Abstract Expressionism “Gestural” Painters (Action Painting) “Color Field” Painters

Total Page:16

File Type:pdf, Size:1020Kb

Abstract Expressionism “Gestural” Painters (Action Painting) “Color Field” Painters Abstract Expressionism “Gestural” Painters (action painting) “Color Field” Painters Post WW2 Philosophical/Psycho-analytic influences: Existentialism, Carl Jung In the lineage of Romanticism, Expressionism: emphasis on subjective, individual experience Less analytic than early, pre-WW2 modernist abstraction. More instinctive, raw. Embodies the modernist process of simultaneously rejecting and continuing the art tradition it is reacting to Piet Mondrian, Broadway Boogie-Woogie, 1943* Charles Sheeler, American Landscape, 1930 Charles Sheeler, Church Street El, 1920 Hans Hoffman, Spring, 1945* Andre Masson, Automatic Drawing, 1924 Surrealist Arshile Gorky, The Artist and His Mother, 1931 16.3 Arshile Gorky, Mechanics of Flying, 1936 Arshile Gorky, The liver is the cock’s comb, 1944 * Kandisnsky, Composition VII, 1913 Jackson Pollock, Guardians of the secret, 1943 16.7 Jackson Pollock “The canvas began to appear to one American painter after another as an arena to act— rather than as a space in which to reproduce, re-design, analyze or “express” an object, actual or imagined. What was to go on the canvas was not a picture but an event” -Harold Rosenberg Jackson Pollock, Number 1A, 1948 * Pollock, Convergence, 1952 Andrew Wyeth, Christina’s World, 1948 * Willem De Kooning, Woman No. 1, 1952* Picasso, Les Demoiselles d’Avignon, 1907 Cezanne, Large Bathers, 1899-1905 Ingres, Turkish Bath, 1858 Willem De Kooning, Excavation,1950 Franz Kline, Nijinsky, 1950 * Robert Motherwell, Elegy to the Spanish Republic No. 34, 1954 * Kurt Schwitters, Blue Bird, 1922 Hedda Sterne, Alaska #1, 1958 Lee Krasner, Milkweed, 1955 * Lee Krasner, Gothic Landscape, 1961 Picasso, Accordionist, 1911 Grace Hartigan, October New England ,1957 Hartigan, Modern Cycle, 1967 Mark Rothko, Multiform, 1948 Rothko, untitled, 1949 * Josef Albers, Study for Nocturne, 1951 Kazmir Malevich, 1915 Mark Rothko, Untitled No. 17, 1961 Barnett Newman, Vir Heroicus Sublimis, 1951 * “Zips” Barnett Newman, Stations of the Cross, 1958-1966 Ad Reinhardt Abstract Painting No. 4, 1961** Clyfford Still, Number 2, 1949 * Clyfford Still, 1957J No. 2, 1957 .
Recommended publications
  • Wendt Versus Pollock: Toward Visual Semiotics in the Discipline of IR Theory
    Wendt Versus Pollock: Toward Visual Semiotics in the Discipline of IR Theory Serdar Ş. Güner Department of International Relations Bilkent University, Ankara, Turkey e-mail: [email protected] URL: www.bilkent.edu.tr/~sguner Abstract We focus on a key IR Theory article by Alexander Wendt (Wendt, 1992) and two Jackson Pollock paintings. Our aim is to identify meanings Pollock’s art communicates and reveals for Wendt (1992). It derives from an appeal to visual imagination and a desire for semiotic interpretation of Constructivist view of anarchy. The visual sign is an association such that there is Wendt’s theoretical claim on the one hand and an abstract painting on the other. We do not gaze at Wendt’s claim, we read it. We do not read a painting, look at it. This remark does not imply a one-way relationship. We can argue that a specific painting comes to life in our mind where colored movements are inextricably mixed up when we read the constructivist claim. Both Pollock paintings selected for our sign-making effort confirm the dynamic character of Constructivism and reveal not only three but countlessly many anarchies in international relations. They foment our assessments of abrupt changes of intersubjectivity among states. Cyclicality of dripped paints provides an anchor to fix Wendt’s anarchy conceptualization in these structural-abstract paintings. As to Wendt’s concept of anarchy, it acts as a helper, as a standard, against which interpretations of Pollock’s artwork construct meanings. 1 This paper stands in the realm of semiotics intersecting the Discipline of international relations (IR) theory.
    [Show full text]
  • The Pennsylvania State University the Graduate School College Of
    The Pennsylvania State University The Graduate School College of Arts and Architecture CUT AND PASTE ABSTRACTION: POLITICS, FORM, AND IDENTITY IN ABSTRACT EXPRESSIONIST COLLAGE A Dissertation in Art History by Daniel Louis Haxall © 2009 Daniel Louis Haxall Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2009 The dissertation of Daniel Haxall has been reviewed and approved* by the following: Sarah K. Rich Associate Professor of Art History Dissertation Advisor Chair of Committee Leo G. Mazow Curator of American Art, Palmer Museum of Art Affiliate Associate Professor of Art History Joyce Henri Robinson Curator, Palmer Museum of Art Affiliate Associate Professor of Art History Adam Rome Associate Professor of History Craig Zabel Associate Professor of Art History Head of the Department of Art History * Signatures are on file in the Graduate School ii ABSTRACT In 1943, Peggy Guggenheim‘s Art of This Century gallery staged the first large-scale exhibition of collage in the United States. This show was notable for acquainting the New York School with the medium as its artists would go on to embrace collage, creating objects that ranged from small compositions of handmade paper to mural-sized works of torn and reassembled canvas. Despite the significance of this development, art historians consistently overlook collage during the era of Abstract Expressionism. This project examines four artists who based significant portions of their oeuvre on papier collé during this period (i.e. the late 1940s and early 1950s): Lee Krasner, Robert Motherwell, Anne Ryan, and Esteban Vicente. Working primarily with fine art materials in an abstract manner, these artists challenged many of the characteristics that supposedly typified collage: its appropriative tactics, disjointed aesthetics, and abandonment of ―high‖ culture.
    [Show full text]
  • Ben Heller, Pioneering Collector of Abstract Expressionism: ‘There’S Nobody Else in That League’
    Est. 1902 home • ar tnews • news Ben Heller, Pioneering Collector of Abstract Expressionism: ‘There’s Nobody Else in That League’ BY MAXIMILÍANO DURÓN March 3, 2021 11:00am Jackson Pollock paintings are returned to Ben Heller's Central Park West apartment in New York in April 1959. MUSEUM OF MODERN ART, NEW YORK/LICENSED BY SCALA/ART RESOURCE, NEW YORK Ben Heller (https://www.artnews.com/t/ben-heller/), who died in 2019, amassed a legendary collection of Abstract Expressionism, supporting artists like Jackson Pollock, Mark Rothko, and others at a time when few else would. But before he dispersed his works to some of the world’s top museums, in particular the Museum of Modern Art (https://www.artnews.com/t/museum-of-modern-art/) in New York, he kept them in his Central Park West apartment. Thousands of visitors made the pilgrimage each year to his home to see masterpieces by the likes of Pollock, Rothko, Franz Kline, and Barnett Newman, with Rothko even referring to Heller’s apartment as “the Frick of the West Side.” When he began seriously collecting Abstract Expressionism during the ’50s, museums like MoMA largely ignored the movement. Heller rushed in headlong. “He wasn’t someone to say, ‘Let me take a gamble on this small picture so that I don’t really commit myself.’ He committed himself a thousand percent, which is what he believed the artists were doing,” Ann Temkin, chief curator of painting and sculpture at MoMA, said in an interview. Though Heller was never formally a board member at MoMA—“I was neither WASP-y enough nor wealthy enough,” he once recalled—he transformed the museum, all the while maintaining close relationships with artists and curators in its circle.
    [Show full text]
  • Learning-Based Authentication of Jackson Pollock's Paintings
    10.1117/2.1200905.1643 Learning-based authentication of Jackson Pollock’s paintings David G. Stork Even apparently ‘useless’ visual features can improve computer- assisted authentication of artwork as long as multiple features are used to train machine classifiers. The abstract expressionist Jackson Pollock (1912–1956), nick- named ‘Jack the Dripper,’ is one of America’s most important artists. He is best known for his ‘action’ paintings, executed by dripping, pouring, and splashing liquid paint onto horizontal canvases on the floor (see Figure 1). Many artworks of doubt- ful authorship (and some deliberate fakes) have been generated using this drip technique, however, such as the large, unsigned Figure 1. Jackson Pollock’s ‘Convergence’ (1952), 237.5cm 393.7cm, × work Teri Horton purchased for $5.00 in a thrift shop in San oil on canvas. c 2009 The Pollock-Krasner Foundation/Artists Rights ! Bernadino (CA) in the early 1990s. Although some art scholars Society (ARS), New York. have attributed this painting to Pollock, others have contested or rejected this notion. The feature documentary ‘Who the #$&% is Jackson Pollock?’ focuses on this nearly two-decades-old two-legged shape in this particular 2D space, while fakes debate, which—once resolved—will determine the work’s value do not. at either $5 or $50,000,000. In 2008, physicists Jones-Smith, Mathur, and Krauss criticized 2, 3 Art authentication based on signatures, provenance (the Taylor’s fractal and box-counting approach. They suggested documentary record of ownership), chemical studies of media that highly artificial images can match the fractal properties of (e.g., oil or acrylic), material studies of support (e.g., paper or genuine ‘Pollocks’ and asserted that the range of spatial scales canvas), preparation (e.g., sizing), fingerprints, and traditional the Taylor team used was too small to estimate a true fractal di- connoisseurship is not always definitive.
    [Show full text]
  • Lansing's Pollock Has His
    http://npaper-wehaa.com/run/npaper?paper=citypulse&get=print... Lansing’s Pollock has his day CityPulse Wed, 09-19-2018 by LAWRENCE COSENTINO Charles Pollock: Modernism in the Making MSU Broad Art Museum Aug. 21-Dec. 30, 2018 Free Broadmuseum.msu.edu Broad Museum exhibit shines a light on Charles Pollock and his times Let’s get this out of the way. Yes, Charles Pollock, the star of this story and the centerpiece of a new exhibit at the MSU Broad Art Museum, was the oldest brother of world-renowned drip artist Jackson Pollock. 1 sur 7 24/09/18 11:24 http://npaper-wehaa.com/run/npaper?paper=citypulse&get=print... Charles Pollock was a master of color and form in his own right, a questing mind, a meticulous teacher and a great dancer to boot, but he was used to being introduced as the brother of Jackson. Far from complaining, he was pleased when his brother, his students and anyone else he loved did great things and became famous. However, the Broad Museum exhibit rings a bell, loud and clear, for Charles, who taught for 26 years at MSU and left a lot of marks in Lansing — not just on walls, but on people. The road to Michigan It doesn’t look like much at first: A modest gallery, ringed by a dozen or so modernist canvases, one skinny sculpture and a glass case of letters and photographs. But they’re enough to conjure a time when the cream of the art world came to MSU, drawn by friendship and respect for Charles Pollock.
    [Show full text]
  • The Brain's Masterpiece Equation: How Symmetry
    THE BRAIN’S MASTERPIECE EQUATION: HOW SYMMETRY REFLECTS A HIDDEN DIMENSION OF AESTHETIC PERCEPTION Rachel A. Diebner Plan II Honors Program The University of Texas at Austin May 1, 2018 ______________________________________ Chiu-Mi Lai, Ph.D. Department of Asian Studies Supervisor ______________________________________ Michael Starbird, Ph.D. Department of Mathematics Second Reader Copyright © 2018 by Rachel Diebner All Rights Reserved Abstract Author: Rachel Diebner Title: The Brain’s Masterpiece Equation: How Symmetry Reflects a Hidden Dimension of Aesthetic Perception Supervisor: Dr. Chiu-Mi Lai Second Reader: Dr. Michael Starbird What is the secret behind an artistic masterpiece? Symmetry is part of the answer. Uniting mathematics, the arts, and psychology, my interdisciplinary study argues that: (1) Aesthetic appeal is founded upon both individual subjective preferences and shared cognitive preferences; and (2) These shared cognitive preferences are informed in part by mathematical principles, specifically by symmetry. Symmetry in modern artworks elicits positive neurobiological responses in observers. The works of Jackson Pollock and Taylor Swift serve as case studies of these common neurobiological responses to visual and auditory symmetry. In-depth analysis of these two case studies establishes the existence of a new dimension of aesthetic appeal: a shared baseline of aesthetic value rooted in principles of human cognition. This shared understanding of aesthetic appeal has valuable and far-reaching implications, both for art
    [Show full text]
  • The Contemporary Sublime and the American Landscape
    Wayne State University Wayne State University Theses 1-1-2018 The Contemporary Sublime And The American Landscape Bernadette Miller Wayne State University, [email protected] Follow this and additional works at: https://digitalcommons.wayne.edu/oa_theses Part of the Fine Arts Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Miller, Bernadette, "The Contemporary Sublime And The American Landscape" (2018). Wayne State University Theses. 713. https://digitalcommons.wayne.edu/oa_theses/713 This Open Access Thesis is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Theses by an authorized administrator of DigitalCommons@WayneState. THE CONTEMPORARY SUBLIME AND THE AMERICAN LANDSCAPE by BERNADETTE MILLER THESIS Submitted to the Graduate School of Wayne State University, Detroit, Michigan in partial fulfillment of the requirements for the degree of MASTER OF ARTS 2018 MAJOR: ART HISTORY Approved By: Advisor Date © COPYRIGHT BY BERNADETTE MILLER 2018 All Rights Reserved TABLE OF CONTENTS List of Illustrations ......................................................................................................................... iii Introduction ......................................................................................................................................1 Chapter 1: American Romantic Landscapes and Kant ....................................................................8 Chapter 2: Sublimity
    [Show full text]
  • The Armory Show - 1913
    The Armory Show - 1913 Exhibition of painting and sculpture held in New York City. Of the 1,600 works assembled, one-third were European, tracing the evolution of modern art from Francisco de Goya to Picasso and Kandinsky. The show exposed the American public for the first time to advanced European art. Despite the critical turmoil, more than 500,000 people viewed the Armory Show in New York, Chicago, and Boston. American Scene Painting (1920s-50s): This is an umbrella term covering a wide range of realist painting, from the more nationalistic Regionalists (the painters of the Midwest) to the left wing Social Realists. They had in common the preference for illustrational styles and their contempt for “highbrow” European abstract. GRANT WOOD (Regionalist) American Gothic (Depict an Iowa farmer and his daughter) 1930. Oil on beaverboard, 2’ 5 7/8” x 2’ 7/8”. Art Institute of Chicago. World War II (1939 – 45) International conflict principally between the Axis Powers — Germany, Italy, and Japan — and the Allied Powers — France, Britain, the U.S., the Soviet Union, and China. In the last stages of the war, two radically new weapons were introduced: the long-range rocket and the atomic bomb. World War II was the deadliest military conflict in history. Over 60 million people were killed. It ended in 1945, leaving a new world order dominated by the U.S. and the USSR From top left: Marching German police during Anschluss, emaciated Jews in a concentration camp, Battle of Stalingrad, capture of Berlin by Soviets, Japanese troops in China, atomic
    [Show full text]
  • Jackson Pollock Pdf, Epub, Ebook
    JACKSON POLLOCK PDF, EPUB, EBOOK Mike Venezia | 32 pages | 25 Nov 1999 | Hachette Children's Group | 9780516422985 | English | London, United Kingdom Jackson Pollock PDF Book Donate Login Sign up Search for courses, skills, and videos. In Pollock began psychiatric treatment for alcoholism , and he suffered a nervous breakdown in , which caused him to be institutionalized for about four months. Pollock was expelled from two high schools during his formative years, the second one being Los Angeles Manual Arts School, where he was encouraged to pursue his interest in art. He had struggled on it for a while, and he decided to take that painting off the easel, place it on the floor, and then pour some paint on the surface to finish it. Landau also presents the forensic findings of Harvard University and presents possible explanations for the forensic inconsistencies that were found in three of the 24 paintings. Related Artists. Art historians, at the time, coined this kind of painting, action painting, because of this very idea that you could imagine quite viscerally the actions that went into the making of the painting. It was a piece puzzle that they promoted as "the world's most difficult puzzle". Overwhelmed with Pollock's needs, Krasner was also unable to work. Learnodo Newtonic. Archived from the original on March 12, Retrieved July 23, Recover your password. We strive for accuracy and fairness. Kenneth Noland - At the time Krasner was visiting friends in Europe and she abruptly returned on hearing the news from a friend. Stella, proud of her family's heritage as weavers, made and sold dresses as a teenager.
    [Show full text]
  • Abstract Expressionism and Pop Art
    MODERN ART AND IDEAS 7 1950–1969 A Guide for Educators Department of Education at The Museum of Modern Art ABSTRACT EXPRESSIONISM AND POP ART Artists included in this guide: Helen Frankenthaler, Richard Hamilton, Jasper Johns, Franz Kline, Willem de Kooning, Roy Lichtenstein, Charles Moore, Barnett Newman, Claes Oldenburg, Jackson Pollock, Robert Rauschenberg, James Rosenquist, Mark Rothko, and Andy Warhol. TABLE OF CONTENTS 1. A NOTE TO EDUCATORS 2. USING THE EDUCATORS GUIDE 3. SETTING THE SCENE 7. LESSONS Lesson One: Revolutions in Painting Lesson Two: Color and Environment Lesson Three: Transforming Everyday Objects Lesson Four: Art and Politics Lesson Five: Artist’s Choice: People 29. FOR FURTHER CONSIDERATION 32. GLOSSARY 34. SELECTED BIBLIOGRAPHY AND RESOURCES 36. MoMA SCHOOL PROGRAMS No part of these materials may be reproduced or published in any form without prior written consent of The Museum of Modern Art Design © 2007 The Museum of Modern Art, New York A NOTE TO EDUCATORS This is the seventh volume in the Modern Art and Ideas series for educators, which explores 1 the history of modern art through The Museum of Modern Art’s rich collection. While tra- A NOTE TO EDUCATORS ditional art historical categories are the organizing principle of the series, these parameters are used primarily as a means of exploring artistic developments and movements in con- junction with their social and historical context, with attention to the contribution of specific artists. The guide is informed by issues posed by the selected works in a variety of mediums (paint- ing, sculpture, prints, photography), but its organization and lesson topics are created with the school curriculum in mind, with particular application to social studies, visual art, his- tory, and language arts.
    [Show full text]
  • William Congdon: Action Painting and the Impossible Iconography of the Christian Mystery1
    WILLIAM CONGDON: ACTION PAINTING AND THE IMPOSSIBLE ICONOGRAPHY OF THE CHRISTIAN MYSTERY1 • Rodolfo Balzarotti • “Even if the artist starts from a physical object, the goal is to reach something ontologically different, which is the image. The operation of painting must bring to light—in the sense of revealing, but also of causing to be born—this image as a work.” 1. A meeting that failed? In September of 1965, William Congdon was in New York after having been away from the city for many years. His gallery, the Betty Parsons Gallery, was organizing a traveling exhibition of his recent works, for the most part on religious, biblical, and liturgical subjects, to be shown throughout the United Sates at schools and religious institutions, both Catholic and Protestant. Congdon had converted to Catholicism in August 1959 in Assisi, where he then set up his residence in 1960. In that same year he abandoned the usual subjects of his art—views of cities and landscapes, painted in a gestural and expressionistic style close to the temperament of the school of Action Painting, to which he had been close in the late 1A version of this paper was presented in Washington, D.C. in April 2009. Communio 36 (Winter 2009). © 2009 by Communio: International Catholic Review William Congdon: Action Painting 695 1940s—to paint biblical and gospel subjects connected with Catholic liturgy, to the great amazement and also perplexity of many in the New York art world. During Congdon’s stay in America in 1965, Bernard Reis, a famous lawyer in New York and a great collector who also handled the business affairs of some of the leading artists of that time, including Congdon and Mark Rothko, took the initiative of arranging a meeting between these two painters.
    [Show full text]
  • The Sublime in Visual Art: from the Romantic to the Postmodern Sublime
    The Sublime in Visual Art: From the Romantic To the Postmodern Sublime by Gwenneth Miller Submitted in partial fulfilment of the requirements for the degree MAGISTER ARTIUM (FINE ARTS) In the Faculty of Arts UNIVERSITY OF PRETORIA Supervisor: Jeanne van Eeden October 1997 © University of Pretoria Declaration I declare that THE SUBLIME IN VISUAL ART: FROM THE ROMANTIC TO THE POSTMODERN SUBLIME is my own work and that all sources that I used or quoted have been indicated and acknowledged by means of complete references. I further declared that I have previously submitted this work, or any part thereof, for examination to the University of Pretoria or any other institution of higher learning. Gwenneth Miller November 1997 © University of Pretoria Contents List of illustrations i Introduction 1 1. The Romantic Sublime 6 1.1. Romanticism 6 1.2 The Development of the Sublime 8 1.3 Edmund Burke‟s Delightful Horror 11 1.3.1. The Uncertain and the Mysterious 12 1.4 The Kantian Sublime 21 2. The Modernist Sublime 30 2.1 Modernism 30 2.2 Empathy versus Abstraction 34 2.2.1 The Abstract Sublime 39 2.3 The Sublime Dream 51 3. The Postmodern Sublime 65 3.1 Postmodernism 65 3.2 Pluralism and Spirituality 69 3.2.1 Retrospection: Capitalism or Compassion 78 3.3 The Reconstruction of Sublimity 89 4. Conclusion 107 5. Bibliography 111 6. Abstract/ Opsomming 118 © University of Pretoria i List of illustrations 1. Henry Fuseli, The Nightmare, 1791. Oil on canvass, 75,5 x 64 cm. Goethe Museum, Frankfort am Main (Vaughan 1978: 49) 2.
    [Show full text]