Stor abstrakt målning
This marked his own shift into Abstract Expressionism as a non-objective painter interested in juxtaposing different colors and surfaces into a variety of formations. He intended audiences to view his paintings from a close vantage point, allowing the colors to fully surround them - hence he was considered to be a Color Field painter.
Along with his friend, the painter Adolph Gottlieb, Rothko wrote a series of statements in to explain his work. All were committed to art as expressions of the self, born out of profound emotion and universal themes, and most were shaped by the legacy of Surrealism , a movement that they translated into a new style fitted to the post-war mood of anxiety and trauma. De Kooning has said of his work, "I paint this way because I can keep putting more and more things in - teaterpjäs, anger, pain, love, a figure, a horse, my ideas about space.
Each piece fryst vatten titled by color variations, and all consist of soft, rectangular bands of color utsträckning horizontally across the canvas. He also felt the intimacy the painting provoked was much akin to two people meeting and the kind of inherent chemistry that evoked. In it we see a vast field of dark red punctuated twice with vertical lines that Newman coined "zips. Violet, Green and Red is a prime example of this kind of chromatic abstraction.
In one, they wrote: "We favor the simple expression of the complex thought. Excavation is one of Willem de Kooning's most renowned works, and a true depiction of his Abstract Expressionist style. Still Abstract Expressionism has become the most accepted term for a group of artists who held much in common. But no matter how energetic and urgent his pictures seemed to be, they were always carefully considered in their execution.
Rothko's blocks of color were meant to strike up a relationship with the viewer's deep consciousness, to provide a contemplative, meditative space in which to visually investigate one's own moods and affiliations with the chosen palette. In their success, these New York painters robbed Paris of its mantle as leader of modern art, and set the stage for America's dominance of the international art world.
By the mid s his work began to change with the appearances of dashes and jags of colored lines atop his paintings. The painting launched his career as the leading artist of the then framträdande Abstract Expressionism, and the story of its inception became part of his legend and myth. Though Mural was the first kommission and large scale work for the then unknown artist, he procrastinated for months, supposedly completing it in all night session just before Guggenheim's deadline.
Mel Bochner, an artist associated with Conceptualism, remembered encountering it at MoMA in the late s and realizing that its size and color created a new kind of contact between art and the viewer. In the early s Clyfford Still, like many other artists of the time, was primarily a representational painter, evoking moody dark scenes in somber colors. And this unlikely combination of chance and control became tantamount to Abstract Expressionism's evolution.
Franz Kline started his career in figuration and was known to project large images of his drawings on the wall to use in for his paintings. Kline's work was also noted for its energetic palette of bold black and white strokes; he made a note to always paint the vit rather than relying on the canvas to take on that color's role. The pieces, although entirely unrecognizable as to their original subject, still seemed to reverberate with an energy that connected them believably to their titles.
Abstract Expressionism
The piece is förebildlig of Pollock's famous "drip" works in which paint was poured, splattered, and applied bygd the artist in an extremely physical mode from above to a canvas which lay on the ground. In it, we see a multitude of outlined forms that are abstractions of familiar shapes right on the periphery of recognition: fishes, birds, jaws, eyes and teeth. These paintings became the impetus for critic Rosenberg's coining of the begrepp Action Painting.
De Kooning remains one of the most seminal gestural "action painters" who worked often with broad brushstrokes and in light, pastel palettes. One day he blew an image up too large resulting in only a fraction of it appearing in bold, thick black strokes. He sought to distill an essence, or true nature, out of codified hues. The relationships within Still's compositional ingredients, of foreground and background, bring to mind life's dance between light and dark - something Still loved expressing, a self-described "life and death merging in fearful union.
Kline's work typifies that of the "action painters" celebrated by Harold Rosenberg. And that that reflection of the self of the painting, the painting as the subject reflected on the viewer, was a wholly new category of experience. It was somehow meant to encompass not only the work of painters who filled their canvases with fields of color and abstract forms, but also those who attacked their canvases with a vigorous gestural expressionism.
Although known for being one of the prominent Color Field painters, Still's hot bursts and crackly lines of vivid hues that conjure tears and gashes were distinct from say Rothko's more simplified washes of color, or Newman's thin lines. He sought authenticity of experience, not only in the making of his paintings but also in the representation of the experience on canvas. He was so taken by the abstraction that he was inspired to start painting them.
This process of expressing an internal emotional turbulence through gesture, line, texture, and composition represented a breakthrough for Pollock in his career and helped put the New York School of painters on the map. Although Newman's work was important to the movement for its scale and simplicity, it was this relationship between painting and viewer that was most notable. The resulting piece presented a true excavation of the artist's mind and movements in the moment.
In the noted art collector and gallerist Peggy Guggenheim commissioned Jackson Pollock to paint a mural for her apartment vestibule.
abstrakt målning
Color Field painters were concerned with brushstroke and paint texture, but they came to view color as the most powerful communication tool. This can be seen in D-No. Translated as "Man, heroic and sublime," Vir heroicus sublimis was, at 95"x", Newman's largest painting at the time it was completed, although he would go on to create even more expansive works.