Abstract Expressionist

Abstract expressionism is a post–World War II art movement in American painting, developed in New York City in the 1940s. It was the first specifically American movement to achieve international influence and put New York 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 United States, Alfred Barr was the first to use this term in 1929 in relation to works by Wassily Kandinsky.

Style

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. The newer research tends to put the exile-surrealist Wolfgang Paalen in the position of the artist and theoretician who fostered the theory of the viewer-dependent possibility space through his paintings and his magazine '' DYN''. Paalen considered ideas of quantum mechanics, as well as idiosyncratic interpretations of the totemic vision and the spatial structure of native-Indian painting from British Columbia and prepared the ground for the new spatial vision of the young American abstracts. His long essay ''Totem Art'' (1943) had considerable influence on such artists as Martha Graham, Isamu Noguchi, Pollock, Mark Rothko and Barnett Newman. Around 1944 Barnett Newman tried to explain America's newest art movement and included a list of "the men in the new movement." Paalen is mentioned twice; other artists mentioned are Gottlieb, Rothko, Pollock, Hofmann, Baziotes, Gorky and others. Robert Motherwell is mentioned with a question mark. 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.Shapiro, David/Cecile (2000), "Abstract Expressionism: The politics of apolitical painting." pp. 189–190 In: Frascina, Francis (2000–1): ''Pollock and After: The Critical Debate''. 2nd ed. London: Routledge 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. California abstract expressionist Jay Meuser, who typically painted in the non-objective style, wrote about his painting ''Mare Nostrum'', "It is far better to capture the glorious spirit of the sea than to paint all of its tiny ripples." 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 Rothko's Color Field paintings (which are not what would usually be called expressionist, and which Rothko denied were abstract). Yet all four artists are classified as abstract expressionists.

Abstract expressionism has many stylistic similarities to the Russian artists of the early 20th 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 such as Paul Klee, Kandinsky, Emma Kunz, and later on Rothko, 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 Mexican muralists 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 the war and began to be showcased during the early forties at galleries in New York such as The Art of This Century Gallery. The post-war McCarthy era 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, collagist Anne Ryan 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, Raoul Hague, George Rickey, Reuben Nakian, and even Tony Smith, Seymour Lipton, Joseph Cornell, and several othersMarika Herskovic
''New York School Abstract Expressionists Artists Choice by Artists''
(New York School Press, 2000.) p.11–12 were integral parts of the abstract expressionist movement. Many of the sculptors listed participated in the Ninth Street Show, a 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, including Frank O'Hara and photographers such as Aaron Siskind and Fred McDarrah, (whose book ''The Artist's World in Pictures'' documented the New York School during the 1950s), and filmmakers—notably Robert Frank—as well.

Although the abstract expressionist school spread quickly throughout the United States, the epicenters of this style were New York City and the San Francisco Bay area of California.

Art critics of the post–World War II era

In the 1940s there were not only few galleries ( The Art of This Century, Pierre Matisse Gallery, Julien Levy Gallery and a few others) 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 the New York avant-garde was still relatively unknown 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 such as Willem de Kooning and Franz Kline, as well as the seminal paintings of Arshile Gorky; Thomas B. Hess, the managing editor of ''ARTnews'', championed Willem de Kooning.

The new critics elevated their protégés by casting other artists as "followers" or ignoring those who did not serve their promotional goal.

In 1958, Mark Tobey became the first American painter since Whistler (1895) to win top prize at the Venice Biennale.

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' Sessions 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 on 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 Trotskyist: 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.

Greenberg proclaimed abstract expressionism and Pollock in particular as the epitome of aesthetic value. He 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.

Pollock's work has always polarised critics. 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 ''The New York Times'' art critic John Canaday. Meyer Schapiro and Leo Steinberg along with Greenberg and 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.

History

World War II and the Post-War period

During the period leading up to and during World War II, modernist artists, writers, and poets, as well as important collectors and dealers, fled Europe and the onslaught of the Nazis for safe haven in the United States. Many of those who didn't flee perished. Among the artists and collectors who arrived in New York during the war (some with help from Varian Fry) were Hans Namuth, Yves Tanguy, Kay Sage, Max Ernst, Jimmy Ernst, Peggy Guggenheim, Leo Castelli, Marcel Duchamp, André Masson, Roberto Matta, André Breton, Marc Chagall, Jacques Lipchitz, Fernand Léger, and Piet Mondrian. A few artists, notably Picasso, Matisse, and Pierre Bonnard remained in France and survived.

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, and New York replaced Paris as the new center of the art world. Post-war Europe saw the continuation of Surrealism, Cubism, Dada, and the works of Matisse. Also in Europe, Art brut, and Lyrical Abstraction or 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, Pierre Soulages and Jean Messagier, among others are considered important figures in post-war European painting. In the United States, a new generation of American artists began to emerge and to dominate the world stage, and they were called ''Abstract Expressionists''.

Gorky, Hofmann, and Graham

The 1940s in New York City heralded the triumph of American abstract expressionism, a modernist movement that combined lessons learned from Matisse, Picasso, Surrealism, Miró, Cubism, Fauvism, and early Modernism via great teachers in America such as Hans Hofmann from Germany and John D. Graham from Ukraine. Graham's influence on American art during the early 1940s was particularly visible in the work of Gorky, de Kooning, Pollock, and Richard Pousette-Dart among others. Gorky's contributions to American and world art are difficult to overestimate. His work as lyrical abstractionDorment, Richard
"Arshile Gorky: A Retrospective at Tate Modern, review"
''The Daily Telegraph'', February 8, 2010. Retrieved May 24, 2010. was a "new language. He "lit the way for two generations of American artists". The painterly spontaneity of mature works such as ''The Liver is the Cock's Comb'', ''The Betrothal II'', and ''One Year the Milkweed'' immediately prefigured Abstract expressionism, and leaders in the New York School have acknowledged Gorky's considerable influence. The early work of Hyman Bloom was also influential. 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 protégés was Clement Greenberg, who became an enormously influential voice for American painting, and among his students was Lee Krasner, who introduced her teacher, Hofmann, to her husband, Jackson Pollock.

Pollock and Abstract influences

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 Picasso's innovative reinventions of painting and sculpture near the turn of the century via Cubism and constructed sculpture, with influences as disparate as Navajo sand paintings, surrealism, Jungian analysis, and Mexican mural art, 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 took art-making 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 Pollock, de Kooning

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