. During the early-to-mid-sixties younger art critics Michael Fried, Rosalind Krauss, and Robert Hughes added considerable insights into the disquisitional dialectic that continues to grow around abstruse expressionism.

History [edit]

Globe War II and the Post-War menses [edit]

During the catamenia leading upwards to and during World War 2, modernist artists, writers, and poets, likewise as of import collectors and dealers, fled Europe and the onslaught of the Nazis for safe haven in the United states. Many of those who didn't flee perished. Amongst the artists and collectors who arrived in New York during the war (some with assist 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 mail-war period 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 capital of the art earth, the climate for art was a disaster, and New York replaced Paris as the new center of the art world. Post-state of 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 hold of the newest generation. Serge Poliakoff, Nicolas de Staël, Georges Mathieu, Vieira da Silva, Jean Dubuffet, Yves Klein, Pierre Soulages and Jean Messagier, among others are considered important figures in post-war European painting.^[18] In the U.s., a new generation of American artists began to sally and to boss the earth stage, and they were called Abstract Expressionists.

Gorky, Hofmann, and Graham [edit]

Arshile Gorky, The Liver is the Cock'due south Rummage (1944), oil on canvass, 73 1⁄four × 98" (186 × 249 cm) Albright–Knox Art Gallery, Buffalo, New York. Gorky was an Armenian-built-in American painter who had a seminal influence on abstruse expressionism. De Kooning said: "I met a lot of artists — but and so I met Gorky... He had an extraordinary gift for hitting the nail on the head; remarkable. And so I immediately attached myself to him and we became very good friends."^[19]

The 1940s in New York Urban center 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 nifty teachers in America such as Hans Hofmann from Germany and John D. Graham from Ukraine. Graham's influence on American art during the early 1940s was peculiarly visible in the work of Gorky, de Kooning, Pollock, and Richard Pousette-Dart amid others. Gorky's contributions to American and world art are difficult to overestimate. His work every bit lyrical abstraction^{[20] [21] [22] [23] [24]} was a "new linguistic communication.^[twenty] He "lit the way for two generations of American artists".^[20] The painterly spontaneity of mature works such as The Liver is the Cock's Comb, The Betrothal II, and Ane Year the Milkweed immediately prefigured Abstract expressionism, and leaders in the New York Schoolhouse accept acknowledged Gorky's considerable influence. The early work of Hyman Bloom was also influential.^[25] American artists also benefited from the presence of Piet Mondrian, Fernand Léger, Max Ernst, and the André Breton group, Pierre Matisse's gallery, and Peggy Guggenheim's gallery The Art of This Century, every bit well as other factors. Hans Hofmann in particular as teacher, mentor, and creative person was both important and influential to the evolution and success of abstract expressionism in the United States. Amidst Hofmann's protégés was Clement Greenberg, who became an enormously influential voice for American painting, and among his students was Lee Krasner, who introduced her teacher, Hofmann, to her husband, Jackson Pollock.^[26]

Pollock and Abstract influences [edit]

During the late 1940s, Jackson Pollock's radical arroyo to painting revolutionized the potential for all Gimmicky 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 fine art itself. Like Picasso'south innovative reinventions of painting and sculpture nigh the plow of the century via Cubism and constructed sculpture, with influences as disparate as Navajo sand paintings, surrealism, Jungian analysis, and Mexican landscape art,^[27] Pollock redefined what it was to produce art. His move away from easel painting and conventionality was a liberating signal 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 information technology could exist 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 beyond any prior boundary. Abstract expressionism in general expanded and developed the definitions and possibilities that artists had available for the creation of new works of art.

The other abstract expressionists followed Pollock's quantum with new breakthroughs of their own. In a sense the innovations of Pollock, de Kooning, Franz Kline, Rothko, Philip Guston, Hans Hofmann, Clyfford Still, Barnett Newman, Advertizement Reinhardt, Richard Pousette-Sprint, Robert Motherwell, Peter Voulkos, and others opened the floodgates to the multifariousness and scope of all the 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 motion can exist traced to the innovations of abstract expressionism. Rereadings into abstract art, washed by art historians such as Linda Nochlin,^[28] Griselda Pollock^[29] and Catherine de Zegher^[xxx] critically shows, however, that pioneer women artists who have produced major innovations in modernistic art had been ignored by the official accounts of its history, simply finally began to achieve long overdue recognition in the wake of the abstract expressionist movement of the 1940s and 1950s. Abstract expressionism emerged every bit a major fine art motility in New York City during the 1950s and thereafter several leading art galleries began to include the abstract expressionists in exhibitions and every bit 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 as well equally 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.

Activity painting [edit]

Action painting was a style widespread from the 1940s until the early 1960s, and is closely associated with abstruse expressionism (some critics accept used the terms action painting and abstract expressionism interchangeably). A comparison is oft fatigued between the American action 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 artful perspective of New York School painters and critics. According to Rosenberg the canvas was "an arena in which to act". While abstract expressionists such every bit 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 fundamental to agreement them every bit documents of the artists' existential struggle.

Rosenberg'southward critique shifted the emphasis from the object to the struggle itself, with the finished painting existence only the concrete manifestation, a kind of balance, of the actual work of art, which was in the human activity or process of the painting's creation. This spontaneous activity was the "activeness" of the painter, through arm and wrist movement, painterly gestures, brushstrokes, thrown pigment, splashed, stained, scumbled and dripped. The painter would sometimes allow the paint drip onto the canvas, while rhythmically dancing, or fifty-fifty standing in the sail, sometimes letting the paint fall according to the hidden mind, thus letting the unconscious part of the psyche assert and express itself. All this, however, is difficult to explicate or translate because it is a supposed unconscious manifestation of the act of pure creation.^[36]

In practice, the term abstruse expressionism is practical to any number of artists working (mostly) in New York who had quite different styles, and even applied to work which is not peculiarly abstract nor expressionist. Pollock'southward energetic action paintings, with their "busy" feel, are different both technically and aesthetically, to De Kooning'south vehement and grotesque Women serial. Woman 5 is one of a serial of six paintings made by de Kooning betwixt 1950 and 1953 that describe a 3-quarter-length female figure. He began the starting time of these paintings, Woman I, in June 1950, repeatedly changing and painting out the paradigm until January or February 1952, when the painting was abased unfinished. The art historian Meyer Schapiro saw the painting in de Kooning'southward studio soon later on and encouraged the artist to persist. De Kooning's response was to brainstorm 3 other paintings on the same theme; Woman Ii, Adult female Iii and Woman IV. During the summertime of 1952, spent at Eastward Hampton, de Kooning farther explored the theme through drawings and pastels. He may have finished work on Woman I by the end of June, or peradventure equally belatedly every bit Nov 1952, and probably the other three women pictures were concluded at much the same fourth dimension.^[37] The Adult female series are decidedly figurative paintings.

Some other important artist is Franz Kline.^{[38] [39]} As with Jackson Pollock and other abstract expressionists, Kline was labelled an "activity painter" because of his seemingly spontaneous and intense style, focusing less, or not at all, on figures or imagery, just on the bodily brushstrokes and use of canvass; as demonstrated by his painting Number 2 (1954).^{[40] [41] [42]}

Automated writing was an important vehicle for action painters such as Kline (in his black and white paintings), Pollock, Mark 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 Collective 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 action painters, notably de Kooning, Gorky, Norman Bluhm, Joan Mitchell, and James Brooks, used imagery via either abstruse landscape or as expressionistic visions of the figure to clear their highly personal and powerful evocations. James Brooks' paintings were particularly poetic and highly prescient in human relationship to Lyrical Abstraction that became prominent in the late 1960s and the 1970s.^[47]

Colour field [edit]

Clyfford Yet, Barnett Newman, Adolph Gottlieb and the serenely shimmering blocks of color in Mark Rothko'south work (which is not what would ordinarily exist called expressionist and which Rothko denied was abstract), are classified equally 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's tightly constructed imagery often 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 piece of work of Rothko, Still, Newman, Motherwell, Gottlieb, Advertisement Reinhardt and several series of paintings past Joan Miró. Greenberg perceived Color Field painting as related to merely dissimilar from Activity painting. The Color Field painters sought to rid their art of superfluous rhetoric. Artists like Motherwell, Still, 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 utilize of color. In general, these artists eliminated recognizable imagery, in the case of Rothko and Gottlieb sometimes using symbols and signs as a replacement of imagery.^[48] Sure artists quoted references to by or present art, but in general color field painting presents brainchild every bit an end in itself. In pursuing this direction of modern fine art, artists wanted to present 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 exist cool and ascetic, effacing the individual mark in favor of big, flat areas of colour, which these artists considered to exist the essential nature of visual brainchild, along with the actual shape of the canvas, which later in the 1960s Frank Stella in particular achieved in unusual ways with combinations of curved and straight edges. However, Colour Field painting has proven to exist both sensual and deeply expressive albeit in a different way from gestural abstract expressionism.

Although abstruse expressionism spread speedily throughout the The states, the major centers of this style were New York Metropolis and California, particularly in the New York Schoolhouse, and the San Francisco Bay expanse. Abstract expressionist paintings share certain characteristics, including the utilise of large canvases, an "all-over" approach, in which the whole sail is treated with equal importance (every bit opposed to the center being of more interest than the edges). The canvass equally the arena became a credo of Activeness painting, while the integrity of the picture plane became a credo of the Color field painters. Younger artists began exhibiting their abstract expressionist related paintings during the 1950s besides including Alfred Leslie, Sam Francis, Joan Mitchell, Helen Frankenthaler, Cy Twombly, Milton Resnick, Michael Goldberg, Norman Bluhm, Grace Hartigan, Friedel Dzubas, and Robert Goodnough among others.

Although Pollock is closely associated with Action Painting because of his manner, technique, and his painterly touch and his physical awarding of paint, art critics have likened Pollock to both Action painting and color field painting. Another critical view advanced by Greenberg connects Pollock's allover canvasses to the big-scale Water Lilies of Claude Monet done during the 1920s. Art critics such every bit Michael Fried, Greenberg and others have observed that the overall feeling in Pollock'southward most famous works – his drip paintings – read as vast fields of built-up linear elements. They note that these works often read every bit vast complexes of similarly-valued paint skeins and all-over fields of color and cartoon, and are related to the mural-sized Monets which are similarly constructed of close-valued brushed and scumbled marks that too read as fields of colour and drawing. Pollock'due south use of all-over limerick lend a philosophical and a physical connection to the way the color field painters similar Newman, Rothko and Still construct their unbroken and in Still's case cleaved surfaces. In several paintings that Pollock painted later his classic baste painting menstruum of 1947–1950, he used the technique of staining fluid oil paint and house pigment into raw sail. 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 City Pollock showed Number 12, 1952, a large, masterful stain painting that resembles a brightly colored stained mural (with an overlay of broadly dripped night pigment); the painting was acquired from the exhibition by Nelson Rockefeller for his personal collection.^[49]

While Arshile Gorky is considered to be 1 of the founding fathers of abstruse expressionism and a surrealist, he was also 1 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 every bit grounds. In Gorky's most constructive and accomplished paintings betwixt the years 1941–1948, he consistently used intense stained fields of color, often letting the paint run and baste, under and around his familiar lexicon of organic and biomorphic shapes and frail lines. Some other 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 equally a technique in his paintings from the tardily 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 terminal three decades of his career, Sam Francis' style of big-scale bright abstract expressionism was closely associated with Color field painting. His paintings straddled both camps within the abstruse expressionist rubric, Action painting and Color Field painting.

Having seen Pollock's 1951 paintings of thinned black oil pigment stained into raw canvas, Frankenthaler began to produce stain paintings in varied oil colors on raw sail in 1952. Her near famous painting from that period is Mountains and Sea. She is 1 of the originators of the Color Field motion that emerged in the late 1950s.^[l] Frankenthaler also studied with Hans Hofmann.

Hofmann'south paintings are a symphony of color as seen in The Gate, 1959–1960. He was renowned not only as an artist merely also as a teacher of art, both in his native Germany and later in the US. Hofmann, who came to the United States from Frg in the early 1930s, brought with him the legacy of Modernism. As a immature artist in pre-Beginning World War Paris, Hofmann worked with Robert Delaunay, and he knew firsthand the innovative work of both Picasso and Matisse. Matisse'south 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 color field painting, and his theories were influential to artists and to critics, particularly to Clement Greenberg, besides equally to others during the 1930s and 1940s. In 1953 Morris Louis and Kenneth Noland were both profoundly influenced by Helen Frankenthaler'south stain paintings after visiting her studio in New York City. Returning to Washington, DC., they began to produce the major works that created the color field movement in the late 1950s.^[51]

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

Clement Greenberg included the piece of work of both Morris Louis and Kenneth Noland in a evidence that he did at the Kootz Gallery in the early 1950s. Clem was the first to encounter their potential. He invited them upwards to New York in 1953, I remember it was, to Helen's studio to see a painting that she had only washed called Mountains and Sea, a very, very cute painting, which was in a sense, out of Pollock and out of Gorky. It also was one of the commencement stain pictures, one of the kickoff large field pictures in which the stain technique was used, perhaps the first ane. Louis and Noland saw the picture 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 after abstract expressionism [edit]

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

Abstruse expressionism and the Cold War [edit]

Since the mid-1970s it has been argued that the style attracted the attending, in the early 1950s, of the CIA, who saw it every bit representative of the United states as a haven of gratuitous thought and free markets, as well as a challenge to both the socialist realist styles prevalent in communist nations and the authorisation of the European art markets.^[55] The volume by Frances Stonor Saunders,^{[ commendation needed ]} The Cultural Cold War—The CIA and the Globe of Arts and Letters,^[56] (published in the UK equally Who Paid the Piper?: CIA and the Cultural Common cold 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 chief of the CIA's International Organizations Partition (IOD) and ex-executive secretary of the Museum of Modern Art said in an interview, "I recollect it was the most of import division that the bureau had, and I think that information technology played an enormous role in the Cold War."^[57]

Against this revisionist tradition, an essay by Michael Kimmelman, chief art critic of The New York Times, called Revisiting the Revisionists: The Modern, Its Critics and the Cold War, argues that much of that information apropos what was happening on the American art scene during the 1940s and 50s, equally well as the revisionists' interpretation of it, is flatly fake or, at all-time, decontextualized, reverse to the revisionists' avowed historiographic principles.^[58] Other books on the subject include Art in the Common cold War, by Christine Lindey, which besides describes the art of the Soviet Matrimony at the aforementioned time, and Pollock and After, edited by Francis Frascina, which reprinted the Kimmelman commodity.

Consequences [edit]

Jean-Paul Riopelle, 1951, Untitled, oil on sail, 54 ten 64.7 cm (21 ane/4 ten 25 1/ii in.), private collection

Canadian painter Jean-Paul Riopelle (1923–2002), a member of the Montreal-based surrealist-inspired group Les Automatistes, helped introduce a related fashion of abstract impressionism to the Parisian fine art globe from 1949. Michel Tapié's groundbreaking book, United nations Fine art Autre (1952), was also enormously influential in this regard. Tapié was also a curator and exhibition organizer who promoted the works of Pollock and Hans Hofmann in Europe. By the 1960s, the motion'southward initial effect had been assimilated, yet its methods and proponents remained highly influential in art, affecting greatly the work of many artists who followed. Abstract expressionism preceded Tachisme, Color Field painting, Lyrical Abstraction, Fluxus, Pop 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 direct responses to, and rebellions against abstruse expressionism began with Hard-edge painting (Frank Stella, Robert Indiana and others) and Popular artists, notably Andy Warhol, Claes Oldenburg and Roy Lichtenstein who achieved prominence in the Usa, accompanied past Richard Hamilton in United kingdom of great britain and northern ireland. Robert Rauschenberg and Jasper Johns in the US formed a bridge between abstract expressionism and Pop fine art. Minimalism was exemplified by artists such every bit Donald Judd, Robert Mangold and Agnes Martin.

However, many painters, such as Jules Olitski, Joan Mitchell and Antoni Tàpies continued to work in the abstract expressionist style for many years, extending and expanding its visual and philosophical implications, as many abstract artists proceed to do today, in styles described as Lyrical Abstraction, Neo-expressionist and others.

In the years later on World War Ii, a group of New York artists started one of the first true schools of artists in America, bringing about a new era in American artwork: abstract expressionism. This led to the American art nail that brought almost styles such as Pop Art. This also helped to make New York into a cultural and artistic hub.^[59]

Abstract Expressionists value the organism over the static whole, condign over being, expression over perfection, vitality over terminate, fluctuation over repose, feeling over formulation, the unknown over the known, the veiled over the articulate, the private over society and the inner over the outer.^[60]

—William C. Seitz, American creative person and Art historian

Major sculpture [edit]

• 

• 

• 

List of abstract expressionists [edit]

Abstract expressionist artists [edit]

Meaning artists whose mature work defined American abstract expressionism:

Other artists [edit]

Significant artists whose mature piece of work relates to the American abstract expressionist motion:

See also [edit]

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

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

[edit]

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

References [edit]

1. ^ Editors of Phaidon Press (2001). The 20th-Century art book (Reprinted. ed.). London: Phaidon Press. ISBN0714835420.
2. ^ Hess, Barbara; "Abstract Expressionism", 2005
3. ^ Andreas Neufert, Auf Liebe und Tod, Das Leben des Surrealisten Wolfgang Paalen, Berlin (Parthas) 2015, S. 494ff.
4. ^ Barnett Newman Foundation, annal eighteen/103
5. ^ Shapiro, David/Cecile (2000), "Abstract Expressionism: The politics of apolitical painting." pp. 189–190 In: Frascina, Francis (2000–one): Pollock and After: The Critical Debate. 2nd ed. London: Routledge
6. ^ Catherine de Zegher and Hendel Teicher (eds.). 3 10 Abstraction. NY: The Drawing Heart and /New Haven: Yale University Printing. 2005.
7. ^ Serge Guilbaut. How New York Stole the Thought of Modern Art, University of Chicago Press, 1983.
8. ^ Marika Herskovic, Americancan Abstract Expressionism of the 1950s An Illustrated Survey, (New York School Printing, 2003.) ISBN 0-9677994-1-4 pp12–xiii
9. ^ ^{a b} Marika Herskovic, New York School Abstract Expressionists Artists Selection by Artists (New York School Press, 2000.) ISBN 0-9677994-0-half dozen p.11–12
10. ^ Abstruse Expressionism, by Barbara Hess, Taschen, 2005, back embrace
11. ^ Thomas B. Hess, "Willem de Kooning", George Braziller, Inc. New York, 1959 p.xiii
12. ^ Tomkins, Calvin. Off the Wall: A Portrait of Robert Rauschenberg [Deckle Edge] [Paperback], p. v. Publisher: Picador; Revised and Updated edition (November 29, 2005) ISBN 0-312-42585-half dozen
13. ^ Barnett Newman Selected Writings and Interviews, (ed.) by John P. O'Neill, pp. 240–241, University of California Press, 1990
14. ^ Barnett Newman Selected Writings Interviews, p. 201.
15. ^ Clement Greenberg, "Art and Culture Disquisitional essays", ("The Crisis of the Easel Picture show"), Beacon Press, 1961 pp.: 154–57
16. ^ Harold Rosenberg, The Tradition of the New, Chapter 2, "The American Action Painter", pp.23–39
17. ^ Jean Dubuffet: L'Art brut préféré aux arts culturels [1949](=engl in: Art brut. Madness and Marginalia, special issue of Art & Text, No. 27, 1987, p. 31-33)
18. ^ Museum, Solomon R. Guggenheim (December 23, 1953). Younger European painters, a option.: [Exhibition] December ii, 1953 to Feb 21, 1954. OL 22161138M – via The Open Library.
19. ^ Willem de Kooning (1969) by Thomas B. Hess
20. ^ ^{a b c} Dorment, Richard. "Arshile Gorky: A Retrospective at Tate Modernistic, review", The Daily Telegraph, February 8, 2010. Retrieved May 24, 2010.
21. ^ Art Daily Archived December 27, 2011, at the Wayback Auto retrieved May 24, 2010
22. ^ "L.A. Art Collector Caps Two Twelvemonth Pursuit of Artist with Exhibition of New Work", ArtDaily. Retrieved May 26, 2010. "Lyrical Abstraction ... has been practical at times to the piece of work of Arshile Gorky"
23. ^ "Arshile Gorky: A Retrospective", Tate, February 9, 2010. Retrieved June five, 2010.
24. ^ Van Siclen, Bill. "Art scene by Pecker Van Siclen: Part-time faculty with full-fourth dimension talent" Archived June 22, 2011, at the Wayback Automobile, The Providence Journal, July 10, 2003. Retrieved June x, 2010.
25. ^ Chaet, Bernard (1980). "The Boston Expressionist School: A Painter's Recollections of the Forties". Archives of American Art Periodical. The Smithsonian Institution. 20 (i): 28. doi:x.1086/aaa.xx.1.1557495. JSTOR 1557495. S2CID 192821072. [Thomas] Hess's favorite painter, Willem de Kooning...made it very clear to me in a conversation in 1954 that he and Jackson Pollock considered Bloom, whom they had discovered in Americans 1942, 'the get-go Abstruse Expressionist creative person in America.'"
26. ^ Hans Hofmann.org/1940-1949,
27. ^ Appignanesi, Richard, et al., Introducing Postmodernism, Ikon Books, Cambridge, Britain, 2003, p. thirty
28. ^ Nochlin, Linda, Ch.1 in: Women Artists at the Millennium (edited by C. Armstrong and C. de Zegher) MIT Press, 2006.
29. ^ Pollock, Griselda, Encounters in the Virtual Feminist Museum: Fourth dimension, Space and the Archive. Routledge, 2007.
30. ^ De Zegher, Catherine, and Teicher, Hendel (eds.), iii X Abstraction. New Haven: Yale Academy Press. 2005.
31. ^ McNeil, George (2008). George McNeil.
32. ^ "Janis Gallery abstract". New York Mag. January 31, 1972. Retrieved 2016-03-20 .
33. ^ Summers, Claude J. (2004). The Queer Encyclopedia of the Visual Arts. ISBN9781573441919.
34. ^ Scott, William B.; Rutkoff, Peter M. (Baronial 24, 2001). New York Modern. ISBN9780801867934.
35. ^ Rosenberg, Harold. "The American Action Painters". poetrymagazines.org.uk. Retrieved August 20, 2006.
36. ^ based (very) loosely on a lecture past Fred Orton at the Uni of Leeds and H. Geldzahler, New York Painting and Sculpture: 1940–1970, NY 1969
37. ^ "International Paintings and Sculpture – Adult female V". nga.gov.au . Retrieved 2016-03-xx .
38. ^ "Painting Number two at MoMA".
39. ^ Keane, Tim (March 16, 2013). "Painting at the Speed of Sight: Franz Kline's Rapid Transit". Hyperallergic.
40. ^ "Fine art History Definition: Action Painting". ThoughtCo . Retrieved 2018-05-04 .
41. ^ "Franz Kline, Number 2 (1954), Museum of Modern Art, New York".
42. ^ Rudolf Arnheim, The Power of the Center: A Written report of Composition in the Visual Arts, University of California Press, 1983, pp. 71–72, ISBN 0520050150
43. ^ Willette, Jeanne. "Abstract Expressionism: Redefining Art, Part 1 | Art History Unstuffed".
44. ^ Metropolitan Museum of Art Heilbrunn Timeline of Art History, Abstruse Expressionism
45. ^ Metropolitan Museum of Fine art
46. ^ "Robert Motherwell. Elegy to the Spanish Republic, 108. 1965-67 | MoMA". The Museum of Modern Art.
47. ^ The Aldrich Museum of Contemporary Art, Lyrical Brainchild, exhibition: April 5 through June 7, 1970, Statement of the exhibition
48. ^ MoMA Learning. "What is Abstruse Expressionism: Mark Rothko". Retrieved Feb 28, 2014.
49. ^ Pollock #12 1952 at NY State Mall project Archived March 13, 2014, at the Wayback Car Retrieved May 6, 2011
50. ^ 'Color Field' Artists Found a Different Mode Retrieved August iii, 2010
51. ^ Fenton, Terry. "Morris Louis". sharecom.ca. Retrieved Dec viii, 2008
52. ^ De Antonio, Emile (1984), Painters Painting, a Candid History of The Modern Fine art Scene 1940–1970 , Abbeville Press, p. 79, ISBN0-89659-418-ane
53. ^ Carmean, E. A. (1989), Helen Frankenthaler: A Paintings Retrospective (Exhibition Catalog), in conjunction with The Museum of Modern Art, Fort Worth, Harry N. Abrams, pp. 12–twenty, ISBN0-8109-1179-5
54. ^ Aldrich, Larry. Young Lyrical Painters, Art in America, v.57, n6, November–December 1969, pp.104–113.
55. ^ CIA and AbEx Retrieved Nov 7, 2010
56. ^ "Worldcatlibraries.org". Worldcatlibraries.org. Retrieved April 25, 2012.
57. ^ Modern Art was a CIA 'Weapon' Retrieved September four, 2013
58. ^ Kimmelman, Michael; Frascina, Francis, ed. (2000). "Revisiting the Revisionists: The Modern, Its Critics and the Cold War". Pollock and After: The Disquisitional Contend. Psychology Printing. pp. 294–306. ISBN9780415228664.
59. ^ "Abstruse Expressionist New York". MoMA. Retrieved March 22, 2012.
60. ^ Dore Ashton, American Art Since 1945, Oxford University Press, 1982, p. 37, ISBN 0195203593
61. ^ "Charles Henry Alston - Biography". world wide web.askart.com.
62. ^ ^{a b c d e f g h i j k l yard n o p q} Marika Herskovic, New York School Abstruse Expressionists Artists Choice past Artists, (New York School Press, 2000), ISBN 0-9677994-0-6
63. ^ ^{a b c d e f} Metropolitan Museum of Art, Heilbrunn Timeline of History
64. ^ Cotter, Holland (February 6, 1999). "Norman Bluhm Is Expressionless at 78; Abstract Expressionist Painter (Published 1999)". The New York Times.
65. ^ "EXHIBIT PREVIEW: Rediscovering David Budd: The Forgotten Abstruse Expressionist". ticket.heraldtribune.com.
66. ^ "Hans Burkhardt, 89, An Abstract Painter (Published 1994)". The New York Times. Associated Printing. Apr 24, 1994.
67. ^ "Jack Bush-league Online". world wide web.artcyclopedia.com.
68. ^ "Lawrence Calcagno Online". www.artcyclopedia.com.
69. ^ "Alexander Calder | Creative person". ArtFacts.
70. ^ Kennedy, Randy (Dec 22, 2011). "John Chamberlain, Who Wrested Rough Magic From Scrap Metal, Dies at 84 (Published 2011)". The New York Times.
71. ^ "Jean Dubuffet: The Last Two Years by Donald Kuspit - artnet Magazine". www.artnet.com.
72. ^ ^{a b} "New York Absurd: Painting and Sculpture from the NYU Fine art Collection". Gray Art Gallery.
73. ^ Carol Vogel, Works by Johns and de Kooning Sell for $143.5 Meg, The New York Times, October 12, 2006
74. ^ Artdaily
75. ^ "Robert de [sic] Niro Sr. Online". www.artcyclopedia.com.
76. ^ Kimmelman, Michael (March 31, 1993). "Richard Diebenkorn, Lyrical Painter, Dies at 71 (Published 1993)". The New York Times.
77. ^ "Aurora". www.nga.gov.
78. ^ "James Budd Dixon | Widewalls". www.widewalls.ch.
79. ^ New York Schoolhouse Abstract Expressionists Artists Choice by Artists, (New York School Press, 2000.) ISBN 0-9677994-0-six pp.20–21
80. ^ "Herbert Ferber Online". www.artcyclopedia.com.
81. ^ "John Ferren Online". www.artcyclopedia.com.
82. ^ ^{a b} Brooks, Katherine (June 28, 2016). "12 Women Of Abstruse Expressionism History Should Not Forget". HuffPost.
83. ^ Wood, Jim (October 2007). "Sam Francis: The internationally acclaimed abstract expressionist spent his final days in West Marin". Marin Magazine. Archived from the original on June 12, 2008.
84. ^ "Artist Showdown: Jane Frank".
85. ^ Feaver, William. "The mysterious art of Arshile Gorky", The Guardian, February six, 2010. Retrieved June 10, 2010.
86. ^ "Adolph Gottlieb | artnet". world wide web.artnet.com.
87. ^ "Morris Graves Online". www.artcyclopedia.com.
88. ^ "Cleve Grey Online". www.artcyclopedia.com.
89. ^ "Philip Guston 1913–1980". Tate.
90. ^ Smith, Roberta (February 18, 1993). "Raoul Hague, Sculptor, 88, Dies; Abstract Expressionist in Wood (Published 1993)". The New York Times.
91. ^ "David Hare; Sculptor, Painter". Los Angeles Times. December 28, 1992.
92. ^ Grimes, William (2008-xi-18). "Grace Hartigan, 86, Abstract Painter, Dies". The New York Times. ISSN 0362-4331. Retrieved 2018-02-17 .
93. ^ "THE Artist". HANS HOFMANN.
94. ^ "UB Anderson Gallery to Present John Hultberg: Vanishing Betoken". www.buffalo.edu.
95. ^ Kennedy, Randy (June 17, 2012). "Paul Jenkins, Painter of Abstract Artwork, Dies at 88 (Published 2012)". The New York Times.
96. ^ https://world wide web.metmuseum.org/fine art/collection/search/485379
97. ^ Bakery, Kenneth (March 30, 2009). "Walter Kuhlman dies - abstract expressionist". SFGATE.
98. ^ "Ibram Lassaw Online". world wide web.artcyclopedia.com.
99. ^ Sobieski, Elizabeth (Apr 3, 2014). "Alfred Leslie: The Last of the Actually Great Abstract Expressionists, Now a Master of 21st Century Digital Art". HuffPost.
100. ^ "Norman Lewis / American Art". americanart.si.edu . Retrieved 2015-06-04 .
101. ^ "ABSTRACT EXPRESSIONISM: HUMANOID SCULPTURE FROM THE tertiary DIMENSION". Los Angeles Times. January 13, 1985.
102. ^ James, George (December 7, 1986). "SEYMOUR LIPTON DIES; A SELF-TAUGHT SCULPTOR (Published 1986)". The New York Times.
103. ^ Jesse Hamlin, 'Frank Lobdell, influential Bay Area painter, dies', SF Gate, Thursday, 19 December 2013; retvd. 29 July 2014
104. ^ "Morris Louis".
105. ^ Kimmelman, Michael (August 31, 2000). "Conrad Marca-Relli, Collagist and Painter, Is Expressionless at 87 (Published 2000)". The New York Times.
106. ^ "Roosevelt Plant".
107. ^ "Hugh Mesibov Biography". hughmesibov.com.
108. ^ Herskovic, Marika, New York school : abstract expressionists : artists option by artists: a complete documentation of the New York painting and sculpture annuals, 1951-1957, New Jersey: New York School Printing, 2000, p.253
109. ^ Brenson, Michael (November 3, 1989). "Review/Art; An Art of Motion: Joan Mitchell'south Abstract Expressionism". The New York Times . Retrieved November 23, 2012.
110. ^ Glueck, Grace (July eighteen, 1991). "Robert Motherwell, Master of Abstract, Dies (Published 1991)". The New York Times.
111. ^ "Read the Latest from the Broad Strokes Blog".
112. ^ Temkin, Ann (March one, 2002). "A Giant Zip for Mankind".
113. ^ "ArtAsiaPacific: Abstract Expressionism Looking Eastward From The Far Westward". artasiapacific.com.
114. ^ "The Phillips Collection".
115. ^ "John Opper, 85, Abstract Painter (Published 1994)". The New York Times. October 7, 1994.
116. ^ Helen Harrison (2002-12-08). "Arts & Entertainment: Art Reviews; Landscapes of Fantasy, and a Devotion to Color 'Three East End Artists'". The New York Times. New York, New York. p. LI21. This trunk of her piece of work has not been seen in depth for many years, and it confirms her status equally a New York School abstractionist of the first rank. Seldom does a painter take such control over intense color – for example ion 'No.vi (Montauk),' in which the sharpness of complementary contrasts is subtly muted and harmonized. Complex interactive layering animates the painted surfaces, which oft muffle as much every bit they reveal. Organic and calligraphic shapes jockey for position, withal are held firmly in place by implicit structure. These are not mere virtuoso formal exercises, all the same; their emotional undercurrents are as strong as their technical qualities.
117. ^ "Untitled » Norton Simon Museum". www.nortonsimon.org.
118. ^ "You are existence redirected..." ctstatelibrary.org.
119. ^ "Advertisement Reinhardt | Smithsonian American Art Museum". americanart.si.edu.
120. ^ Smith, Roberta (March 19, 2004). "Milton Resnick, Abstract Expressionist Painter, Dies at 87 (Published 2004)". The New York Times.
121. ^ Johnson, Ken (July 21, 2002). "George Rickey, Sculptor Whose Works Moved, Dies at 95 (Published 2002)". The New York Times.
122. ^ "Jean-Paul Riopelle, 78; Canadian Abstract Expressionist Painter". Los Angeles Times. March 16, 2002.
123. ^ "Britannica".
124. ^ Zenobia Grant Wingate. "Ralph Rosenborg". Caldwell Gallery . Retrieved 2019-06-eighteen .
125. ^ Dudar, Helen. "Picturing the American Century". Smithsonian Magazine.
126. ^ "Anne Ryan". The New Yorker.
127. ^ Grimes, William (October 9, 2009). "Charles Seliger, Abstract Expressionist, Dies at 83 (Published 2009)". The New York Times.
128. ^ "David Smith | Widewalls". www.widewalls.ch.
129. ^ "The Phillips Collection". Archived from the original on May seven, 2015. Retrieved July 12, 2018.
130. ^ "Richard Stankiewicz Online". world wide web.artcyclopedia.com.
131. ^ "Joe Stefanelli | InLiquid". October 28, 1989.
132. ^ Art Daily, Hedda Sterne, America's Last Original Abstract Expressionist and Sole Adult female in the Group, Dies Retrieved April 10, 2011
133. ^ "Clyfford Still". The Phillips Drove. Archived from the original on January 22, 2010. Retrieved 21 Oct 2014.
134. ^ "Sausalito historical society".
135. ^ "Alma Thomas: an abstract expressionist and black artist, who fiercely resisted any labels". America Magazine. September 22, 2016.
136. ^ "Marking Tobey Biography - Infos for Sellers and Buyers". www.mark-tobey.com.
137. ^ "Phillips Drove". Archived from the original on December xiii, 2017. Retrieved July vii, 2018.
138. ^ Matt Schudel (July 6, 2011), Cy Twombly, influential Va.-born abstruse artist, dies at 83 Washington Post.
139. ^ "Jack Tworkov | artnet". www.artnet.com.
140. ^ SMITH, ROBERTA (2001-01-12). "Esteban Vicente Dies at 97; An Abstract Expressionist". The New York Times . Retrieved May 1, 2010.
141. ^ "Untitled (Stack) by Peter Voulkos" (Feb i, 2012). De Young Museum. deyoung.famsf.org. Retrieved 2017-01-02.
142. ^ "A adult female painting in a human's earth". Orange County Register. 9 June 2010. Retrieved 2 Nov 2014.
143. ^ "John von Wicht, Painter, Expressionless; His Works in Leading Museums (Published 1970)". The New York Times. January 23, 1970.
144. ^ "Hale Woodruff | Smithsonian American Fine art Museum". americanart.si.edu.
145. ^ "Emerson Woelffer | artnet". www.artnet.com.
146. ^ Marika Herskovic, New York Schoolhouse Abstruse Expressionists Artists Option by Artists, (New York School Printing, 2000.) ISBN 0-9677994-0-half dozen. p. 33; p. 39; p. 378–381
147. ^ "A Family of Artists: Yektai Father and Sons Share Gallery Space at Gild Hall | Hamptons Art HubHamptons Art Hub". hamptonsarthub.com. Dec 8, 2017.
148. ^ "Mino Argento" Betty Parsons Gallery. Arts magazine – Volume 52, Office one – Page 13
149. ^ Pattan, S. F. (1998) African American Art, New York: Oxford Academy Press

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: Mode Is Timely Fine art Is Timeless (New York School Press, 2009.) ISBN 978-0-9677994-2-1
• Marika Herskovic, American Abstract Expressionism of the 1950s An Illustrated Survey, (New York School Printing, 2003.) ISBN 0-9677994-i-four
• Marika Herskovic, New York School Abstract Expressionists Artists Selection past Artists, (New York School Press, 2000.) ISBN 0-9677994-0-half-dozen
• Papanikolas, Theresa and Stephen Salel, Stephen, Abstract Expressionism, Looking East from the Far Due west, Honolulu Museum of Art, 2017, ISBN 9780937426920
• Serge Guilbaut. How New York Stole the Idea of Modern Fine art, University of Chicago Press, 1983.

Bibliography [edit]

• Anfam, David. Abstruse Expressionism—A Globe Elsewhere. New York: Haunch of Venison, 2008, Haunchofvenison.com
• Greenberg, Cloudless. "'American-Blazon' Painting". In Art and Culture: Critical Essays. Boston: Buoy Press, 1961. 208–29.
• Jachec, Nancy. The Philosophy and Politics of Abstract Expressionism 1940–1960. Cambridge University Press: Cambridge, 2000 ISBN 0-521-65154-ix
• O'Connor, Francis 5. 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 letters (New York: New Press: Distributed by W.Due west. Norton & Co., 2000) ISBN 1-56584-596-X
• 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-ix-5.

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 activity painting on YouTube
• James Brooks Abstract Expressionist painter 1906–1992
• James Brooks Abstract Expressionsim-New York School 1950s on YouTube
• American Abstract Artists
• Beginning of the New York Schoolhouse 1950s-Abstract Expressionism of the 1950s on YouTube
• Clyfford Yet Museum
• Abstract expressionism 1950s-New York School 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 9th St. Show on YouTube
• Conrad Marca-Relli Abstruse Expressionism 1950s-New York School collage-painter on YouTube
• Robert Richenburg Abstruse Expressionism 1950s-New York School 1950s on YouTube
• Joe Stefanelli Abstract Expressionism 1950s-New York School 1950s on YouTube
• What is Abstract Expressionism? on YouTube

cornereimstand.blogspot.com

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

Share this post