Abstract Expressionism is a post-World War II art movement in American painting, developed in New York in the 1940s. This is America's first special movement to achieve international influence and put New York City in the center of the western art world, a role previously filled by Paris. Although the term abstract expressionism was first applied to American art in 1946 by art critic Robert Coates, it was first used in Germany in 1919 in Der Sturm's magazine on German Expressionism. In the United States, Alfred Barr was the first to use this term in 1929 in relation to the works of Wassily Kandinsky.
Video Abstract expressionism
Style
Technically, the important precursor is surrealism, with its emphasis on spontaneous, automatic, or subconscious creation. Cat Jackson Pollock dripping onto canvas laid on the floor is a technique rooted in the work of AndrÃÆ' Â © Masson, Max Ernst, and David Alfaro Siqueiros. More recent research tends to place the surrealist Wolfgang Paalen in the position of artist and theorist who fosters the space theory of possibilities that depend on the viewer through his paintings and magazines DYN . Paalen considers the notion of quantum mechanics, as well as the idiosyncratic interpretation of the totemic vision and the spatial structure of the original Indian paintings of British Columbia and prepares the foundation for a new spatial vision of the abstract of young America. His long essay Totem Art (1943) had a major influence on artists such as Martha Graham, Isamu Noguchi, Jackson Pollock, Mark Rothko and Barnett Newman. Around 1944, Barnett Newman tried to explain the latest American art movement and included a list of "people in the new movement." Paalen is mentioned twice; Other artists mentioned are Gottlieb, Rothko, Pollock, Hofmann, Baziotes, Gorky and others. Motherwell is mentioned with a question mark. Another important early manifestation of what later became abstract was the work of Northwest American artist Mark Tobey, especially his "white-and-white" canvas, which, although generally not large-scale, anticipated Pollock's "all-over" look.
The name of this movement comes from a combination of the emotional intensity and self-rejection of the German Expressionists with the anti-figurative aesthetics of European abstract schools such as Futurism, Bauhaus, and Synthetic Cubism. In addition, he has a rebellious image, anarchist, very idiosyncratic and, some feel, nihilistic. In practice, the term is applied to a number of artists working (mostly) in New York who have very different styles, and even work that is not very abstract and not expressionist. California Expressionist Abstract Jay Meuser, who is usually painted in a non-objective style, writes about his paintings Mare Nostrum, "It is far better to capture the great spirit of the sea than to paint all the small ripples." "Energock's" energetic, with their "busy" nuance, different, technically and aesthetically, from the rough and gruesome series of Willem de Kooning's paintings and colorful rectangle paintings in Mark Rothko's Field Painting Color (which is not usually called expressionist, and which Rothko rejected is an abstract). Yet all four artists are classified as abstract expressionists.
Abstract Expressionism has many similarities to style with early 20th century Russian artists such as Wassily Kandinsky. While it is true that spontaneity or the impression of spontaneity characterizes many abstract expressionist works, most of these paintings involve careful planning, especially since their large size demands it. With artists such as Paul Klee, Wassily Kandinsky, Emma Kunz, and later Rothko, Barnett Newman, and Agnes Martin, abstract art clearly expresses the idea of ​​spirituality, unconsciousness and thought.
Why this style gained mainstream acceptance in the 1950s was a matter of debate. American social realism had become mainstream in the 1930s. It has been influenced not only by the Great Depression, but also by Mexican muralists such as David Alfaro Siqueiros and Diego Rivera. The political climate after World War II shortly tolerated the social protest of these painters. Abstract expressionism emerged during World War II and began to be exhibited in the early forties in New York galleries such as The Art of the Century Gallery. The McCarthy Era after World War II was a period of artistic censorship in the United States, but if the subject was really abstract then it would be seen as apolitical, and therefore safe. Or if the art is political, the message is mostly for insiders.
While the movement is closely related to paintings, and painters such as Arshile Gorky, Franz Kline, Clyfford Still, Hans Hofmann, Willem de Kooning, Jackson Pollock, and others, Collagist Anne Ryan and certain sculptor are specifically also integral to abstractism. David Smith, and his wife Dorothy Dehner, Herbert Ferber, Isamu Noguchi, Ibram Lassaw, Theodore Roszak, Phillip Pavia, Mary Callery, Richard Stankiewicz, Louise Bourgeois and Louise Nevelson in particular are some of the sculptors who are considered important members of the movement. In addition, artists David Hare, John Chamberlain, James Rosati, Markus Suvero, and sculptor Richard Lippold, Raoul Hague, George Rickey, Reuben Nakian, and even Tony Smith, Seymour Lipton, Joseph Cornell and others are integral to the abstract movement expressionist. Many registered sculptors participated in the Ninth Street Show, a famous exhibition curated by Leo Castelli at East Ninth Street in New York City in 1951. In addition to the painter and sculptor in the expressionism period the New York School of Abstract also produced a number of supportive poets, including Frank O'Hara and photographers such as Aaron Siskind and Fred McDarrah (whose book The Artist's World in Pictures documented the New York School during the 1950s), and filmmakers - especially Robert Frank - were likewise.
Although abstract expressionist schools are spreading rapidly throughout the United States, the main centers of this style are New York City and the San Francisco Bay area of ​​California.
Maps Abstract expressionism
Art critics of the post-World War II era
At a certain moment, the canvas begins to be seen by an American painter after another painter as an arena to act. What happens on the canvas is not an image but an event.
In the 1940s there were not only a few galleries (Art of the Century, Gallery of Pierre Matisse, Julien Levy Gallery, and several others) but also some critics willing to follow the New York Vanguard work. There are also some artists with literary background, among them Robert Motherwell and Barnett Newman, who serve as critics as well.
While New York and the world were not familiar with New York's avant-garde in the late 1940s, most artists who have become household names today have their established protector critics: Clement Greenberg recommends Jackson Pollock and color field painters like Clyfford Still, Mark Rothko, Barnett Newman, Adolph Gottlieb, and Hans Hofmann; Harold Rosenberg seems to prefer the action artists like Willem de Kooning and Franz Kline, as well as Arshile Gorky's seminal paintings; Thomas B. Hess, managing editor of ARTnews , is fighting for Willem de Kooning.
The new critics lift protà © Ã… © gÃÆ'Ã… © s by throwing other artists as "followers" or ignoring those who do not serve their promotional purposes.
In 1958, Mark Tobey became the first American painter since Whistler (1895) won the grand prize at the Venice Biennale.
Barnett Newman, the last member of the Uptown Group, wrote a catalog of introductions and reviews, and in the late 1940s became an exhibit artist at the Betty Parsons Gallery. His first solo performance was in 1948. Soon after his first exhibition, Barnett Newman said in one of the Artist Sessions at Studio 35: "We are in the process of making the world, to some extent, in our own image." Utilizing his writing skills, Newman fought every step to reinforce his newly established image as an artist and to promote his work. An example is his letter on April 9, 1955, "Letter to Sidney Janis: - it is true that Rothko speaks of warriors, but he strives to submit to the philistine world My struggle against bourgeois society has involved total rejection.
Surprisingly the person who is considered most related to this style of promotion is a New York Trotskyist; Clement Greenberg. As a long-standing art critic for Partisan Review and The Nation, he became an early and literate supporter of abstract expressionism. Robert Motherwell, an activist, joined Greenberg in promoting a style consistent with the political climate and intellectual rebellion of the era.
Clement Greenberg expressed abstract expressionism and Jackson Pollock in particular as a symbol of aesthetic value. He supported Pollock's work on a formalistic basis as the best painting of his day and the culmination of an art tradition that returned through Cubism and CÃÆ' Â © zanne to Monet, where the painting became a 'launcher' and more concentrated on what was 'important'. 'For that, making marks on a flat surface.
Jackson Pollock's work always polarized criticism. Harold Rosenberg speaks of the transformation of the painting into an existential play in Pollock's work, in which "what happens on the canvas is not a picture but an event". "The great moment came when it was decided to paint 'just to paint' The movement on the canvas is a sign of liberation from values ​​- political, aesthetic, moral.
One of the most vocal abstract critics of the time was the New York Times art critic John Canaday. Meyer Schapiro and Leo Steinberg together with Clement Greenberg and Harold Rosenberg are important postwar art historians who voiced support for abstract expressionism. During the early to mid sixties the younger art critic Michael Fried, Rosalind Krauss, and Robert Hughes added much insight into the growing critical dialectics around abstract expressionism.
History
World War II and Post-War period
During the period leading up to and during World War II, modernist artists, writers and poets, as well as important collectors and merchants, fled Europe and Nazi attacks for safe havens in the United States. Many of those who did not escape died. Among the artists and collectors who arrived in New York during the war (some with help from Varian Fry) were Hans Namuth, Yves Tanguy, Kay Sage, Max Ernst, Jimmy Ernst, Peggy Guggenheim, Leo Castelli, Marcel Duchamp, Andrà © Masson, Roberto Matta, AndrÃÆ' © Breton, Marc Chagall, Jacques Lipchitz, Fernand LÃÆ'  © ger, and Piet Mondrian. Some artists, especially Pablo Picasso, Henri Matisse, and Pierre Bonnard remain in France and survive.
The post-war period left the European capital in an upheaval, with the urgency to rebuild economically and physically and politically reassembled. In Paris, once a cultural center of Europe and the capital of the art world, the climate of art is a disaster, and New York replaces Paris as the new center of the art world. In Europe after the war there was a continuation of Surrealism, Cubism, Dada, and Matisse's works. Also in Europe, Art brut, and Lyrical Abstraction or Tachisme (European equivalent with abstract expressionism) take over the latest generation. Serge Poliakoff, Nicolas de Staa, Georges Mathieu, Vieira da Silva, Jean Dubuffet, Yves Klein, Pierre Soulages and Jean Messagier, were among others regarded as important figures in post-war European painting. In the United States, a new generation of American artists began to emerge and dominate the world stage, and they are called Abstract Expressionists .
Gorky, Hofmann, and Graham
The 1940s in New York City touted the victory of American Abstract Expressionism, a modernist movement that combines the lessons learned from Henri Matisse, Pablo Picasso, Surrealism, Joan MirÃÆ'³, Cubism, Fauvism, and early Modernism through great teachers in America such as Hans Hofmann of Germany and John D. Graham of Ukraine. Graham's influence on American art during the early 1940s is especially evident in the works of Arshile Gorky, Willem de Kooning, Jackson Pollock, and Richard Pousette-Dart among others. Gorky's contribution to American art and the world is hard to exaggerate. His work as a lyrical abstraction is a "new language." He "illuminates the way for two generations of American artists." The painful religiosity of mature works such as "Heart is Chick Scale", "The Betrothal II", and "One Year Milkweed" soon compiles the abstract Expressionism and leaders at the New York School have acknowledged the considerable influence of Gorky.Herman Bloom's early work was also influential American artists also benefited from the presence of Piet Mondrian, Fernand LÃÆ' Ã… © ger, Max Ernst, and Andrà © group Breton, the gallery of Pierre Matisse, and the Peggy Guggenheim gallery The Art of This Century, as well as other factors Hans Hofmann especially as a teacher, mentor, and artist is important and influential on the development and success of abstract expressionism in the United States Among the Hofmann protagonists is Clement Greenberg, who became a very influential voice for the American painting, and among his students was Lee Krasner, who introduce his teacher, Hofmann, to her husband, Jackson Pollock.
Pollock and the Abstract effect
During the late 1940s, Jackson Pollock's radical approach to paint revolutionized the potential for all contemporary art that followed. To some degree, Pollock realizes that the journey to making artwork is as important as the work of art itself. Like the innovative Pablo Picasso painting and sculpture painting near the turn of the century through cubism and sculptures built, with different influences such as Navaho sand paintings, surrealism, Jungian analysis, and Mexican mural art, Pollock redefines what it is to produce art. His displacement from horses' paintings and conventionality is a liberating signal for the artists of his day and for all who came after him. The artist realizes that Jackson Pollock's process - unbleached raw canvas placement on the floor where he can be attacked from all four sides using artist materials and industrial materials; spindle linear paint dripping and throwing; drawing, coloring, brushing; imagery and non-imagery - basically taking art beyond the previous limits. Abstract expressionism generally develops and develops the definitions and possibilities available to artists for the creation of new artworks.
Other abstract expressionists follow Pollock's breakthrough with their own new breakthrough. In the sense of innovation Jackson Pollock, Willem de Kooning, Franz Kline, Mark Rothko, Philip Guston, Hans Hofmann, Clyfford Still, Barnett Newman, Ad Reinhardt, Richard Pousette-Dart, Robert Motherwell, Peter Voulkos, and others open the floodgates for diversity and the scope of all the art that follows them. The new art movement in the 1960s basically followed the traces of abstractism and in particular the innovations of Pollock, De Kooning, Rothko, Hofmann, Reinhardt, and Newman. The radical Anti-Formalist movement of the 1960s and 1970s including Fluxus, Neo-Dada, Conceptual Art, and the feminist art movement can be traced to abstract expressionism innovations. Rereadings into abstract art, conducted by art historians such as Linda Nochlin, Griselda Pollock and Catherine de Zegher critically show, however, that the pioneers of female artists who have produced great innovations in modern art have been ignored by the official accounts of its history, but have finally begun to reach long-delayed recognition behind the abstract expressionist movements of the 1940s and 1950s. Abstract expressionism emerged as a major art movement in New York City during the 1950s and afterwards several leading art galleries began to incorporate abstract expressionist in the exhibition and as fixed on their roster. Some of the prominent 'uptown' galleries include: Charles Egan Gallery, Sidney Janis Gallery, Betty Parsons Gallery, Kootz Gallery, Tibor de Nagy Gallery, Stable Gallery, Leo Castelli Gallery, and more; and some of the city center galleries were known at the time when the Tenth Street gallery exhibited many younger younger artists working in abstract expressionist fields.
Action painting
The action painting is a style that spread from the 1940s to the early 1960s, and is closely related to abstractism (some critics have used the term action painting and abstract expressionism alternately). A comparison is often depicted between American action painting and French tachism.
The term was coined by American critic Harold Rosenberg in 1952 and marked a major change in the aesthetic perspective of painters and critics of the New York School. According to Rosenberg, the canvas is the "arena to act". While abstract expressionists such as Jackson Pollock, Franz Kline and Willem de Kooning have long said in their view of a painting as an arena in which to reach agreement with the act of creation, previous critics sympathize with their goals, such as Clement Greenberg, focusing on "objects "their work. For Greenberg, the physical layers of paintings and oil-coated surfaces are the key to understanding them as documents of an artist's existential struggle.
Rosenberg's criticism shifts the emphasis from the object to the struggle itself, with the finished painting only a physical manifestation, a kind of residue, an actual work of art, which is in the act or process of the painting's creation. This spontaneous activity is the "action" of the painter, through the movements of the arms and wrists, painter movements, brush strokes, paint thrown, splattered, stained, scattered and dripping. The painter sometimes lets paint drip onto the canvas, while dancing rhythmically, or even standing on the canvas, sometimes letting the paint fall in accordance with the subconscious mind, allowing the unconscious part of the soul to express and express itself. All of this, however, is difficult to explain or interpret because it is an unconscious manifestation of pure act of creation.
In practice, the term abstract expressionism is applied to a number of artists working (mostly) in New York who have very different styles, and even applied to less abstract and non-expressionist work. Energock's energetic action pamphlets, with their "busy" nuances, technically and aesthetically different, to the rough and violent Willem de Kooning series. (As seen above) Woman V is one of a series of six paintings created by de Kooning between 1950 and 1953 depicting a three-quarter-old female figure. He started the first of these paintings, a collection of Women I, the Museum of Modern Art, New York City, in June 1950, repeatedly changing and painting images until January or February 1952, when the painting was abandoned not finished. Art historian Meyer Schapiro saw the painting at de Kooning's studio soon afterwards and encouraged the artist to endure. De Kooning's response was to start three other paintings of the same theme; Woman II , collection: Museum of Modern Art, New York City, Female III, Tehran Contemporary Art Museum, Female IV, Nelson- Atkins Museum of Art, Kansas City, Missouri. During the summer of 1952, spending time in East Hampton, de Kooning further explored themes through pictures and pastels. He may have finished working at Women I at the end of June, or maybe until the end of November 1952, and maybe three other women's photos concluded at the same time. The Woman series is a definitive figurative painting.
Another important artist is Franz Kline, as shown by his paintings Number 2 (1954) (see above). Like Jackson Pollock and other abstract expressionists, Kline is labeled "action painters for his seemingly spontaneous and intense, lacking focus, or not at all, on images or imagery, but on real brush strokes and canvas usage Automatic writing is an important vehicle for the action artist Franz Kline (in black and white painting), Jackson Pollock, Mark Tobey and Cy Twombly, who use movements, surfaces, and lines to create calligraphy, linear and spindle symbols resembling language, and resonate As a powerful manifestation of the unconscious collectively, Robert Motherwell in his series, which also paints powerful black and white paintings using gestures, surfaces and symbols that evoke powerful emotional charges.
Meanwhile, other action artists, especially Willem de Kooning, Arshile Gorky, Norman Bluhm, Joan Mitchell, and James Brooks, (see the gallery) use a good image through the abstract landscape or as the expressionist vision of the figure to articulate a very personal and powerful depiction. The paintings of James Brooks are very poetic and very clear in relation to the Lyrical Abstraction which became famous in the late 1960s and 1970s.
Color field
Clyfford Still, Barnett Newman, Adolph Gottlieb, and the glittering color blocs in Mark Rothko's work (usually not called expressionist and which Rothko rejects are abstract), are classified as abstract expressionists, though from what Clement Greenberg calls The direction of the abstract color of expressionism. Both Hans Hofmann (see the gallery) and Robert Motherwell (gallery) can easily be described as practicing painting action and Colors field painting. In the 1940s, Richard Pousette-Dart had a very controlled image and often depended on themes of mythology and mysticism; like the paintings of Adolph Gottlieb, and Jackson Pollock in that decade as well.
Color Field painting initially refers to certain types of abstractism, especially the works of Mark Rothko, Clyfford Still, Barnett Newman, Robert Motherwell, Adolph Gottlieb, Ad Reinhardt, and several series of paintings by Joan MirÃÆ'³. Clement Greenberg's art critic thinks Color Field paintings are related to but are different from the Action paintings. Color Fielders painters are trying to get rid of the art of their excessive rhetoric. Artists such as Robert Motherwell, Clyfford Still, Mark Rothko, Adolph Gottlieb, Hans Hofmann, Helen Frankenthaler, Sam Francis, Mark Tobey, and especially Ad Reinhardt and Barnett Newman, whose masterpiece Vir sublimis heroicus are in the collection MoMA, used greatly reduces reference to nature, and they are painted with the use of highly articulated and psychological colors. Generally these artists eliminate recognizable imagery, in the case of Rothko and Gottlieb sometimes using symbols and marks instead of imagery. Some artists cite past or present art references, but in general field paintings the color presents abstractions as the goal itself. In pursuing the direction of this modern art, artists want to present each painting as one unity, one unified, monolithic image.
In contrast to the emotional energy and the surface signs of abstract expressionist gestural such as Jackson Pollock and Willem de Kooning, Color Field painters initially looked cool and loud, showing no individual marks in favor of large flat color areas, which these artists perceived as important properties of visual abstraction, along with the actual shape of the canvas, which later in the 1960s Frank Stella in particular was achieved in an unusual way with the combination of curved and straight sides. But Color Field's painting has proven to be sensual and very expressive in a way different from the Abstract gestural expressionism.
Although abstract expressionism is spreading rapidly throughout the United States, the main centers of this style are New York City and California, especially in the New York School, and the San Francisco Bay area. Abstract expressionist painting has certain characteristics, including the use of a large canvas, a "thorough approach", in which all canvases are treated with the same interests (as opposed to centers more interesting than edges). The canvas as the arena becomes the Action painting credo, while the image field integrity becomes the Cat Color field painter. Young artists began exhibiting their abstract expressionist paintings during the 1950s including Alfred Leslie, Sam Francis, Joan Mitchell, Helen Frankenthaler, Cy Twombly, Milton Resnick, Michael Goldberg, Norman Bluhm, Grace Hartigan, Friedel Dzubas, and Robert Goodnough..
Although Pollock is closely related to Action Painting due to his style, technique, and painter in touch and his physical application to paints, art critics have likened Pollock to Action painting and color field painting. Another critical view advanced by Clement Greenberg links Pollock's allover canvas to a large-scale Water Lilies from Claude Monet conducted during the 1920s. Greenberg, art critic Michael Fried, and others have observed that the overall feeling in Pollock's most famous works - his paintings drip - is read as a vast field of innate linear elements often read as a broad complex of equal value depicts a spindle that reads across the entire color and image plane, and is related to the final Monet mural created from many parts of the brushed and scratched marks that are also read as areas of color and similar images that Monet uses to build the surface of the image. The use of the All-over Pollock composition lends philosophical and physical connections to color painters such as Newman, Rothko and Still build their unbroken surfaces and in the case of broken Still. In some paintings that Pollock painted after the classical painting trickled in the period 1947-1950, he used the technique of dyeing liquid oil paint and house paint into the raw canvas. During 1951 he produced a series of semi-figurative black stained paintings, and in 1952 he made stain paintings using color. In the November 1952 exhibition at the Sidney Janis Gallery in New York City Pollock showed Number 12, 1952 , a very large stained painting that resembled a brightly stained landscape (with a large expanse of dark paint drip)); the painting was obtained from the exhibition by Nelson Rockefeller for his personal collection. In 1960 the painting was badly damaged by a fire at the Governor's Palace in Albany that also damaged the paintings of Arshile Gorky and several other works in the Rockefeller collection. However, in 1999 it has been restored and installed at the Albany Mall.
While Arshile Gorky is considered one of the founders of abstract and surrealism, he is also one of the first New York School painter to use staining techniques. Gorky created a wide field. the clear, open, uninterrupted color he uses in his many paintings as a yard. In Gorky's most effective and perfect painting between 1941 and 1948, he consistently used intensely colored fields, often letting them flow and drip, under and around the familiar lexicon of organic and biomorphic forms and lines, fine lines. Another abstract expressionist whose works in the 1940s remind us of the stain paintings of the 1960s and 1970s was James Brooks. Brooks regularly uses stains as a technique in his painting from the late 1940s. Brooks began to attenuate his oil paint to have liquid colors to pour and drip onto the most raw canvas she used. These works are often combined with calligraphic and abstract forms. During the last three decades of his career, Sam Francis's style of large-scale Abstract Expressionism is closely related to the Color field painting. His paintings include both camps in the abstract expressionist section, the Action painting, and the Color Field painting.
After seeing the 1951 painting of Jackson Pollock about a stained smear of black oil as a raw canvas, Helen Frankenthaler began producing stain paintings in various colors of oil on raw canvas in 1952. His most famous painting of the period was < i> Mountains and the Sea (as seen below). He was one of the originators of the Color Field movement that emerged in the late 1950s. Frankenthaler also studied with Hans Hofmann.
Hofmann's painting is the color symphony as seen in The Gate, 1959-1960. Hofmann is famous not only as an artist but also as an art teacher, both in his native Germany and later in the US Hans Hofmann, who came to the United States from Germany in the early 1930s, brought a legacy of modernism. Hofmann was a young artist working in Paris who painted there before World War I. Hofmann worked in Paris with Robert Delaunay, and he knew first hand the innovative works of Pablo Picasso and Henri Matisse. Matisse's work has a great influence on him, and on his understanding of the expressive language of colors and the potential of abstraction. Hofmann was one of the first theoreticians in the field of color painting, and his theory influenced artists and critics, especially for Clement Greenberg, as well as for others during the 1930s and 1940s. In 1953 Morris Louis and Kenneth Noland were heavily influenced by the stained paintings of Helen Frankenthaler after visiting his studio in New York City. Back to Washington, DC., They began to produce masterpieces that created the color field movement in the late 1950s.
In 1972, the lecturer of the Metropolitan Museum of Art Henry Geldzahler said:
Clement Greenberg incorporated the work of Morris Louis and Kenneth Noland in a show he performed at the Kootz Gallery in the early 1950s. Clem was the first to see their potential. He invited them to New York in 1953, I think it was, to Helen's studio to see a painting that he just called the Mountains and the Sea, a very, very beautiful painting, which in a sense, out of Pollock and out of Gorky. This is also one of the first stain images, one of the first large field images where stain techniques are used, probably the first. Louis and Noland saw the picture open on his studio floor and back to Washington, DC, and worked together for a while, working on the implications of this kind of painting.
In 1960 after abstract expressionism
In abstract paintings during the 1950s and 1960s, several new directions, such as the hard-edge paintings exemplified by John McLaughlin, emerged. Meanwhile, in reaction to the abstractionism of abstract expressionism, other forms of geometric abstraction began to appear in artist studios and in radical avant-garde circles. Clement Greenberg became the voice of post-painter abstraction; by curating an influential new painting exhibit that visited important art museums throughout the United States in 1964. Color painting, harsh edging, and Liris Abstraction emerged. as a radical new direction.
Abstract Expression and Cold War
Since the mid-1970s it has been argued by revisionist historians that the style drew attention, in the early 1950s, from the CIA, who saw it as the representative of the United States as a free-space and free-market paradise, and challenged both the prevailing socialist realist styles prevalent in the country communist states and the dominance of the European art market. The book by Frances Stonor Saunders, Cold War Culture - CIA and the World of Arts and Literature , (published in the UK as Who Paid the Piper ?: CIA and Cold War Culture ) details how The CIA financed and arranged the promotion of American abstract expressionism as part of cultural imperialism through the Congress of Cultural Freedom from 1950 to 1967. In particular the Robert Motherwell series Elegy to the Spanish Republic Overcame some of the political issues. Tom Braden, founder of the head of the CIA's International Organization Division (IOD) and former executive secretary of the Museum of Modern Art, said in an interview: "I think it's the most important division the agency has, and I think it played a big role in the Cold War."
To this revisionist tradition, an essay by Michael Kimmelman, the main art critic of The New York Times, called Revisionist Revis- tion: Modern, Criticism and Cold War, argues that much of this information ( as well as revisionist interpretations of it) of what happened in the arts of American art during the 1940s and 50s were completely wrong, or at best (contrary to recognized revisionist historiography principles) decontextualized. Other books on the subject include Art in the Cold War by Christine Lindey, who also described the art of the Soviet Union at the same time; and Pollock and After edited by Francis Frascina, who reprinted Kimmelman's article.
Consequences
The Canadian painter Jean-Paul Riopelle (1923-2002), a member of the surreal-inspired Les Automatistes group in Montreal, helped introduce a style of abstract impressionism to the art world of Paris from 1949. Breakthrough Michel Tapià ©  ©, Un Art Autre (1952), is also very influential in this regard. TapiÃÆ'  © is also a curator and exhibition organizer that promotes the works of Pollock and Hans Hofmann in Europe. In the 1960s, the early influence of the movement had been assimilated, but its methods and supporters remained very influential in art, greatly influencing the work of many artists who followed. Abstract expressionism preceded Tachism, Color Field painting, Lyrical Abstraction, Fluxus, Pop Art, Minimalism, Postminimalism, Neo-Expressionism, and other movements from the sixties and seventies and that affected all later evolving movements. The movements that were a direct response to, and the rebellion against abstract expressionism began with Hard-edge paintings (Frank Stella, Robert Indiana and others) and Pop artists, especially Andy Warhol, Claes Oldenburg and Roy Lichtenstein who accomplished excellence in the US, accompanied by Richard Hamilton in England. Robert Rauschenberg and Jasper Johns in the US formed a bridge between abstract expressionism and Pop art. Minimalism is exemplified by artists such as Donald Judd, Robert Mangold and Agnes Martin.
However, many painters, such as Jules Olitski, Joan Mitchell and Antoni TÃÆ' pies continue to work in abstract expressionist styles over the years, extending and expanding their visual and philosophical implications, as many abstract artists continue to do today, in a style described as Lyrical Abstraction , Neo-expressionist and others.
In the years after World War II, a group of New York artists embarked on one of the first true schools of artists in America, bringing a new era in American art: abstract expressionism. This led to a booming American art that brought style like Pop Art. It also helps to make New York a cultural and art center.
Source of the article : Wikipedia
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