Describe Two Reasons the Center of the Art World Moved From Paris to New York in 1940 Be Specific

The Development of Abstract Expressionism

Abstruse expressionism was an American, post–World War Ii fine art move.

Learning Objectives

Explain the abstract expressionist motility of the 1940s

Fundamental Takeaways

Primal Points

• Abstract expressionism has an image of beingness rebellious, anarchic, highly idiosyncratic, and nihilistic. In practice, the term is applied to any number of artists working (mostly) in New York who had quite different styles, and fifty-fifty to work that is neither especially abstract nor expressionist.
• Although it is true that spontaneity or the impression of spontaneity characterized many of the abstract expressionists works, nigh of these paintings involved careful planning, particularly since their large size demanded it.
• Abstruse 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.

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 Two art move. Although the term abstract expressionism was offset applied to American art in 1946 by the fine art critic Robert Coates, it had been used previously in Frg'southward Der Sturm mag in 1919.

Abstract expressionism is derived from the combination of the emotional intensity and self-denial of the German expressionists with the anti-figurative aesthetic of the European abstract schools, such every bit futurism, the Bauhaus, and synthetic cubism. Additionally, it has an image of existence rebellious, anarchic, highly idiosyncratic, and nihilistic. In practice, the term is applied to whatever number of artists who worked (mostly) in New York during the 1940s.

Abstruse expressionism has many stylistic similarities to the Russian artists of the early 20th century, such every bit Wassily Kandinsky. Although information technology is true that spontaneity or the impression of spontaneity characterized many of the abstruse expressionists' works, in reality almost of these paintings involved careful planning, especially since their big size demanded it. In many instances, abstract art implied the expression of ideas that business 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 cosmos of new works of fine art. Although abstract expressionism spread apace throughout the Us, the major centers of this style were New York and California. Abstruse 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 (equally opposed to the center being of more interest than the edges).

No. 5: Jackson Pollock is known for his techniques in action painting, a style of abstract expressionism in which paint is spontaneously dribbled, splashed, or smeared onto the sail, rather than beingness 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 tearing and grotesque Women series of Willem de Kooning. In contrast to the emotional free 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, flat areas of color, which these artists considered to be the essential nature of visual brainchild, along with the actual shape of the sheet. In after years, color-field painting has proven to be both sensual and deeply expressive, albeit in a dissimilar way from gestural abstract expressionism.

New York

During the period leading up to and during Earth War Two, modernist artists, writers, and poets, also 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 as the new center of the fine art world.

The 1940s in New York City heralded the triumph of American abstract expressionism—a modernist motion that combined lessons learned from Henri Matisse, Pablo Picasso, Surrealism, Joan Miró, Cubism, Fauvism, and early Modernism via the neat teachers who arrived in America, like Hans Hofmann from Germany and John D. Graham from Russia.

Graham's influence on American art during the early 1940s was particularly visible in the piece of work of Arshile Gorky, Willem de Kooning, and Jackson Pollock. Gorky'southward contributions to American and world art are difficult to overestimate. His works—such every bit The Liver is the Erect'south Rummage, The Betrothal 2, and Ane Year the Milkweed—immediately prefigured abstract expressionism.

Jackson Pollock

During the belatedly 1940s, Jackson Pollock's radical approach to painting revolutionized the potential for all gimmicky art that followed him. To some extent, Pollock realized that the journeying toward making a work of fine art was as important as the work of fine art itself.

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's process—the placing of unstretched raw canvas on the floor where it could be attacked from all four sides using artist materials and industrial materials—substantially took making fine art across any prior boundary.

Jackson Pollock and Action Painting

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

Learning Objectives

Describe Jackson Pollock's method of action painting

Key Takeaways

Central Points

• Action painting was developed as function of the abstruse expressionism motility that took identify in post–Globe War II America, especially in New York, during the 1940s through until the early on 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 by using synthetic, resin-based paints, laying his sheet on the floor, and using hardened brushes, sticks, and even basting syringes to apply paint.

Key Terms

• abstract: Art that does not depict objects in the natural earth, but instead uses color and form in a non-representational fashion.
• artful: Concerned with dazzler, artistic impact, or appearance.

Action Painting

Activeness painting is a mode of painting in which paint is spontaneously dribbled, splashed, or smeared onto the canvas, rather than beingness carefully applied with a brush. The resulting piece of work often emphasizes the physical act of painting itself equally an essential attribute of the finished work.

Activeness painting is inextricably linked to abstract expressionism, a school of painting popular in post-World War II America that was characterized past the view that art is non-representational and chiefly improvisational. The major artists associated with this movement are Jackson Pollock, Willem de Kooning, Robert Motherwell, Franz Kline, and Marking Rothko, among others.

The term activeness painting was coined by the American fine art critic Harold Rosenberg in 1952 in his essay The American Action Painters, signaling a major shift in the aesthetic perspective of the New York School painters and critics. According to Rosenberg, the sheet was not an object, but rather "an arena in which to act. "

Rosenberg's critique shifted the emphasis from the object to the struggle of painting itself, with the finished work existence merely the physical manifestation, a kind of remainder, of the bodily work of art, which was in the process of the painting's creation.

Activeness painting refers to the spontaneous activity that was the action of the painter—through arm and wrist move, painterly gestures— and led to pigment that was thrown, splashed, stained, splattered, poured, and dripped. The painter would sometimes let the paint drip onto the sheet while rhythmically dancing or fifty-fifty 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 sheet to the hard wall or the floor. I demand the resistance of a hard surface. On the floor I am more at ease. I experience nearer, more than part of the painting, since this style I can walk around it, work from the iv sides, and literally be in the painting.

Born in Cody, Wyoming in 1912, Jackson Pollock moved to New York City 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 every bit the Pollock-Krasner House and Studio in the Springs surface area of East Hampton, Long Island, NY.

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

Materials and Process

Later his move to Springs, he began painting with his canvases laid out on the studio floor, 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 employ of household paints, instead of fine art paints, every bit "a natural growth out of a need."

He used hardened brushes, sticks, and fifty-fifty basting syringes as paint applicators. By defying the convention of painting on an upright surface, he added a new dimension by being able to view and utilise pigment to his canvases from all directions—the term all-over painting has been used to describe some of his piece of work, likewise as the work of other artists from that time.

In the process of making paintings in this way, he moved away from figurative representation, and challenged the Western tradition of using easel and brush. In addition, he also moved away from the use of just the paw 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 finish 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 activity paintings have been oft described as improvisational works of art, similar to how jazz musicians approach the functioning of a piece.

Decease

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

In response to this pressure, along with personal frustration, his long-term trouble with alcoholism worsened. He painted his two last works in 1955. On August eleven, 1956, Pollock died in a unmarried-car crash in his Oldsmobile convertible while driving nether the influence of alcohol.

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

Color-Field Painting

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

Learning Objectives

Differentiate color-field painting from other contemporary abstruse art such equally abstruse expressionism

Key Takeaways

Fundamental Points

• Color-field painting is a style of abstract painting that emerged in New York Metropolis during the 1950s and 1960s. Information technology is closely linked to abstract expressionism, mail-painterly abstraction, and lyrical abstraction.
• Distinct from the emotional energy and gestural surface marks and paint handling seen in the piece of work of abstract expressionists similar Jackson Pollock, color-field painting came across as cool and austere.
• The move places less emphasis on gesture, brushstrokes, and action in favor of an overall consistency of form and process, with color itself becoming the subject area matter.
• Marker Rothko, Frank Stella, Clyfford Still, Barnett Newman, Adolph Gottlieb, and Morris Louis are among the many artists who used color-field techniques in their piece of work.
• Colour-field painters revolutionized the way paint could be finer applied, through their use of acrylic paint and techniques such every bit staining and spraying.

Primal Terms

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

Color-Field Painting

Color-field painting is a style of abstract 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 abstruse expressionists.

Color-field is characterized primarily by its use of big fields of flat, solid color spread across or stained into the canvas to create areas of unbroken surface and a flat picture plane. The movement places less emphasis on gesture, brushstrokes, and action than abstract expressionism, favoring instead an overall consistency of form and process, with color itself becoming the subject thing.

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

1. Abstract expressionism.
2. Post-painterly abstraction.
3. Lyrical abstraction.

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

Clement Greenberg

The focus of attention in the contemporary art world began to shift from Paris to New York after World War Ii and the development of American Abstruse Expressionism. During the belatedly 1940s and early 1950s, Cloudless Greenberg was the beginning art critic to suggest and identify a dichotomy between differing tendencies within the abstruse expressionist catechism—especially betwixt action painting and what Greenberg termed post-painterly abstraction (today known as color-field).

Color-Field Formats

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

Color-field painting initially referred to a item blazon of abstract expressionism, exemplified particularly in the work of Marker Rothko, Clyfford However, Barnett Newman, Robert Motherwell, Adolph Gottlieb and several series of paintings past Joan Miró.

Color-field painting sought to rid fine art of superfluous rhetoric and gesture. Artists like Morris Louis, Jules Olitski, Kenneth Noland, Friedel Dzubas, and Frank Stella frequently 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 color, as the most important element.

Harran II: During the late 1950s and early on 1960s, Frank Stella was a significant effigy in the emergence of minimalism, post-painterly abstraction, and colour-field painting. His shaped canvases of the 1960s revolutionized abstract painting, such as this one from 1967.

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

Who'southward Afraid of Red, Xanthous and Blueish?: The flat, solid moving-picture show plane that is typical of color-field paintings is evident in this 1966 piece by Barnet Newman, where the color carmine takes centre phase.

An important distinction between color-field painting and abstruse expressionism is the fashion paint is handled. The most basic defining technique of painting is the application of paint, and the colour-field painters revolutionized the way paint could be effectively applied.

Water-soluble, creative person-quality acrylic paints offset became commercially bachelor in the early on 1960s, coinciding with the colour-field movement. The most mutual applications were:

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

Colour-field painting initially appeared to be cool and austere due to these methods of handling pigment that tended to eschew the individual mark of the artist. However, color-field painting has proven to exist both sensual and deeply expressive, albeit in a dissimilar style from gestural abstract expressionism.

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

The New York School

The New York Schoolhouse was an informal group of American abstract painters and other artists that was active in the 1950s and 1960s.

Learning Objectives

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

Key Takeaways

Key Points

• The New York Schoolhouse was an informal group of abstruse painters and other artists in NYC though information technology has become associated most with the abstract expressionist movement. Although abstruse expressionism spread quickly throughout the United states of america, the major centers of this style were New York City and California.
• New York School 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 almanac exhibitions of painting and sculpture from 1951–1957, nearly notably in the ninth Street Art Exhibition.
• In add-on to painting, the New York Schoolhouse was associated with many poets, dancers, composers, jazz musicians, and writers.

Key Terms

• surrealism: An artistic motility and an aesthetic philosophy, pre-dating abstract expressionism, that aims for the liberation of the mind by emphasizing the critical and imaginative powers of the hidden.
• GI Bill: The Servicemen'southward Readjustment Act of 1944, known informally as the GI Bill, was a law that provided a range of benefits for returning Earth War Two veterans (unremarkably referred to as GIs).
• abstract expressionism: An American genre of modern fine art that used improvised techniques to generate highly abstract forms.

The New York Schoolhouse

The New York School was an informal group of American poets, painters, dancers, and musicians that was active in the 1950s and 1960s in New York City. It represented, and is often synonymous with, the art move 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 gimmicky, avant-garde art movements, in particular action painting, abstract expressionism, jazz, improvisational theater, experimental music, and the interaction of friends in the New York Urban center fine art earth's vanguard circle.

No. five: Jackson Pollack is known for his techniques in action painting, a style of abstruse expressionism in which paint is spontaneously dribbled, splashed or smeared onto the canvas, rather than advisedly practical, such every bit this 1 done in 1948.

Woman Five: Willem de Koonig was an influential abstract expressionist painter.

Abstruse Expressionism

A school of painting that flourished later on Globe War 2 until the early 1960s, abstruse expressionism is characterized by the view that art is non-representational and importantly improvisational. Abstract expressionist paintings share certain characteristics, including the use of big canvases, and an all-over approach whereby the whole canvass is treated with equal importance (as opposed to the centre beingness of more involvement than the edges). The sheet as the arena became a credo of action painting, while the integrity of the film plane became a credo of the colour-field painters.

The mail-World War 2 era benefited some of the artists who were recognized early on by fine art critics. Some artists from New York, such equally Norman Bluhm and Sam Francis, took reward of the GI Bill and left for Europe, to return afterwards with acclamation.

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

9th Street Art Exhibition

The 9th Street Art Exhibition was held on May 21–June ten, 1951. Information technology was a historical, ground-breaking exhibition that gathered a number of notable artists, and information technology was the stepping-out of the mail-war New York avant-garde, collectively known as the New York School.

The prove was hung past Leo Castelli, as he was liked past most of the artists and thought of as someone who would hang the exhibition without favoritism. The opening of the show was a swell success. According to the critic, historian, and curator Bruce Altshuler, "It appeared equally though a line had been crossed, a step into a larger art world whose future was vivid with possibility."

Interdisciplinary Influences in the New York School

In addition to painting, the New York School 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 City art world similar 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 earth. The new bebop and cool jazz musicians in the 1940s and 1950s (such as Charlie Parker, Miles Davis, John Coltrane, and Gerry Mulligan) coincided with the New York School and abstract expressionism.

There are also commonalities among the New York Schoolhouse and members of the shell-generation poets who were active in the 1940s, 1950s, and 1960s in New York City, including Allen Ginsberg, Jack Kerouac, William S. Burroughs, Diane Wakoski, and several others.

Abstract Expressionist Sculpture

During the postwar menstruation, many sculptors made work in the prevalent styles of the fourth dimension: abstract expressionism, minimalism and popular art.

Learning Objectives

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

Cardinal Takeaways

Key Points

• Abstract expressionist sculpture was greatly influenced by surrealism and its emphasis on spontaneous or subconscious cosmos.
• Minimalist sculptures 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 oftentimes characterized by geometric, cubic forms, equality of parts, repetition, neutral surfaces, and the utilize of industrial materials.
• The sculptors Claes Oldenburg and George Segal were important proponents of popular art in their apply of found-objects and how they reproduced everyday commercial objects as fine art.

Key Terms

• pop art: An art movement that emerged in the 1950s, that presented a challenge to traditions of fine art past including imagery from popular civilization such as advertising, news, etc.
• found object: A natural object, or one manufactured for another purpose, considered as part of a piece of work of art.

Abstract 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 abstruse expressionist painting, sculptural piece of work from the movement was greatly influenced by surrealism and its emphasis on spontaneous or hidden cosmos. Abstruse expressionist sculpture, similar painting from the movement, was more than interested in process than product, which tin go far difficult to visually distinguish works by aesthetics alone, so it is important to take into business relationship what the creative person has to say nearly their process.

The sculptures of David Smith, for case, sought to express ii-dimensional subjects that had never before been shown in three dimensions. His work blurred the distinctions between sculpture and painting, generally making use of frail tracery rather than solid form, with a two-dimensional advent that contradicted the traditional idea of sculpture in the round.

Ancient Household: David Smith was an important abstruse expressionist sculptor.

Minimalism

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

These works are frequently 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 low-cal fixtures. The lack of the mark of the artist'south hand in these cases speak to the notion of exposing the true class of the sculptural object, a pregnant tenet of the minimalist movement.

Donald Judd

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

Judd'due south "Untitled," 1977, applies the simplicity and geometric form typical of minimalist works. Fabricated from concrete, the piece comes across as potentially industrially created equally it lacks the mark of the artist'southward hand that is so often seen in works of fine art, favoring instead a absurd thrift 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 every bit specific objects. Judd uses unproblematic, repeated forms to explore space.

Pop Art

In that location were numerous artists working in sculpture who were associated with the popular art movement. Two important examples are Claes Oldenburg and George Segal.

Claes Oldenburg

Oldenburg began his artistic practice as part of a group of artists reacting to Abstract Expressionism'southward sublime gestures with figural drawings and papier mache sculptures. His artistic 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, offset sewing soft sculptures out of sail, then turning to large outdoor monuments in public spaces.

George Segal

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

Common practices seen in pop-art sculptural work include the display of institute art objects, the representation of consumer appurtenances, the placing of typical non-art objects within a gallery setting, and the abstraction of familiar objects. We can see 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 subject matter becomes abstracted, its original function simultaneously altered and highlighted.

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

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

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