Abstract Expressionism

Total Page:16

File Type:pdf, Size:1020Kb

Abstract Expressionism A Visual History of the Visual Arts Part 2: From Abstract Art to Conceptual Art Piero Scaruffi www.scaruffi.com 1 The Space Age MOMA Flowchart for “Cubism and Abstract Art” (1936) 2 The Space Age • Painting – Abstract Expressionism • The center of mass of modernism shifts from Paris to New York • New York imports cubism (abstraction) and surrealism (automatism), which create the dialectic between the conscious (geometric shapes) and unconscious (spontaneous expression) • Alienation of humans from the technological world causes angst (while European abstract painters marvel and rejoice) • Little abstract expressionism in sculpture 3 The Space Age • Painting – Abstract Expressionism/Action Painting • Hans Hofmann (1880, Germany) • Arshile Gorky (1905, Armenia) • Wilhelm de Kooning (1904, Holland) • Jackson Pollock (1912, USA) • Adolph Gottlieb (1903, USA) • Robert Motherwell (1915, USA) • Joan Mitchell (1926, USA) 4 The Space Age • Abstract Expressionism – Arshile Gorky • Automatism but grounded in autobiography 5 “Garden in Sochi” series (1940-41) The Space Age • Abstract Expressionism – Jackson Pollock • The subconscious • Jung’s influence “Male and Female” (1942) 6 “Lavender Mist” (1950) The Space Age • Abstract Expressionism – Jackson Pollock • Action painting • Holistic • Non-referential “Autumn Rhythm” (1950) 7 “Blue Poles” (1952) The Space Age • Abstract Expressionism – Wilhelm de Kooning • More cubist than surrealist “Attic” (1949) 8 “Excavation” (1950) The Space Age • Abstract Expressionism – Wilhelm de Kooning • And even expressionist “Woman I” (1952) “Woman V” (1953) 9 The Space Age • Abstract Expressionism/ Europe (Art Informel) – Reaction to cubism – Tachisme in France (1951) – COBRA (1948): Copenhagen (Co), Brussels (Br), Amsterdam (A) – Gutai in Japan (1954) 10 Pierre Soulages (1919) Georges Mathieu (1921) The Space Age • Abstract Expressionism/ Europe (Art Informel) – Shozo Shimamoto (1928, Japan) throws bottles of paint at canvases – Kazuo Shiraga (1924, Japan) paints with his feet – Yves Klein (1928, France) uses women's nude bodies as paintbrushes for his "anthropometries" – Shigeko Kubota (1937, Japan) squats over a canvas to create "Vagina Painting" (1965) Kazuo Shiraga: “Dynamic of Red” (1969) 11 This is a chapter in piero scaruffi’s “A Visual History of the Visual Arts”: http://www.scaruffi.com/art/history .
Recommended publications
  • Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker
    Gestural Abstraction in Australian Art 1947 – 1963: Repositioning the Work of Albert Tucker Volume One Carol Ann Gilchrist A thesis submitted for the degree of Doctor of Philosophy Department of Art History School of Humanities Faculty of Arts University of Adelaide South Australia October 2015 Thesis Declaration I certify that this work contains no material which has been accepted for the award of any other degree or diploma in my name, in any university or other tertiary institution and, to the best of my knowledge and belief, contains no material previously published or written by another person, except where due reference has been made in the text. In addition, I certify that no part of this work will, in the future, be used for any other degree or diploma in any university or other tertiary institution without the prior approval of the University of Adelaide and where applicable, any partner institution responsible for the joint-award of this degree. I give consent to this copy of my thesis, when deposited in the University Library, being made available for loan and photocopying, subject to the provisions of the Copyright Act 1968. I also give permission for the digital version of my thesis to be made available on the web, via the University‟s digital research repository, the Library Search and also through web search engines, unless permission has been granted by the University to restrict access for a period of time. __________________________ __________________________ Abstract Gestural abstraction in the work of Australian painters was little understood and often ignored or misconstrued in the local Australian context during the tendency‟s international high point from 1947-1963.
    [Show full text]
  • Despite the Stereotype That an Artistic Stage of Cracow After World War 2
    uart ↪Q Nr 3(25)/2012 Summary TOMASZ GRYGLEWICZ/ Geometric Abstraction in Cracow artistic milieu in 1960-2010 Despite the stereotype that an artistic stage of Cracow after World War 2 was domi- nated by Colourism, Surrealism, Tachisme and Matter Painting – distinctly present in the circle of the Second Krakow Group and its leader Tadeusz Kantor, and in the later period dominated by expressionistic figuration, we may also observe in the Cra- cow milieu a significant interest for cold Geometric Abstraction that is based on opti- cal effects. Especially after 1960 we can follow in Cracow development of various tendencies in Geometric Abstraction to name only Op Art, Minimal Art or Post Painterly Abstrac- tion. This development was undoubtedly affected by succeeding exhibitions of the International Print Biennial (at present Print Triennial) within which works from this artistic circle appeared next to popular in the 1960s Pop Art. Different versions of Geometric Abstraction were practised, for instance, by the following artists: Alina Kalczyńska, Ryszard Otręba and Jan Pamuła who, as one of the first artists in Poland, paid his attention to computer graphic art. The initiated in the 1960s trend for Geo- metric Abstraction in Cracow painting and graphics has been continued till today, being at the same time an alternative to figurative tendencies and multimedia art. The author discusses the succeeding generations of artists from Cracow dealing with Geometric Abstractionism, starting from emigrant artist Mieczysław Janikowski, who studied in Cracow as early as before the war and was a joint between inter-war and post-war avant-garde, and reaching at the Action of Abstraction Revaluation, un- dertaken by the Cracow gallery F.A.I.T in 2008–2009 with participation of the young- est artistic generation.
    [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]
  • Worthwhile Magazine Content Style Guide
    WORTHWHILE MAGAZINE CONTENT STYLE GUIDE Table of Contents ABOUT WORTHWHILE MAGAZINE 4 ABBREVIATIONS 4 ACRONYMS 4 AMPERSANDS 4 CAPITALIZATION 4 AFTER A COLON 4 BOOK TITLES 5 STYLES AND PERIOD 5 JOB TITLES 5 FOREIGN TERMS 5 HEADINGS AND SUBHEADINGS 5 CONTRACTIONS 5 FONT AND TEXT STYLE 6 FORMATTING 6 IMAGE USE 6 BOOK LISTS 6 NUMBERS 7 DATES 7 ORDINAL NUMBERS 7 PERCENTAGES 7 PHONE NUMBERS 7 TIME 7 PUNCTUATION 8 APOSTROPHES 8 COMMAS 8 DASHES 8 ELLIPSES 8 HYPHENS 8 QUOTES 9 VOICE AND TONE 9 WORD CHOICE 9 Last updated: 8/17/2018 2 BETWEEN VS. AMONG 9 EFFECT VS. AFFECT 10 INSURE, ENSURE, AND ASSURE 10 WHICH VS. THAT 10 E.G. VS. I.E 10 OTHER NOTES 11 WORD LIST 11 ART MOVEMENTS, PERIODS, AND STYLES 16 PERIOD VERSUS STYLE 18 APPENDIX A: WHEN TO USE EM DASHES AND SEMICOLONS 18 APPENDIX B: UK VS. AMERICAN ENGLISH SPELLING 19 COLLECTIONS AND COLLECTORS/CREDIT LINES 19 Last updated: 8/17/2018 3 About Worthwhile Magazine Brief Description: Worthwhile Magazine is an online repository of personal property appraisal knowledge accessible to the general public and professionals alike. Discussions include evolving practices and current scholarship used when valuing the various fields of collecting. Since knowledge is power, we believe an open dialogue about connoisseurship is worthwhile. Abbreviations Avoid abbreviating any words that the audience won’t understand immediately. For common abbreviations, include a period. Ex: Capt. Smith wrote a memo for Mrs. Mayfair, reminding her to pick up a pound of apples at the store. We do not abbreviate circa or century so as to not confuse our audience.
    [Show full text]
  • Rise of Modernism
    AP History of Art Unit Ten: RISE OF MODERNISM Prepared by: D. Darracott Plano West Senior High School 1 Unit TEN: Rise of Modernism STUDENT NOTES IMPRESSIONISM Edouard Manet. Luncheon on the Grass, 1863, oil on canvas Edouard Manet shocking display of Realism rejection of academic principles development of the avant garde at the Salon des Refuses inclusion of a still life a “vulgar” nude for the bourgeois public Edouard Manet. Olympia, 1863, oil on canvas Victorine Meurent Manet’s ties to tradition attributes of a prostitute Emile Zola a servant with flowers strong, emphatic outlines Manet’s use of black Edouard Manet. Bar at the Folies Bergere, 1882, oil on canvas a barmaid named Suzon Gaston Latouche Folies Bergere love of illusion and reflections champagne and beer Gustave Caillebotte. A Rainy Day, 1877, oil on canvas Gustave Caillebotte great avenues of a modern Paris 2 Unit TEN: Rise of Modernism STUDENT NOTES informal and asymmetrical composition with cropped figures Edgar Degas. The Bellelli Family, 1858-60, oil on canvas Edgar Degas admiration for Ingres cold, austere atmosphere beheaded dog vertical line as a physical and psychological division Edgar Degas. Rehearsal in the Foyer of the Opera, 1872, oil on canvas Degas’ fascination with the ballet use of empty (negative) space informal poses along diagonal lines influence of Japanese woodblock prints strong verticals of the architecture and the dancing master chair in the foreground Edgar Degas. The Morning Bath, c. 1883, pastel on paper advantages of pastels voyeurism Mary Cassatt. The Bath, c. 1892, oil on canvas Mary Cassatt mother and child in flattened space genre scene lacking sentimentality 3 Unit TEN: Rise of Modernism STUDENT NOTES Claude Monet.
    [Show full text]
  • Sigrid Ruby the Give and Take of American Painting in Postwar Western Europe
    The American Impact on Western Europe: Americanization and Westernization in Transatlantic Perspective Conference at the German Historical Institute Washington, D.C., March 25–27, 1999 Sigrid Ruby The Give and Take of American Painting in Postwar Western Europe www.ghi-dc.org/conpotweb/westernpapers/ruby.pdf ©Sigrid Ruby 1 The Give and Take of American Painting in Postwar Western Europe (Sigrid Ruby) The standard narrative of 20th century art maintains that with the advent of abstract expressionism in the late 1940s American painting for the very first time made a genuine contribution to the course of Western art history. This at first sight eurocentristic narrative relies on the conceptualization of modern art as an evolutionary process, mainly conditioned by the esthetic qualities of the autonomous art work and urged on by successive vanguard movements. Pointing out its formal inventiveness and radical newness, its painterly grandeur, purity of means, and artistic self-consciousness, art historical writing has naturalized abstract expressionism as an integral part - if not the climax or glorious finale1 - of the modernist adventure. In 1970, the American art critic Irving Sandler published „Abstract Expressionism. The Triumph of American Painting.“2 The book perpetuated the by then well- established modernist interpretation of abstract expressionism, but the somewhat self-congratulatory title suggests a bias which became crucial for a revisionist reading of this „triumph“ in the following years. Max Kozloff‘s article „American Painting During the Cold War,“3 Eva Cockroft’s „Abstract Expressionism. Weapon of the Cold War,“4 and, especially, Serge Guilbaut’s book „How New York Stole the Idea of Modern Art“5 are landmarks of a new, materialist approach in dealing with post- 1945 art history and its American contribution.
    [Show full text]
  • “Abstracting from Nature” 6Th May – 3Nd July
    “Abstracting From Nature” 6th May – 3nd July As the dust settled across Europe in 1945 a generation of artists considered how to make contemporary art relevant. Paris became the centre for these trailblazing artists that argued figurative representation was redundant and the rigidity of geometric abstraction was out of touch. In reaction, burgeoning movements such as Art Informel, Lyrical Abstraction and Tachisme threw aside both figuration and the influence of Mondrian and Malevich to embrace a new kind of organic abstraction filled with a powerful emotional resonance embedded in the existential crisis of post-war Europe. These artists turned to the colour harmonies of Wassily Kandinsky and the free-flowing forms of Jean Arp as the stimulus for a new kind of abstraction inspired by the natural world. This summer Connaught Brown will exhibit some of the most famous European abstract artists of the 20th century that worked directly from nature. Amidst growing tensions in Europe and the approaching referendum, this return to post-war abstraction is particularly significant. As Britain decides its fate on the world stage, this vital exhibition will examine those artists that responded to the parallel crisis of the Second World War with a new lyrical abstraction. A fascinating counterpoint to the major Abstract Expressionist retrospective at the Royal Academy later in 2016, this exhibition turns away from the better known New York art scene to focus upon the natural forms that developed in contemporary European abstraction. In contrast to the monumental machismo of American Abstract Expressionism, the Parisian melting pot of émigrés sparked a movement of subjective, spiritual abstraction based upon a poetic framework of colour and natural forms.
    [Show full text]
  • Tachisme Is an Exhibition That Ruptures Any Clear Distinction Between Photography and Painting
    Justine Varga Tachisme Tolarno Galleries, Melbourne 4 April – 9 May 2020 Tachisme is an exhibition that ruptures any clear distinction between photography and painting. The negatives from which these photographs derive were smeared and stained with pigment during their long exposures. When these negatives are then printed from at large-scale in the darkroom, the latent inscriptions are revealed to intermingle with the distinctive signature of the artist’s fingertips, a trace of touching that is generally forbidden in the production of photographs. Justine Varga has always seen her photography in these terms, as a drawing with light, or more literally as a light-sensitive substrate on which she makes marks or allows the world to leave its own marks. These photographs are therefore the making visible of an art practice that is at once physical and chemical, autobiographical and contingent, painterly and photographic. In doing so, Tachisme asks viewers to reflect on the activity of decipherment in relation to photographs, making this exhibition a critical rumination on inscription, meaning and knowledge. Biography Justine Varga is known for her luminous photographs, some made with a camera and some without (and some made with a combination of the two). Employing techniques that deserve comparison with the earliest nineteenth-century photographic experiments, Varga’s work has been described as an autobiographical witnessing of the world – a memoire, rather than merely an act of representation. Film registers performative gestures – is drawn upon, handled, scratched, spat on, weathered, or absorbs aspects of her everyday life. Exposed to light for long periods, the film is processed and then printed at large scale in the darkroom, itself a process of transformation.
    [Show full text]
  • Modeling and Forecasting Art Movements with Cgans
    Modeling and Forecasting Art Movements with CGANs 1 2 rsos.royalsocietypublishing.org Edoardo Lisi , Mohammad Malekzadeh , Hamed Haddadi2, Din-Houn Lau1, Seth Flaxman1. 1 Research Department of Mathematics, Imperial College London, UK. 2Dyson School of Design Engineering, Imperial College London, UK. The paper is accepted for publication in Royal Society Open Science Conditional Generative Adversarial Networks (CGAN) journal. are a recent and popular method for generating samples from a probability distribution conditioned on latent information. The latent information often Subject Areas: comes in the form of a discrete label from a small set. We propose a novel method for training CGANs Computer Science, Machine Learning which allows us to condition on a sequence of continuous latent distributions f (1); : : : ; f (K). This Keywords: training allows CGANs to generate samples from Vector Autoregressive, Generative a sequence of distributions. We apply our method Models, Predictive Models, Art to paintings from a sequence of artistic movements, Movements where each movement is considered to be its own distribution. Exploiting the temporal aspect of the data, a vector autoregressive (VAR) model is fitted to Author for correspondence: the means of the latent distributions that we learn, Edoardo Lisi and used for one-step-ahead forecasting, to predict e-mail: [email protected] the latent distribution of a future art movement f (K+1). Realisations from this distribution can be used by the CGAN to generate “future” paintings. In experiments, this novel methodology generates accurate predictions of the evolution of art. The training set consists of a large dataset of past paintings. While there is no agreement on exactly what current art period we find ourselves in, we test on plausible candidate sets of present art, and show that the mean distance to our predictions is small.
    [Show full text]
  • 1 Gestural Abstraction
    1 GEstural ABsTraction Peter Selz and Kristine Stiles The dominant art mode during and after World War II has been labeled as Abstract Expressionism, action painting, lyrical abstraction, tachisme, art informel, art autre, and a host of other terms. Characterized by an intensely personal and subjective response by artists to the medium and the working process, it was an art in which painters and sculptors were engaged in the search for their own identity. in a universe described by existentialists as absurd, the artist carried the romantic quest for the self, sincerity, and emotional authenticity into a world of uncertainty, placing great value on risk-taking, discovery, and adventure into the unknown. Painters and sculptors manifested an at- titude that the Cubist Juan Gris had described earlier: “you are lost the instant you know what the result will be.” in the aftermath of fascist domination in Europe and in the face of the increasing rigidity of authoritarian communism in stalinist Russia, artists everywhere felt the need to establish a sense of personal autonomy. Auschwitz and hiroshima were cataclysms of such monstrous proportions that they could elicit little direct commentary from visual artists. indeed, responding to the Romanian poet Paul Celan’s poem “Death Fugue” (1944–45), which recalled the nazi death camps, the German philosopher The- odor Adorno wrote, “After Auschwitz, to write a poem is barbaric.” Adorno’s comment suggested the impossibility of making art after the apparent collapse of liberal human- ism. The dilemma posed by the conformity encouraged by mechanized mass culture and the growth and plethora of media added to the artist’s sense of alienation and need for individual expression.
    [Show full text]
  • Modern Times: Responding to Chaos Drawings and Films Selected by Lutz Becker
    Modern Times: responding to chaos drawings and films selected by Lutz Becker 16 January – 14 March 2010 Feature in Landscape, 1948, William Gear Teachers’ Support Notes • Introduction to the exhibition • Brief biography of the curator, Lutz Becker, and a full list of artists in the show • Key ‘isms’ and art movements o Geometrical (Futurism, Suprematism, Constructivism, Minimalism) o Expressive (Expressionism, Abstract Expressionism, Conceptual Art) • Key ideas, including suggested lines of questioning o Time o Movement o Gesture o Body o Technology and the Machine Age • Artists who names appear in bold are included in the exhibition To book a visit, please call 01223 748100 or email [email protected]. Kettle’s Yard, Castle Street, Cambridge, CB3 0AQ, www.kettlesyard.co.uk Modern Times: responding to chaos drawings and films selected by Lutz Becker Kettle’s Yard is launching a new series of exhibitions called Modern Times. People creatively involved in the 20th and 21st centuries are asked to trace their own paths through the art of our times. For the first exhibition, Modern Times: responding to chaos, film-maker, painter and curator, Lutz Becker focuses on drawing and film, the oldest and most fundamental medium and one of the most modern. The subtitle of this first exhibition, ‘responding to chaos’, reflects the predicament of artists in a period marked by totalitarian regimes, world wars, nuclear and climatic threats, and accelerating technological and social change. It has also been a time when established values have been open to criticism and doubt and international cultural influences have enhanced the awareness of their relativity.
    [Show full text]
  • Abstract Expressionism 1 Abstract Expressionism
    Abstract expressionism 1 Abstract expressionism Abstract expressionism was an American post–World War II art movement. It was the first specifically American movement to achieve worldwide influence and put New York City at the center of the western art world, a role formerly filled by Paris. Although the term "abstract expressionism" was first applied to American art in 1946 by the art critic Robert Coates, it had been first used in Germany in 1919 in the magazine Der Sturm, regarding German Expressionism. In the USA, Alfred Barr was the first to use this term in 1929 in relation to works by Wassily Kandinsky.[1] The movement's name 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 as Futurism, the Bauhaus and Synthetic Cubism. Additionally, it has an image of being rebellious, anarchic, highly idiosyncratic and, some feel, nihilistic.[2] Jackson Pollock, No. 5, 1948, oil on fiberboard, 244 x 122 cm. (96 x 48 in.), private collection. Style Technically, an important predecessor is surrealism, with its emphasis on spontaneous, automatic or subconscious creation. Jackson Pollock's 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. Another important early manifestation of what came to be abstract expressionism is the work of American Northwest artist Mark Tobey, especially his "white writing" canvases, which, though generally not large in scale, anticipate the "all-over" look of Pollock's drip paintings.
    [Show full text]