Color Field

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Paint Color Field is a style of abstract painting that appeared in New York City during the 1940s and 1950s. It was inspired by European modernism and closely linked to Abstract Expressionism, while many of its famous early supporters were among the pioneering Expressionist Abstract. The Color field is characterized primarily by large flat plane, solid color spread on or stained to canvas creating an unbroken surface area and flat image area. This movement is less emphasis on movement, brush strokes, and actions that support the consistency of overall shape and process. In the field painting the color "color is freed from the objective context and becomes the subject itself."

During the late 1950s and 1960s, color field painters appeared in Britain, Canada, Washington, DC and the West Coast of the United States using striped formats, targets, simple geometric patterns and references for landscape and natural images.

Video Color Field

Historical roots

The focus of attention in the world of contemporary art began to shift from Paris to New York after World War II and the development of American Abstract Expressionism. During the late 1940s and early 1950s Clement Greenberg was the first art critic to suggest and identify the dichotomy between differences in tendencies in the Abstract canonical. Taking issue with Harold Rosenberg (the top champion of Abstract Expressionism), who writes about the goodness of painting in his article "The American Painter of Action" published in the December 1952 issue of Greenpe observes another trend. to the all-round color or Color Field in the works of some of the first generation 'Abstract Expressionis'.

Mark Rothko is one of the painters called Greenberg as Color Field painter exemplified by Magenta, Black, Green on Orange, even though Rothko himself refused to comply with any label. For Rothko, the color "is just an instrument." In a sense, his most famous works - his "multiform" and his other signature paintings - are essentially the same expression, though one of the purer (or less concrete or definable, meanings depending on your interpretation) is " basic human emotions, "like previous surrealistic mythological paintings. What is common among these stylistic innovations is the concern for "tragedy, ecstasy and calamity". In 1958, whatever spiritual expression Rothko meant to be depicted on the canvas, grew darker every day. The bright red, yellow and orange in the early 1950s subtly turned into dark blue, green, gray and black. The last series of his paintings from the mid-1960s were gray, and black with white borders, abstract landscapes visible from endless land, such as the tundra, unknown.

Rothko, during the mid-1940s, was in the midst of a crucial transitional period, and he was impressed by Clyfford Still's abstract color field, partly influenced by the original North Dakota landscape. In 1947, during the teaching of the following semester at the California School of Fine Arts (now known as the San Francisco Art Institute), Rothko and Still flirted with the idea of ​​setting up their own curriculum or school. Still regarded as one of the leading Field Color painters - his non-figurative paintings mostly relate to the alignment of various colors and surfaces. The jagged colored sheen gives the impression that one layer of color has been "torn" from the painting, showing the color beneath it, reminiscent of the stalactites and the primordial cave. Still irregular, jagged, and pitted settings with heavy texture and sharp surface contrast as seen above at 1957D1 .

Another artist whose works are most famously associated with abstract expressionism and painting the field painting is Robert Motherwell. The motherwell style of abstract expressionism, characterized by open fields of painterly surfaces accompanied by loose and measurable lines and shapes, was influenced by Joan MirÃÆ'³ and by Henri Matisse. Robert Motherwell's Elegy to the Spanish Republic No. 110 (1971) is the work of a pioneer of Abstract Expressionism and Field Color painting. Robert Motherwell's Elegy to The Spanish Republic series embodied both trends, while the Motherwell Open Series in the late 1960s, 1970s and 1980s put it firmly inside the camp Color Field. In 1970, Motherwell said, "All my life, the 20th century painter I admire the most is Matisse," alluding to some of his own series of paintings that reflect the influence of Matisse, the most famous of which is the Open Series of its closest to painting Classical Field.

Barnett Newman is considered one of the main characters in abstract expressionism and one of the leading painters of color. Newman's mature work is characterized by pure and flat color areas separated by thin vertical stripes, or "zips" like Newman called them, exemplified by Vir Heroicus Sublimis in the MoMA collection. Newman himself thought that he had achieved his fully fledged style with the series Onement (from 1948) seen here. The zipper determines the spatial structure of the painting while dividing and uniting the composition. Although Newman's paintings appear purely abstract, and many of them were initially unnamed, the names he later gave them signaled the specific subjects being discussed, often with Jewish themes. Two paintings from the early 1950s, for example, are called Adam and Eve (see Adam and Eve), and there is also Uriel (1954)) and Abraham (1949), a very dark painting which, in addition to being the name of biblical patriarch, was also the name of Newman's father, who had died in 1947. Newman's late works, such as the series Who's Afraid of Red, Yellow and Blue , uses vibrant vibrant colors, often on a very large canvas.

Jackson Pollock, Adolph Gottlieb, Hans Hofmann, Barnett Newman, Clyfford Still, Mark Rothko, Robert Motherwell, Ad Reinhardt and Arshile Gorky (in his last works) are one of the leading abstract expressionist painters Greenberg identified as liaison with Color Field painting in the 1950s and 1960s.

Although Pollock is very closely related to the action painting because of his artist style, technique, and 'touch' and physical application of paint, art critics have likened Pollock to paintings of action and color field painting. Another critical view advanced by Clement Greenberg links Pollock's large canvas alleles to a large scale Water Climber of 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 regarded as one of the founders of Abstract Expressionism and Surrealism, he is also one of the first New York School painter to use the technique of 'staining'. Gorky created the vast, open, and unbroken field of colors he used in his many paintings as a yard. In Gorky's most effective and perfect painting between 1941 and 1948, he consistently uses intensely stained fields. color, often letting the paint flow and drip, under and around the familiar lexicon of organic and biomorphic forms and 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 often 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 Color Field painting. His paintings straddle both camps in the Expressionist Abstract, the action paint 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 USA Hofmann, who came to the United States from Germany in the early 1930s, brought the 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 Frankenthaler's paintings after visiting his studio in New York City. Back to Washington, DC., They began to produce great works that created color field movements in the late 1950s.

In 1972, lecturer at 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.

Morris Louis's Paintings Where 1960, is a great innovation that moves the abstract expressionist painting forward in a new direction toward Color and Minimalist Fields. Among Louis's main works are various series of color field paintings. Some of the famous series are Unfurleds , Veil , Motals and The lines or Pillars . From 1929 to 1933, Louis studied at the Institute of Art and Art Maryland (now Maryland Institute College of Art). He worked in various odd jobs to support himself while painting and in 1935 was president of the Baltimore Artists Association. From 1936 to 1940, he lived in New York and worked in the horses division of the Federal Project of Job Progress Jobs. During this period, he knew Arshile Gorky, David Alfaro Siqueiros, and Jack Tworkov, returned to Baltimore in 1940. In 1948, he began using acrylic paint oil-Magna. In 1952, Louis moved to Washington, D.C., living there somewhat apart from the New York scene and working almost in isolation. He and a group of artists including Kenneth Noland is the center of Color Field painting development. The basic point of Louis's work and the work of other Field Color painters, sometimes known as the Washington Color School is different from most of the other new approaches in the late 1950s and early 1960s, is that they greatly simplify the idea of ​​what shapes the look of a painting It is finished.

Kenneth Noland, who worked in Washington, DC, was also a pioneer of color field movement in the late 1950s who used the series as an important format for his paintings. Some of Noland's main series are called Target , Chevron and Lines . Noland attended the Black Mountain College experimental and studied art in his state of North Carolina. Noland studied with professor Ilya Bolotowsky who introduced him to neo-plasticism and Piet Mondrian's work. There he also studied the Bauhaus theory and color with Josef Albers and he became interested in Paul Klee, especially his sensitivity to color. In 1948 and 1949 he worked with Ossip Zadkine in Paris, and in the early 1950s met with Morris Louis in Washington, DC.

In 1970 Clement Greenberg's art critic said:

I put Pollock together with Hofmann and Morris Louis in this country among the greatest painters of this generation. I do not actually think there are people in the same generation in Europe to match them. Pollock did not like Hofmann's paintings. He can not get them out. He did not want to bother. And Hofmann did not like Pollock's allover paintings, nor did most of Pollock's artists make heads or tails of them, the things he did from 1947 to '50. But Pollock's paintings live or die in the same context as the paintings of Rembrandt or Titian or Velázquez or Goya or David or... or Manet or Ruben or Michelangelo's paintings. No interruptions, no mutations here. Pollock was asked to be tested by the same eye who could see how good Raphael was when he was nice or Piero when he was nice.

Maps Color Field

Color Field Movement

In the late 1950s and early 1960s young artists began to separate themselves from abstract expressionism; experimenting with new ways of drawing; and new ways of handling paint and color. In the early 1960s some and various new movements in abstract paintings are closely related to each other, and are superficially categorized together; although they are very different in the long run. Some of the new styles and movements that emerged in the early 1960s in response to abstract expressionism are called: Washington Color School , Hard-edge painting , Geometric abstraction >, Minimalist , and Color Field .

Gene Davis is also a painter known primarily for painting vertical stripes of colors, such as Black Gray Beat, 1964, and he is also a member of the abstract artist group in Washington DC during the 1960s known as the Color School Washington. The Washington painter is one of the most prominent painters of Color Colors in the Middle Ages.

The artists associated with the Color Field movement during the 1960s moved away from the movements and anxieties supporting a clear surface and gestalt. During the early to mid 1960s the Color Field painting was a term for works by artists such as Anne Truitt, John McLaughlin, Sam Francis, Sam Gilliam, Thomas Downing, Ellsworth Kelly, Paul Feeley, Friedel Dzubas, Jack Bush, Howard Mehring, Gene Davis, Mary Pinchot Meyer, Jules Olitski, Kenneth Noland, Helen Frankenthaler, Robert Goodnough, Ray Parker, Al Held, Emerson Woelffer, David Simpson, and others whose earlier works are associated with second generation abstractism; and also for young artists like Larry Poons, Ronald Davis, Larry Zox, John Hoyland, Walter Darby Bannard, and Frank Stella. Everything is moving in a new direction away from the violence and anxiety of the Action painting towards a new and seemingly quieter color language .

Although the Color Field is associated with Clement Greenberg, Greenberg actually prefers to use the term Post-Painterly Abstraction. In 1964, Clement Greenberg curated an influential exhibition that visited a country called Pos - different abstractions. This exhibition expands the definition of color field painting. Color Field painting clearly points to a new direction in American painting, away from abstract expressionism. In 2007 curator Karen Wilkin curated an exhibition called Color As Field: American Painting 1950-1975 that traveled to several museums across the United States. The exhibition features several artists representing two generations of Color Field painter.

In 1970 painter Jules Olitski said:

I do not know what Color Field painting means. I think it might have been created by some critics, which is okay, but I do not think that expression means anything. Color Field Painting? I mean, what is color? Painting should be done with many things. Color is one of the things to do. It has something to do with the surface. It has something to do with form, It has to do with feelings that are more difficult to achieve.

Jack Bush is a Canadian abstract expressionist painter, born in Toronto, Ontario in 1909. He is a member of Painters Eleven, a group founded by William Ronald in 1954 to promote abstract paintings in Canada, and was soon encouraged in his artwork by American art critic Clement Greenberg. With encouragement from Greenberg, Bush became closely tied to two movements that grew from abstract expressionist efforts: Color Field Painting and Lyrical Abstraction. His paintings of Big A are examples of his color field paintings in the late 1960s.

During the late 1950s and early 1960s, Frank Stella was an important figure in the emergence of paintings of Minimalism, Post-Pain Ability and Color Field. Its 1960s canvases like Harran II, 1967, revolutionize the abstract paintings. One of the most important characteristics of Stella's painting is the use of repetition. His Black Pin Stripe paintings in 1959 shocked and shocked the art world unaccustomed to seeing monochromatic and repetitive images, painted flat, almost without indentation. During the early 1960s Stella made several series of 'Aluminum Painted Notes' and formed Copper Painting before making a multi-color and asymmetrical canvas in the late 1960s. Frank Stella's approach and relationship with Color Field painting is not permanent or important for his creative outcomes; as his work became more and more three dimensional after 1980.

In the late 1960s Richard Diebenkorn started the series Ocean Park ; created during the last 25 years of his career and they are important examples of the field of color painting. The Ocean Park series exemplified by Ocean Park No.129, links its abstract expressionist who previously worked with Field color painting. During the early 1950s, Richard Diebenkorn was known as an abstract expressionist, and his gestural abstraction was close to the New York School in sensitivity but strongly based on San Francisco's expressionist sensitivity; a place where Clyfford still has a great influence on young artists based on his teachings at the San Francisco Institute of Art.

In the mid-1950s, Richard Diebenkorn with David Park, Elmer Bischoff and others formed the Bay Area Figurative School by returning to Figurative paintings. During the period between the autumn of 1964 and the spring of 1965, Diebenkorn traveled throughout Europe, he was given a cultural visa to visit and see Henri Matisse's paintings in a major Soviet museum. He traveled to the Soviet Union to study Henri Matisse's paintings in Russian museums rarely seen outside Russia. When he again painted in the Bay Area in mid-1965, his resulting works summed up everything he had learned from over a decade as a prominent figurative painter. When in 1967 he returned to abstraction his works were parallel to movements such as the Color Field movement and Lyrical Abstraction but he remained independent of both.

During the late 1960s Larry Poons who previously painted Dot associated with Op Art began to produce a looser and more free painting which he described as his Lozenge Ellipse painting in 1967-1968. Together with John Hoyland, Walter Darby Bannard, Larry Zox, Ronald Davis, Ronnie Landfield, John Seery, Pat Lipsky, Dan Christensen and several other young painters, a new movement related to Color Field painting began to take shape; finally called Lyrical Abstraction. The late 1960s saw painters turning to surface inflections, depictions of deep space, and a touch of fabric softener and handling that blended into the colors of the language . Among the new generations of emerging abstract painters combining the field of color painting with expressionism, the older generation also began to incorporate new elements of complex space and surface into their work. In the 1970s, Poons created thick, crusted and heavy paintings called the Elephant Skin paintings; while Christensen sprayed circles, colored lines and colored calligraphy, crossed the multi-colored areas with fine soil; Ronnie Landfield's stained painting band is a reflection of both Chinese landscape painting and the idiom of the Color Field, and the stained paintings of John Seery as exemplified by East Gallery, 1973, of the National Gallery of Australia. Poons, Christensen, Davis, Landfield, Seery, Lipsky, Zox and others painted bridges painting Color Fields with Lyrical Abstraction and reinforced the emphasis on landscape, gesture and touch .

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Overview

Color Field painting deals with post-painter abstraction, Suprematism, Abstract Expressionism, hard-edge painting and Lyrical Abstraction. This initially refers to certain types of abstractism, especially the works of Mark Rothko, Clyfford Still, Barnett Newman, Robert Motherwell, Adolph Gottlieb, 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.

An important difference that makes field painting a color different from abstract expression is paint handling. The most basic basic technique of painting is the application of paint and color field painters to revolutionize how paints can be applied effectively.

Color Field painting is trying to get rid of the art of excessive rhetoric. Artists such as Barnett Newman, Mark Rothko, Clyfford Still, Adolph Gottlieb, Morris Louis, Jules Olitski, Kenneth Noland, Friedel Dzubas, and Frank Stella, and others often use a greatly reduced format, with images essentially simplified to repeating systems and regulated, basic reference to nature, and the use of highly articulated and psychological colors. In general, these artists abolish recognizable images and support abstractions. Some artists cite past or present art references, but in general field paintings the color presents abstractions as the goal itself. In pursuit of this modern art direction, these artists want to present each painting as a single, cohesive, monolithic image often in series' related types.

In contrast to the emotional energy and gestural surface signs and paint handling of the Abstract Expressionists such as Jackson Pollock and Willem de Kooning, Color Field paintings initially looked cool and hard. The color field painter removes individual marks that support large, flat, stained and wet color areas, considered an important feature of visual abstraction along with the actual shape of the canvas, which is specifically attained by Frank Stella in an unusual way with a combination of curved and straight edges. However, Color Field's painting has proven to be sensual and very expressive in a way different from the Abstract gestural expressionism. Denying connections to Abstract Expressionism or other Art Movements Mark Rothko spoke clearly about his paintings in 1956:

I am not an abstraction... I am not interested in color or form relationships or anything else.... I am only interested in expressing the basic human emotions - tragedy, ecstasy, catastrophe, etc. - and the fact that many people cry and crying when faced with my photo shows that I communicate the basic human emotions.... The people who cry in front of my photos have the same religious experience as me when I paint them. And if you, as you say, are only moved by their color relationship, then you miss the point!

Stain paint

Joan MirÃÆ'³ is one of the first and most successful stained painters. Although staining in oil is considered harmful to the canvas of cotton in the long run, the example of MirÃÆ' during the 1920s, 1930s and 1940s was an inspiration and influence on the younger generation. One of the reasons for the success of the Color Field movement is the coloring technique. Artists will mix and dissolve their paint in buckets or coffee cans making liquid fluids and then they will pour it into raw canvas without the ingredients, generally duck cotton. Paint can also be brushed or rolled or thrown or poured or sprayed, and will spread to canvas. Generally artists draw shapes and areas when they are stained. Many different artists use coloring as a technique of choice for use in the manufacture of their paintings. James Brooks, Jackson Pollock, Helen Frankenthaler, Morris Louis, Paul Jenkins, and dozens of other painters have found that pouring and coloring open the door for innovation and revolutionary methods to draw and express meaning in new ways. The number of stained artists in the 1960s greatly increased with the availability of acrylic paints. Acrylic paint coloration to duck cotton canvas cloth is more benign and less damaging to canvas cloth than the use of oil paint. In 1970, artist Helen Frankenthaler commented on the use of her coloration:

When I first started painting stains, I left a lot of unpainted canvas areas, I think, because the canvas itself acted as strongly and positively as paint or line or color. In other words, the soil is part of the medium, so instead of thinking of it as a negative background or space or empty space, the area does not need paint because it has paint next to it. The problem is deciding where to leave it and where to fill it and where to say this does not need another line or other color bucket. It says it in outer space.

Spray painting

Surprisingly some artists use spray gun techniques to make large stretch and color fields sprayed on their canvas during the 1960s and 1970s. Some painters who effectively use spray painting techniques include Jules Olitski, who is a pioneer in his spray technique that covers large paintings with layers of different colors, often gradually changing color and value in subtle development. Another important innovation is the use of spray techniques by Dan Christensen for great effects in brightly colored circles and ribbons; sprayed with clear, calligraphic signs throughout his large-scale paintings. William Pettet, Richard Saba, and Albert Stadler, use this technique to create large-scale multi-color fields; while Kenneth Showell squirts tangled canvas and creates an abstract illusion in living life. Most of the spray painters were active mainly during the late 1960s and 1970s.

The lines

The lines are one of the most popular vehicles for the colors used by several different Color Field painters in a variety of different formats. Barnett Newman, Morris Louis, Jack Bush, Gene Davis, Kenneth Noland, and David Simpson all made an important series of stripes. Although he does not call them stripes but the zipper The Barnett Newman lines are mostly vertical, with varying widths and little use. In the case of Simpson and Noland, their lines were all horizontal, while Gene Davis painted a vertical line drawing and Morris Louis mostly painted a vertical line drawing sometimes called the Pillar. Jack Bush tends to paint horizontal and vertical lines and corners.

cat Magna

Magna, a special spray paint used artist use developed by Leonard Bocor and Sam Golden in 1947 and reformulated in 1960, specifically for Morris Louis and other stained painters of the color field movement. In Magna pigments milled in acrylic resins with alcohol-based solvents. Unlike modern water-based acrylics, Magna can be mixed with mineral turpentine or minerals and quickly dries into a matte or glossy finish. It is used extensively by Morris Louis, and Friedel Dzubas and also by Pop artist Lichtenstein. The magna color is more clear and intense than regular water-based paint. Louis used Magna very well in the Stripe Series, where colors were used without dipping and poured without a direct mixture of cans.

Acrylic paint

In 1972, former curator of the Metropolitan Museum of Art Henry Geldzahler said:

The color field, quite strange or perhaps not, becomes a viable way of painting when acrylic paints, new plastic paints, are formed. It was as if the new paint demanded a new possibility in the painting, and the painters arrived there. Oil paint, which has a very different medium, which is not water-based, always leaves oil, or oil puddles, around the edges of color. Acrylic paint stops at its own edges. The color field painting came along with the invention of this new paint.

Acrylic was first commercially manufactured in the 1950s as a mineral-based mineral paint called Magna offered by Leonard Bocour. Water-based acrylic paints are then sold as "latex" house paint, although acrylic dispersions do not use latex from rubber trees. Interior paint "latex" houses tend to be a combination of binders (sometimes acrylic, vinyl, pva and others), fillers, pigments and water. The exterior "latex" house paint can also be a "co-polymer" blend, but the best exterior water-based paint is 100% acrylic.

Soon after a water-based acrylic binder was introduced as a house paint, the two artists - the first of whom were Mexican muralists - and the company began exploring the potential of new binders. Cat acrylic artists can be thinned with water and used as a wash by watercolor paint, although the washing is quick and permanent once dry. Water-soluble water-soluble acrylic paints became commercially available in the early 1960s, offered by Liquitex and Bocour under the trade name Aquatec. Liquitex and Aquatec are water-soluble proven to be very suitable for stain painting. The water-soluble acrylic coloring technique makes the watery colors permeate and hold fast into raw canvas. Painters such as Kenneth Noland, Helen Frankenthaler, Dan Christensen, Sam Francis, Larry Zox, Ronnie Landfield, Larry Poons, Jules Olitski, Gene Davis, Ronald Davis, Sam Gilliam and others managed to use water-based acrylics for their new stain, the color field of painting.

Inheritance: affect and affect

The heritage of 20th century painting is the main and interrelated complex of a long and interrelated. The use of large areas open to expressive colors applied in portions painted generously, along with loose drawings (unclear linear spots and/or figurative outlines) can first be seen in early works 20th century from Henri Matisse and Joan MirÃÆ'³. Matisse and MirÃÆ'³, as well as Pablo Picasso, Paul Klee, Wassily Kandinsky, and Piet Mondrian directly influence the Abstract Expressionist, Color Field painter of Post-Painterly Abstraction and Lyrical Abstractionists. Nineteenth-century Americans such as Augustus Vincent Tack and Albert Pinkham Ryder, along with early American Modernists such as Georgia O'Keeffe, Marsden Hartley, Stuart Davis, Arthur Dove, and Milton Avery landscape also provide important precedents and influences on Expressionist Abstract, Color Field painter, and Lyrical Abstractionists. Henri Matisse's French Window on Collioure, and Notre Dame Display both of 1914 had a tremendous influence on the American Color Field painters in general, (including Robert Motherwell's Open Series ), and in Richard Diebenkorn's Ocean Park painting in particular. According to the art historian Jane Livingston, Diebenkorn saw the two paintings of Matisse in an exhibition in Los Angeles in 1966, and they had a profound influence on him and his work. Jane Livingston said of Matisse's January 1966 exhibition that Diebenkorn saw in Los Angeles:

It is difficult not to consider the enormous weight for this experience for the direction taken from his job since then. The two photos he sees are echoed in almost all Marine Parks canvas. The landscape of Notre Dame and the French Window in Collioure, both painted in 1914, was seen for the first time in the US.

Livingston goes on to say Diebenkorn must have experienced the French Window in Collioure, as an epiphany.

Joan MirÃÆ'³ was one of the most influential artists of the 20th century. MirÃÆ'³ pioneered staining techniques; creating a vague and multi-colored background in oil paint thinning throughout the 1920s and 1930s; on it he added calligraphy, characters and lexicon of words, and an abundant image. Arshile Gorky openly admired the work of MirÃÆ'³ and painted a picture of Gorky that resembled MirÃÆ'Â ¢, before finally finding his own originality in the early 1940s. During the 1960s MirÃÆ'³ painted large (abstract expressionist scale) luminous paint fields that were brushed strongly with blue, white, and other monochromatic color fields; with an opaque black ball and a calligraphy-like shape, floating randomly. These works are similar to the Color Field paintings of the younger generation. Biographer Jacques Dupin says this about MirÃÆ''s works from the early 1960s:

This canvas reveals proximity - MirÃÆ'³ is not in the least attempt to resist this - with the research of a new generation of painters. Much of this, Jackson Pollock for one, has admitted their debt to MirÃÆ'³. MirÃÆ'³ in turn shows a living interest in their work and never missed an opportunity to encourage and support them. Nor did he consider it under his pride to use their invention on several occasions.

Taking the example of other European modernists such as Joan MirÃÆ'³, the Color Field movement spans several decades from the mid-20th century to the beginning of the 21st century. The Color Field Painting actually includes three generations of separate but related painters. The terms commonly used to refer to three separate but related groups are abstract expressionism, Post-Pain Abstraction, and Lyrical Abstraction. Some artists create works in all three eras, which deal with all three styles. Field Color Pioneers such as Jackson Pollock, Mark Rothko, Clyfford Still, Barnett Newman, Adolph Gottlieb, and Robert Motherwell are primarily regarded as Abstract Expressionists. Artists like Helen Frankenthaler, Sam Francis, Richard Diebenkorn, Jules Olitski, and Kenneth Noland are a slightly younger generation, or in the case of Morris Louis aesthetically according to the point of view of that generation; which began as an Abstract Expressionist but quickly moved to Post-Painterly Abstraction. While young artists such as Frank Stella, Ronald Davis, Larry Zox, Larry Poons, Walter Darby Bannard, Ronnie Landfield, Dan Christensen, begin with Post-Painterly Abstraction and eventually move forward towards a new type of expressionism, called Lyrical Abstraction. Many of the artists mentioned, as well as many others, have practiced all three modes in one phase of their career or another. During the next Color Field painting phase; as a reflection of the zeitgeist in the late 1960s (where things start hanging loosely) and the anxieties of the times (with all the time uncertainties) join the gestalt Post-Painterly Abstraction, producing a Lyrical Abstraction that combines the precision of Field idiom Color with malerische from Expressionist Abstract. During the same period in the late 1960s, and early 1970s in Europe, Gerhard Richter, Anselm Kiefer and several other painters also began to produce works of intense expression, combining abstractions with images, incorporating landscape imagery, and figurations late 1970s referred to as Neo-expressionism.

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Painter

The following is a list of Color Field painters, closely related artists and some of their more important influences:

src: color-field-painting.com

See also

• Abstract art
• Understood Abstract
• Concrete art
• Frederick Spratt
• Hard-edge painting
• Lyrical abstraction
• Modern art
• Post-painter abstraction
• Washington Color School
• Western painting

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References

src: color-field-painting.com

Source

• Greenberg, Clement. Art and Culture , Beacon Press, 1961
• Greenberg, Clement. End of Writings, edited by Robert C. Morgan, St. Paul: University of Minnesota Press, 2003.
• Greenberg, Clement. Artificial Aesthetics: Observation of Art and Flavors. Oxford University Press, 1999.
• Kleiner, Fred S.; and Mamiya, Christin J., Art Gardner's Through the Ages (2004). Volume II. Wadsworth Publishing. ISBN: 0-534-64091-5.
• Schwabsky, Barry. "Irreplaceable Hue - Color Painting Field." Art Forum 1994. See Smart April 20, 2007.
• Color Field As: American Painting, 1950-1975. , taken December 7, 2008
• Wilkin, Karen, and Belz, Carl. Color As Field: American Painting, 1950-1975. Published: Yale University Press; 1st edition (November 29, 2007). ISBNÃ, 0-300-12023-0, ISBNÃ, 978-0-300-12023-3
• Livingston, Jane. Art of Richard Diebenkorn, with essays by John Elderfield, Ruth E. Fine, and Jane Livingston. Whitney Museum of American Art, 1997, ISBNÃ, 0-520-21257-6
• De Antonio, Emile and Tuchman, Mitchell. Painters Paint a Brief History of the Modern Art Scenes, 1940-1970, Abbeville Press 1984, ISBNÃ, 0-89659-418-1
• Jacques Dupin, Joan MirÃÆ'³ Life and Work, Harry N. Abrams, Inc., Publisher, New York City, 1962, Library Catalog Card Number Congress: 62-19132
• Various authors: Barbara Rose, Gerald Nordland, Walter Hopps, Hardy S. George; Print Solving, Options from Washington Modern Art Gallery, 1961-1968, exhibit catalog, Oklahoma City Art Museum 2007, ISBN: 0-911919-05-8
• Cynthia Goodman. Hans Hofmann , with an essay by Irving Sandler, and Clement Greenberg; Exhibit Catalog, Whitney Museum of American Art, New York in collaboration with Prestel-Verlag, Munich, ISBN 0-87427-070-7
• Irving Sandler. The New York School: The Painters and Sculptors of the Fifties, Harper & amp; Row, 1978 ISBN: 0-06-438505-1
• Aldrich, Larry. Young Lyrical Artist , Art in America, v.57, n6, November-December 1969, pp.Ã, 104-113.
• Peter Schjeldahl. New Abstract Painting: Various Feelings, Exhibition Reviews, "Sustainable Abstraction", Whitney City Branch, 55 Water St. NYC. The New York Times, October 13, 1974.
• Kertess, Klaus. Peter Young Paintings 1963-1980 . Foundation Parc. ISBN: 978-1-931885-68-3
• Kertess, Klaus. The Nature of Paint Ronnie Landfield: Forty Years of Color Abstraction, Exhibit Catalog, ISBN 978-0-9820841-2-0
• Carmean, E.A. Towards Color and Field, Exhibition Catalog, Houston Museum of Fine Arts, 1971.
• Carmean, E.A. Helen Frankenthaler A Painting Retrospection, Exhibit Catalog, Harry N. Abrams along with Museum of Modern Art, Fort Worth, ISBN 0-8109-1179-5
• Henning, Edward B. Colors & amp; Field, Art International May 1971: 46-50.
• Tucker, Marcia. Color Structure, New York: Whitney Museum of American Art, NYC, 1971.
• Robbins, Daniel. Larry Poons: Creation of Complex Surfaces, Exhibition Catalogs, Salander/O'Reilly Gallery, p. 9-19, 1990.
• Michael Fried. Morris Louis , Harry N. Abrams, Library of Congress Number: 79-82872

src: wcdf-france.com

External links

• Mark Jenkins, Reviewing Lyle Touch Morris Louis taken December 8, 2008, Washington Post Review from Retired Morris Louis at Hirshhorn Museum and Sculpture Garden September 2007.
• Washington online gallery of Louis Morris paintings
• The Kreeger Museum; an expanded exhibit that also involves several museums and galleries in Washington DC and surrounding areas
• Art Styles: Color Painting - Movement Overview at The Art Story Foundation

Source of the article : Wikipedia