Abstract Expressionism - Artists Artists Type the name of the artist in the box below, click on create, away you go! Abstract Expressionism Site Map » Art » 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 also the one that put New York City at the center of the 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 . Unless otherwise stated, the content of this page is licensed under Creative Commons Attribution-ShareAlike 3.0 License Other interesting sites Health and Environment Click here to edit contents of this page. Click here to toggle editing of individual sections of the page (if possible). Watch headings for an "edit" link when available. Append content without editing the whole page source. Check out how this page has evolved in the past.

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In the USA, Alfred Barr was the first to use this term in 1929 in relation to works by Wassily Kandinsky. Details On Abstract Expressionism | Crafts And Arts You are here: Home / Painting / Details On Abstract Expressionism Details On Abstract Expressionism Tweet Abstract expressionism was an specifically American post-World War II art movement. It was the first American movement to achieve worldwide influence and also the one that put New York City at the center of the art world, a role formerly filled by Paris. After WWII, with images of the Holocaust everywhere, it seemed redundant for socially-aware artists to paint these same images … a photograph at the time was much more powerful. Artists began to explore color and shape and to paint an entire canvas orange or blue. These works were produced in an extremely specific geographical setting and revealed a specific attitude. It was the result of the rivalry and dialogue between young American artists and the large community of European artists living in exile in New York. Additionally, it has an image of being rebellious, anarchic, and highly idiosyncratic and, some feel, rather nihilistic.

It is seen as combining the emotional intensity and self-expression of the German Expressionists with the anti-figurative aesthetic of the European abstract schools such as Futurism, the Bauhaus and Synthetic Cubism. The movement describe formal trend in American abstraction at the time. It can be broadly divided into two groups: Action Painting and Color Field and Hard-Edge Painting. It has its non-American parallels with similar aims (Art Informel, Cobra, Lyrical Abstraction). By the 1960s, the movement had lost most of its impact, and was no longer so influential. Movements which were direct responses to, and rebellions against, abstract expressionism had begun, such as pop art and minimalism. However, many painters who had produced abstract expressionist work continued to work in that style for many years afterwards. Action Painting(late 1940’s – late 1950’s) One of the significant streams of Abstract Expressionism is the Action Painting. The term “Action Painting” was used for the first time in 1952 to describe the works of painters such as Jackson Pollock, Franz Kline and Willem de Kooning.

The life energy and the psyche of the painter were at once the driving force, the resource and the meaning of these works. The canvas was seen as an arena. Painting became an irrational, instinctive and impulsive moment of existence. The Action Painting work thus turned into the form and trace of the living body, conveying split-second action and motion. Color Field and Hard-Edge Painting (early 1960’s) Another significant stream of Abstract Expressionism is the Color Field and Hard-Edge Painting. The terms Color Field and Hard Edge describe two formal trends in American abstraction in the early 1960’s. Color Field works consist of large colored areas; neither signs nor forms existed for the eye to latch on to. Color was used without any perspective device, producing a sensation of impressive size. The shades of color were usually diluted so as to sink into the canvas. The expression Hard Edge appeared in the late 1950’s to describe geometric abstract works, which emphasized colorful atmospheres and imprecise shapes. Hard Edge works were typified by their clearly defined outlines and edges and the precision and clarity of the compositions. Be Sociable, Share!

John Tuohy's Art for the Blog of It: Abstract Expressionism John Tuohy's Art for the Blog of It Abstract Expressionism What is 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. 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. 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. In practice, the term is applied to any number of artists working (mostly) in New York who had quite different styles and even to work that is neither especially abstract nor expressionist. Pollock's energetic "action paintings", with their "busy" feel, are different, both technically and aesthetically, from the violent and grotesque Women series of Willem de Kooning's figurative paintings) and the rectangles of color in Mark Rothko's Color Field paintings (which are not what would usually be called expressionist and which Rothko denied were abstract).

Yet all three artists are classified as abstract expressionists. Abstract expressionism has many stylistic similarities to the Russian artists of the early twentieth century such as Wassily Kandinsky. Although it is true that spontaneity or the impression of spontaneity characterized many of the abstract expressionists works, most of these paintings involved careful planning, especially since their large size demanded it. With artists like Paul Klee, Wassily Kandinsky, Emma Kunz, and later on Rothko, Barnett Newman and Agnes Martin, abstract art clearly implied expression of ideas concerning the spiritual, the unconscious and the mind. Why this style gained mainstream acceptance in the 1950s is a matter of debate. American social realism had been the mainstream in the 1930s. It had been influenced not only by the Great Depression but also by the muralists of Mexico such as David Alfaro Siqueiros and Diego Rivera. The political climate after World War II did not long tolerate the social protests of these painters. Abstract expressionism arose during World War II and began to be showcased during the early forties at galleries in New York like The Art of This Century Gallery.

The McCarthy era after World War II was a time of artistic censorship in the United States, but if the subject matter were totally abstract then it would be seen as apolitical, and therefore safe. Or if the art was political, the message was largely for the insiders While the movement is closely associated with painting, and painters like Arshile Gorky, Franz Kline, Clyfford Still, Hans Hofmann, Willem de Kooning, Jackson Pollock and others, collagist Anne Ryan and sculpture and certain sculptors in particular were also integral to Abstract Expressionism. 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 were some of the sculptors considered as being important members of the movement.

In addition, the artists David Hare, John Chamberlain, James Rosati, Mark di Suvero, and sculptors Richard Lippold, Herbert Ferber, Raoul Hague, George Rickey, Reuben Nakian, and even Tony Smith, Seymour Lipton, Joseph Cornell, and several others were integral parts of the Abstract expressionist movement. Many of the sculptors listed participated in the Ninth Street Show the famous exhibition curated by Leo Castelli on East Ninth Street in New York City in 1951. Besides the painters and sculptors of the period the New York School of Abstract expressionism also generated a number of supportive poets, like Frank O'Hara and photographers like Aaron Siskind and Fred McDarrah, (whose book The Artist's World in Pictures documented the New York School during the 1950s), and filmmakers notably Robert Frank as well. Although the abstract expressionist school spread quickly throughout the United States, the major centers of this style were New York City, and the San Francisco Bay area of California. In the 1940s there were not only few galleries but also few critics who were willing to follow the work of the New York Vanguard.

There were also a few artists with a literary background, among them Robert Motherwell and Barnett Newman who functioned as critics as well. While New York and the world were yet unfamiliar with the New York avant-garde by the late 1940s, most of the artists who have become household names today had their well established patron critics: Clement Greenberg advocated Jackson Pollock and the color field painters like Clyfford Still, Mark Rothko, Barnett Newman, Adolph Gottlieb and Hans Hofmann. Harold Rosenberg seemed to prefer the action painters like Willem de Kooning, Franz Kline and Louis Schanker. Thomas B. Hess, the managing editor of ARTnews, championed Willem de Kooning. The new critics elevated their proteges by casting other artists as "followers" or ignoring those who did not serve their promotional goal. As an example, in 1958, Mark Tobey "became the first American painter since Whistler (1895) to win top prize at the Venice Biennale. New York's two leading art magazines were not interested. Arts mentioned the historic event only in a news column and ARTnews ignored it completely.

The New York Times and Life printed feature articles. Barnett Newman, a late member of the Uptown Group, wrote catalogue forewords and reviews, and by the late 1940s became an exhibiting artist at Betty Parsons Gallery. His first solo show was in 1948. Soon after his first exhibition, Barnett Newman remarked in one of the Artists' Session at Studio 35: "We are in the process of making the world, to a certain extent, in our own image." Utilizing his writing skills, Newman fought every step of the way to reinforce his newly established image as an artist and to promote his work. An example is his letter in April 9, 1955, "Letter to Sidney Janis: — it is true that Rothko talks the fighter. He fights, however, to submit to the philistine world. My struggle against bourgeois society has involved the total rejection of it." Strangely the person thought to have had most to do with the promotion of this style was a New York Trotskyite Clement Greenberg. As long time art critic for the Partisan Review and The Nation, he became an early and literate proponent of abstract expressionism.

The well-heeled artist Robert Motherwell joined Greenberg in promoting a style that fit the political climate and the intellectual rebelliousness of the era. Clement Greenberg proclaimed abstract expressionism and Jackson Pollock in particular as the epitome of aesthetic value. It supported Pollock's work on formalistic grounds as simply the best painting of its day and the culmination of an art tradition going back via Cubism and Cézanne to Monet, in which painting became ever 'purer' and more concentrated in what was 'essential' to it, the making of marks on a flat surface. Jackson Pollock's work has always polarised critics. Harold Rosenberg spoke of the transformation of painting into an existential drama in Pollock's work, in which "what was to go on the canvas was not a picture but an event". "The big moment came when it was decided to paint 'just to paint'. The gesture on the canvas was a gesture of liberation from value — political, aesthetic, moral." One of the most vocal critics of abstract expressionism at the time was New York Times art critic John Canaday.

Meyer Shapiro, and Leo Steinberg along with Clement Greenberg and Harold Rosenberg were important art historians of the post-war era who voiced support for abstract expressionism. During the early to mid sixties younger art critics Michael Fried, Rosalind Krauss and Robert Hughes added considerable insights into the critical dialectic that continues to grow around abstract expressionism Since mid 1970s it has been argued by revisionist historians that the style attracted the attention, in the early 1950s, of the CIA, who saw it as representative of the USA as a haven of free thought and free markets, as well as a challenge to both the socialist realist styles prevalent in communist nations and the dominance of the European art markets. The book by Frances Stonor Saunders, The Cultural Cold War—The CIA and the World of Arts and Letters, and other publications such as Who Paid the Piper?: CIA and the Cultural Cold War, detail how the CIA financed and organized the promotion of American abstract expressionists as part of cultural imperialism via the Congress for Cultural Freedom from 1950–67.

Against this revisionist tradition, an essay by Michael Kimmelman, chief art critic of The New York Times, called Revisiting the Revisionists: The Modern, Its Critics and the Cold War, argue that much of this information (as well as the revisionists' interpretation of it) concerning what was happening on the American art scene during the 1940s and 50s is flatly false, or at best (contrary to the revisionists' avowed historiographic principles) decontextualized. Other books on the subject include Art in the Cold War by Christine Lindey, which also describes the art of the Soviet Union at the same time; and Pollock and After edited by Francis Frascina, which reprinted the Kimmelman article The post-war period left the capitals of Europe in upheaval with an urgency to economically and physically rebuild and to politically regroup. In Paris, formerly the center of European culture and capital of the art world, the climate for art was a disaster. Modernist artists, writers, and poets, as well as important collectors and dealers, had fled Europe and the onslaught of the Nazis for safe haven in the United States. Many of those who didn't flee perished.

A few artists, notably Pablo Picasso, Henri Matisse and Pierre Bonnard remained in France and survived. In Europe after the war there was the continuation of Surrealism, Cubism, Dada and the works of Matisse. Also in Europe, Art brut, and Tachisme (the European equivalent to Abstract expressionism) took hold of the newest generation. Serge Poliakoff, Nicolas de Staël, Georges Mathieu, Vieira da Silva, Jean Dubuffet, Yves Klein and Pierre Soulages among others are considered important figures in post-war European painting. The 1940s in New York City heralded the triumph of American Abstract expressionism, a modernist movement that combined lessons learned from Henri Matisse, Pablo Picasso, Surrealism, Joan Miró, Cubism, Fauvism, and early Modernism via great teachers in America like Hans Hofmann from Germany and John D. Graham from Russia. Graham's influence on American art during the early 1940s was particularly visible in the work of Arshile Gorky, Willem de Kooning and Jackson Pollock.

American artists also benefited from the presence of Piet Mondrian, Fernand Léger, Max Ernst and the André Breton group, Pierre Matisse's gallery, and Peggy Guggenheim's gallery The Art of This Century, as well as other factors. Hans Hofmann in particular as teacher, mentor and artist was both important and influential to the development and success of Abstract Expressionism in the United States. Among Hofmann's protege's was Clement Greenberg who became an enormously influential voice for American painting and among his students was Lee Krasner who introduced her teacher Hans Hofmann to Jackson Pollock her husband. During the late 1940s Jackson Pollock's radical approach to painting revolutionized the potential for all Contemporary art that followed him. To some extent Pollock realized that the journey toward making a work of art was as important as the work of art itself. Like Pablo Picasso's innovative reinventions of painting and sculpture near the turn of the century via Cubism and constructed sculpture, Pollock redefined what it was to produce art. His move away from easel painting and conventionality was a liberating signal to the artists of his era and to all that came after.

Artists realized that Jackson Pollock's process—the placing of unstretched raw canvas on the floor where it could be attacked from all four sides using artist materials and industrial materials; linear skeins of paint dripped and thrown; drawing, staining, brushing; imagery and non-imagery—essentially blasted artmaking beyond any prior boundary. Abstract expressionism in general expanded and developed the definitions and possibilities that artists had available for the creation of new works of art. The other Abstract expressionists followed Pollock's breakthrough with new breakthroughs of their own. In a sense the innovations of 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 opened the floodgates to the diversity and scope of all the art that followed them. Rereadings into abstract art, done by art historians such as Linda Nochlin, Griselda Pollock and Catherine de Zegher critically shows, however, that pioneer women artists who have produced major innovations in modern art had been ignored by the official accounts of its history.

The style was widespread from the 1940s until the early 1960s, and is closely associated with abstract expressionism (some critics have used the terms action painting and abstract expressionism interchangeably). A comparison is often drawn between the American action painting and the French tachisme. The term was coined by the American critic Harold Rosenberg in 1952 and signaled a major shift in the aesthetic perspective of New York School painters and critics. According to Rosenberg the canvas was "an arena in which to act". While abstract expressionists such as Jackson Pollock, Franz Kline and Willem de Kooning had long been outspoken in their view of a painting as an arena within which to come to terms with the act of creation, earlier critics sympathetic to their cause, like Clement Greenberg, focused on their works' "objectness." To Greenberg, it was the physicality of the paintings' clotted and oil-caked surfaces that was the key to understanding them as documents of the artists' existential struggle.

Rosenberg's critique shifted the emphasis from the object to the struggle itself, with the finished painting being only the physical manifestation, a kind of residue, of the actual work of art, which was in the act or process of the painting's creation. This spontaneous activity was the "action" of the painter, through arm and wrist movement, painterly gestures, brushstrokes, thrown paint, splashed, stained, scumbled and dripped. The painter would sometimes let the paint drip onto the canvas, while rhythmically dancing, or even standing in the canvas, sometimes letting the paint fall according to the subconscious mind, thus letting the unconscious part of the psyche assert and express itself. All this, however, is difficult to explain or interpret because it is a supposed unconscious manifestation of the act of pure creation Abstract expressionism has an image of being rebellious, anarchic, highly idiosyncratic and, some feel, rather nihilistic. In practice, the term is applied to any number of artists working (mostly) in New York who had quite different styles, and even applied to work which is not especially abstract nor expressionist.

Pollock's energetic action paintings, with their "busy" feel, are different both technically and aesthetically, to the violent and grotesque Women series of Willem de Kooning. Woman V is one of a series of six paintings made by de Kooning between 1950 and 1953 that depict a three-quarter-length female figure. He began the first of these paintings, Woman I, collection: The Museum of Modern Art, New York City, in June 1950, repeatedly changing and painting out the image until January or February 1952, when the painting was abandoned unfinished. The art historian Meyer Schapiro saw the painting in de Kooning's studio soon afterwards and encouraged the artist to persist. De Kooning's response was to begin three other paintings on the same theme; Woman II, collection: The Museum of Modern Art, New York City, Woman III, Tehran Museum of Contemporary Art, Woman IV, Nelson-Atkins Museum of Art, Kansas City, Missouri. During the summer of 1952, spent at East Hampton, de Kooning further explored the theme through drawings and pastels.

He may have finished work on Woman I by the end of June, or possibly as late as November 1952, and probably the other three women pictures were concluded at much the same time.The Woman series are decidedly figurative paintings. Another important artist is Franz Kline, as demonstrated by his painting Number 2, 1954 as with Jackson Pollock and other Abstract Expressionists, was labelled an "action painter because of his seemingly spontaneous and intense style, focusing less, or not at all, on figures or imagery, but on the actual brush strokes and use of canvas. Automatic writing was an important vehicle for action painters Franz Kline in his black and white paintings, Jackson Pollock, Mark Tobey and Cy Twombly who used gesture, surface, and line to create calligraphic, linear symbols and skeins that resemble language, and resonate as powerful manifestations from the collective unconscious. Robert Motherwell in his Elegy to the Spanish Republic series also painted powerful black and white paintings using gesture, surface and symbol evoking powerful emotional charges.

While other action painters notably Willem de Kooning, Arshile Gorky, Norman Bluhm, Joan Mitchell, and James Brooks used imagery via either abstract landscape or as expressionistic visions of the figure to articulate their highly personal and powerful evocations. James Brooks' paintings were particularly poetic and highly prescient in relationship to Lyrical Abstraction that became prominent in the late 1960s and the 1970s. Clyfford Still, Barnett Newman, Adolph Gottlieb and the serenely shimmering blocks of color in Mark Rothko's work (which is not what would usually be called expressionist and which Rothko denied was abstract), are classified as abstract expressionists, albeit from what Clement Greenberg termed the Color field direction of abstract expressionism. Both Hans Hofmann and Robert Motherwell can be comfortably described as practitioners of action painting and Color field painting. In the 1940s Richard Pousette-Dart's tightly constructed imagery often depended upon themes of mythology and mysticism; as did the paintings of Adolph Gottlieb, and Jackson Pollock in that decade as well.

Color Field painting initially referred to a particular type of abstract expressionism, especially the work of Mark Rothko, Clyfford Still, Barnett Newman, Robert Motherwell, Adolph Gottlieb, Ad Reinhardt and several series of paintings by Joan Miró. Art critic Clement Greenberg perceived Color Field painting as related to but different from Action painting. The Color Field painters sought to rid their art of superfluous rhetoric. Artists like Robert Motherwell, Clyfford Still, Mark Rothko, Adolph Gottlieb, Hans Hofmann, Helen Frankenthaler, Sam Francis, Mark Tobey and especially Barnett Newman and Ad Reinhardt used greatly reduced references to nature, and they painted with a highly articulated and psychological use of color. In general these artists eliminated recognizable imagery. In the case of Rothko and Gottlieb sometimes using symbol and sign as replacement of imagery. Certain artists quoted references to past or present art, but in general color field painting presents abstraction as an end in itself. In pursuing this direction of modern art, artists wanted to present each painting as one unified, cohesive, monolithic image.

In distinction to the emotional energy and gestural surface marks of Abstract Expressionists such as Jackson Pollock and Willem de Kooning, the Color Field painters initially appeared to be cool and austere, effacing the individual mark in favor of large, flat areas of color, which these artists considered to be the essential nature of visual abstraction, along with the actual shape of the canvas, which later in the 1960s Frank Stella in particular achieved in unusual ways with combinations of curved and straight edges. However Color Field painting has proven to be both sensual and deeply expressive albeit in a different way from gestural Abstract expressionism. Although Abstract expressionism spread quickly throughout the United States, the major centers of this style were New York City and California, especially in the New York School, and the San Francisco Bay area. Abstract expressionist paintings share certain characteristics, including the use of large canvases, an "all-over" approach, in which the whole canvas is treated with equal importance (as opposed to the center being of more interest than the edges. The canvas as the arena became a credo of Action painting, while the integrity of the picture plane became a credo of the Color field painters.

In abstract painting during the 1950s and 1960s several new directions like Hard-edge painting and other forms of Geometric abstraction, as a reaction against the subjectivism of Abstract expressionism began to appear in artist studios and in radical avant-garde circles. Clement Greenberg became the voice of Post-painterly abstraction; by curating an influential exhibition of new painting that toured important art museums throughout the United States in 1964. Color field painting, Hard-edge painting and Lyrical Abstraction emerged as radical new directions. Canadian artist Jean-Paul Riopelle (1923-2002) helped introduce abstract impressionism to Paris in the 1950s. Michel Tapié's groundbreaking book, Un Art Autre (1952), was also enormously influential in this regard. Tapié was also a curator and exhibition organizer who promoted the works of Pollock and Hans Hofmann in Europe. By the 1960s, the movement's initial affect had been assimilated, yet its methods and proponents remained highly influential in art, affecting profoundly the work of many artists who followed.

Abstract Expressionism preceded Tachisme, Color Field painting, Lyrical Abstraction, Fluxus, Pop Art, Minimalism, Postminimalism, Neo-expressionism, and the other movements of the sixties and seventies and it influenced all those later movements that evolved. Movements which were direct responses to, and rebellions against abstract expressionism began with Hard-edge painting (Frank Stella, Robert Indiana and others) and Pop artists, notably Andy Warhol, Claes Oldenburg and Roy Lichtenstein who achieved prominence in the US, accompanied by Richard Hamilton in Britain. Robert Rauschenberg and Jasper Johns in the US formed a bridge between abstract expressionism and Pop art. Minimalism was exemplified by artists such as Donald Judd, Robert Mangold and Agnes Martin. However, many painters, such as Fuller Potter, Jane Frank (a pupil of Hans Hofmann), and Elaine Hamilton continued to work in the abstract expressionist style for many years, extending and expanding its visual and philosophical implications, as many abstract artists continue to do today.

1950 to Present | Flickr 1950 to Present ABSTRACT EXPRESSIONISM: (Late 1940's - early 1960's) Abstract expressionism was an specifically American post-World War II art movement. It was the first American movement to achieve worldwide influence and also the one that put New York City at the center of the art world, a role formerly filled by Paris. It is seen as combining the emotional intensity and self-expression of the German Expressionists with the anti-figurative aesthetic of the European abstract schools such as Futurism, the Bauhaus and Synthetic Cubism. The movement describe formal trend in American abstraction at the time. It can be broadly divided into two groups: Action Painting and Color Field and Hard-Edge Painting. It has its non-American parallels with similar aims (Art Informel, Cobra, Lyrical Abstraction).

ART INFORMEL: (1940s - 1950s) After WWII painters contemplated the legacy of geometric abstraction characterized in the early 20th century developments (through Cubism, Futurism, Suprematism, Constructivism and De Stijl) as a load and the cold intellectualism, out of touch with the post WWII reality of poverty and despair. Spontaneity and authenticity were more meaningful to a new generation of artists, then the clarity and functionality of De Stijl and other proponents of geometric abstraction. ART BRUT: Beginning in 1945 Art Brut ("Raw Art" or "Rough Art" in French) is a label created by French painter Jean Dubuffet to describe art created outside the boundaries of official culture. Dubuffet focused particularly on the art of the insane. The English term "Outsider Art", which is synonym for the Art Brut, is often applied more broadly, to include certain works of non-professional artists, who intentionally or not had created original art uninfluenced by the canon. CoBrA: 1948 - 1951 Cobra was a post-World War II European avant-garde movement.

The name was derived from the initials of the members' home cities: Copenhagen, Brussels, and Amsterdam. Copenhagen is the head, Brussels is the body, and Amsterdam is the tail of the Cobra. LYRICAL ABSTRACTION: (1945-1960) Lyrical Abstraction is a French style of abstract painting current in the 1945 -1960. Very close to Art Informel, presents the European equivalent to Abstract Expressionism. The name Tachisme is sometimes used to describe the style. POP ART: (Beginning in 1956 in England, early 1960's USA) Pop Art has started in England in late 50's and grown in United States in early 60's. Among the Pop Art forerunners are two unique models - prototypes of the modern artists: the French artist Marcel Duchamp and the German Kurt Schwitters. English art critic Lawrence Alloway used the term "Pop" first to describe the art that made use of the objects, materials and technologies from mass culture to bring out the yields of the industrial society. It is often borrowed from advertising, photography, comic strips and other mass media sources.

Everyday life is endless resource for the pop art … today is the core of pop art. OP ART (OPTICAL ART): Beginning in the 1960s Op Art made its appearance in the United States and Europe in the late 1950s. Op Art, also called Optical Art, was popular along side Pop Art. Branching from the geometric abstraction movement, Op Art includes paintings concerned with surface kinetics. It was a movement which exploits the fallibility of the eye through the use of optical illusions. The term first appeared in print in Time Magazine in October 1964. Victor Vasarely's 1930s works such as Zebra (1938), which is made up entirely of diagonal black and white stripes curved in a way to give a three-dimensional impression of a seated zebra, should be considered the first works of Op Art. GRAFFITI: (Beginning in 1970s) Graffiti is a type of deliberate marking on property, both private and public. It can take the form of pictures, drawings, words, or any decorations inscribed on any surface usually outside walls and sidewalks. Graffiti has existed at least since the days of ancient civilizations.

In the modern era, in early 1970s young New Yorkers, belonging to the black and Puerto Rican communities, started to adopt tags - signatures and signs made with aerosol sprays and markers in public places. Tags started to cover the city's walls, buses and, above all, subway trains, Show more Final Exam ART 111 at East Los Angeles College - StudyBlue StudyBlue Rejecting the estabishment or what is expected of the time Gesamtkunstwerk (translated as total work of art) is a work of art that makes use of all or many art forms or trive to do so. Advertisement ) Abstraction Artwork that reshapes the natural world for expressive purposes is called abstract; that which derives from, but does not imitate a recognizable subject is called nonobjective abstraction. Non-objective no derivation Dada a cultural movement that began in Zurich,Switzerland, during World War I and peaked from 1916 to 1922. The Armory Show 1913 International Exhibition of Modern Art that was organized by the Association of American Painters and Sculptors.

The exhibition ran in New York City's 69th Regiment Armory, on Lexington Avenue between 25th and 26th Streets, from February 17 until March 15, and became an important event in the history of American art, introducing astonished New Yorkers, accustomed to realistic art, to modern art. ready-made Prefabrication is the practice of assembling components of a structure in a factory or other manufacturing site, and transporting complete assemblies or sub-assemblies to the construction site where the structure is to be located. World War II lasting from 1939 to 1945, involving most of the world's nations—including all of the great powers—eventually forming two opposing military alliances: the Allies and the Axis. Art Deco an eclectic artistic and design style that began in Paris in the 1920s[1][2] and flourished internationally throughout the 1930s, into the World War II era.[3] The style influenced all areas of design, including architecture and interior design, industrial design, fashion and jewelry, as well as the visual arts such as painting, graphic arts and film. De Stijl a Dutch artistic movement founded in 1917.

In a narrower sense, the term De Stijl is used to refer to a body of work from 1917 to 1931 founded in the Netherlands. The Bauhaus a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught National Socialism Nazism, the common short form name of National Socialism Degenerate Art exhibition a term adopted by the Nazi regime in Germany to describe virtually all modern art. Surrealism Surrealism is a cultural movement that began in the early 1920s, and is best known for the visual artworks and writings of the group members. Surrealist works feature the element of surprise, unexpected juxtapositions Surrealism-Automatism In automatic drawing, the hand is allowed to move 'randomly' across the paper. In applying chance and accident to mark-making, drawing is to a large extent freed of rational control.

Hence the drawing produced may be attributed in part to the subconscious and may reveal something of the psyche, which would otherwise be repressed Advertisement Surrealism-Displacement Precisionism Influenced strongly by Cubism and Futurism, its main themes included industrialization and the modernization of the American landscape, which were depicted in precise, sharply defined, geometrical forms. The themes originated from the streamlined architecture and machinery of the early 1900s 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. Abstract Expressionism-Color Field Painting Color Field is characterized primarily by large fields of flat, solid color spread across or stained into the canvas creating areas of unbroken surface and a flat picture plane. The movement places less emphasis on gesture, brushstrokes and action in favour of an overall consistency of form and process. Abstract Expressionism-Action Painting a style of painting in which paint is spontaneously dribbled, splashed or smeared onto the canvas, rather than being carefully applied.

Post Painterly Abstraction (hard-edge painting) Post-painterly abstraction is a term created by art critic Clement Greenberg. Painting in which abrupt transitions are found between color areas. Color areas are often of one unvarying color Pop Art Pop art is an art movement that emerged in the mid 1950s in Britain and in the late 1950s in the United States.[1] Pop art challenged tradition by asserting that an artist's use of the mass-produced visual commodities of popular culture is contiguous with the perspective of fine art Postmodernism Postmodernism postulates that many, if not all, apparent realities are only social constructs and are therefore subject to change. It emphasises the role of language, power relations, and motivations in the formation of ideas and beliefs. Deconstruction Deconstructivism is a development of postmodern architecture that began in the late 1980s. It is characterized by ideas of fragmentation, an interest in manipulating ideas of a structure's surface or skin, non-rectilinear shapes which serve to distort and dislocate some of the elements of architecture, such as structure and envelope. silkscreen a printing technique that uses a woven mesh to support an ink-blockingstencil.

Minimalism set out to expose the essence, essentials or identity of a subject through eliminating all non-essential forms, features or concepts Site-Specific Site-specific art is artwork created to exist in a certain place. Installation art an artistic genre of three-dimensional works that are often site-specific and designed to transform the perception of a space Land/Earth Art art movement which emerged in the United States in the late 1960s and early 1970s, in which landscape and the work of art are inextricably linked. Performance Art In art, performance art is a performance presented to an audience, traditionally interdisciplinary Appropriation Appropriation can be understood as "the use of borrowed elements in the creation of a new work." Super Realism genre of painting based on using the camera and photographs to gather information and then from this information creating a painting that appearsphotographic kitsch a form of art that is considered an inferior, tasteless copy of an extant style of art or a worthless imitation of art of recognized value. banal the degree to which a correct prediction or forecast of asystem's state can be made either qualitatively or quantitatively.

Marcel Duchamp, Maya Angelou is an American poet memoirist actress and an - HIST - 020 View Full Document Maya Angelou- is an American poet, memoirist, actress and an important figure in the American Civil Rights Movement. Angelou is known for the autobiographical writings I Know Why the Caged Bird Sings (1969) and All God's Children Need Traveling Shoes (1986). Her volume of poetry, Just Give Me a Cool Drink of Water 'Fore I Die (1971) was nominated for the Pulitzer Prize, and in 1993, Angelou read her poem On the Pulse of Morning during Bill Clinton's Presidential inauguration. This preview has intentionally blurred sections. Sign up to view the full version. View Full Document Abstract Expressionism- was an American post-World War II art movement. It was the first specifically American movement to achieve worldwide influence and also the one that put New York City at the center of the art world, a role formerly filled by Paris. The term "Abstract expressionism" was first applied to American art in 1946 by the art critic Robert Coates.

Since mid 1970s it has been argued by revisionist historians that the style attracted the attention, in the early 1950s, of the CIA, who saw it as a representive of the USA as a haven of free thought and free markets, as well as a challenge to both the socialist realist styles prevalent in communist nations and the dominance of the European art markets. Book IDs 1) “New Right” – a conservative movement partly in response to the countercultural protests of the 1990s. Spearheading the New Right were evangelical Christians groups such as the Moral majority, dedicated believers who enjoyed startling success as political fund-raisers and organizers. Reacting against what they saw as the excesses of 1960s liberalism, the neoconservatives championed free-market capitalism liberated from government restraints, and they took tough, harshly anti- soviet positions in foreign policy.

They also questioned liberal welfare programs and affirmative-action policies and called for reassertion of traditional values of individualism ad the centrality of the family 2) “Sagebrush Rebellion” – a fiercely anti-Washington movement that had sprung up to protest federal control over the rich mineral and timber resources in the western states. Environmentalists howled loudly about Watt’s (secretary of the interior who was a product of this) schemes to hobble the EPA and to permit oil drilling in scenic places 3) Boll Weevils: a group of mostly Southern conservative democrats who abandoned their own party’s leadership to follow the president 4) Supply-side economics: combination of budgetary discipline and tax reduction to stimulate new investment, boost productivity, foster dramatic economic growth, and reduce the federal deficit 5) Yuppies: young, urban professionals. They made a near-religion out of conspicuous consumption. Though numbering 1.5 million people and being something of a stereotype, Yuppies showcased the values of materialism and the pursuit of wealth that came to symbolize the high-rolling 1980s. 6) This is the end of the preview. Sign up to access the rest of the document.

TERM Jackie Robinson: The man cracked the racial barrier in big-league baseball when the B 20th Vocabulary

Question: What was an American post-World War II art movement baginning in New York City that was the first specifically American movement to achieve worldwide influence?
Answer: Abstract expressionism