Professional Documents
Culture Documents
EXPRESSIONISM
New York City 1945-1960s
During WWII most organized art movements came
to a virtual standstill.
The artists felt that by forging a new painting they were contributing
to the birth of a new culture, a new civilization
It's really absurd to make... a human image, with paint, today, when you think
about it... But then all of a sudden, it was even more absurd not to do it.
Jackson Pollock
Jackson Pollocks Mural represents the break from representational painting on traditional canvases
to his unique drip style, completed on canvases stretched out on the floor. He assimilated painting
techniques from Pablo Picasso, Thomas Hart Benton, and David Alfaro Siquieros, as well as Native
American sand painting techniques to form his own unique drip style, which sometimes included
sand or chards of glass, combined with enamel house paint, loosely dripped, squirted, and flung
across his canvas or board.
We already have a mechanical way of representing objects in
nature. So the modern artist is working with space and time
Expressing feeling rather than illustrating
Today , painters do not have to go to a subject outside of themselves ; they work from within
Traces in Time When I work on the floor I feel like apart of the painti
I am in it , Im not aware of what I am doing- the painting takes
on a life of its own. I just try to let it come through.
Painting is a state of being. Painting is self discovery
Every good painting is its artist
Pollock himself denied there was any loss of
control when painting: I have a general
notion of what Im about and what the results
will be With experience, it seems possible to
control the flow of paint to a great extent I
deny the accident.
New needs need new techniques. It
seems to me that the modern cannot
express this age, the airplane, the
atom bomb, the radio, in the old forms
of the Renaissance or of any other past
culture. Each age finds its own
techniques Most of the paint I use is
a liquid, flowing kind of paint. The
brushes I use are used more as sticks
rather than rushes -- the brush doesnt
touch the surface of the canvas, its
just above.
It [abstract art] should be enjoyed just as music is enjoyed after a while
you may like it or you may not.
Franz Kline
Lee Krasner
Joan Mitchell
Elaine de Kooning
COLORFIELD PAINTERS
THE SPACE MYSTICS
Robert Motherwell
Helen Frankenthaler
Mark Rothko
Organic Shapes
Large Canvas
Color
Thin Overlapping glazes
Asymmetrical compositions
Floating Rectangles
Verticality relates to
figurative and a
spirituality
- Mark Rothko
HARD EDGE PAINTING
Ellsworth Kelly
Frank Stella
Yves Klein