Abstract Expressionsim


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  • http://collectionsonline.lacma.org/mwebcgi/mweb.exe?request=record;id=27549;type=101
  • Abstract Expressionsim

    1. 1. Abstract ExpressionismRyan Patin, Kyle Winter, Jenna Smith http://arcamax.com/zits/s-1130389- 355113?src=comicezine04222012
    2. 2. The Movement• Widespread between 1940s until 1960s• 1950 – Most important year of movement• Located mainly in New York• Center of Art World now moved from Paris to New York City• Unlike previous movement, these Artists very rare worked together
    3. 3. Influences• Political Instability Primitive mask• World War ll• Holocaust• Jungian Psychology• Primitive Cultureand Myths• Anxiety of the Cold War• The Great Depression
    4. 4. Art Influences • Modern European Art • Cubism • Fauvism • Dada • Surrealism • Abstractionism • RegionalismParks, the Circus, the Klan, the Press -Thomas Hart Benton
    5. 5. Characteristics• Dynamic gestures• Open Color Field• Communicates Emotion• Tapping into the Unconscious
    6. 6. • http://www.pureartspace.com/admin/editub b/UploadFile/20102251434798.jpg Blue and Yellow -
    7. 7. Characteristics (Con.)• Usually Very Large Canvas• Subjective• Elements of Chance, Gravity, Paint Viscosity• Lack of speculation and arrangement• Importance on Process
    8. 8. Number 5 – Jackson Pollock (1948)• http://1.bp.blogspot.com/- nN4X_z40N0U/T0D- DZIdEkI/AAAAAAAACSk/2gJtrX4SAdU/s1 600/Pollock_no-5.jpg
    9. 9. Action Painting vs. Color-FieldAction Painting: Color-Field Painting:• Loose, rapid K brushstrokes • Came slightly after Action Painting• Focus on the act of • Use of flat areas of color painting and the (compared to the texture and interaction with feel of AP) materials • “Simple pictorial imagery• Spontaneous dripping, designed to create emotional “vigorous” application, impact” and chance effects of • Large canvasses created spilling paint onto the intimate experience canvas
    10. 10. Action Painters Color-Field Painters • Jackson Pollock • Mark Rothko • William de Kooning • Barnett Newman • Robert Kline • Clyfford StillsJackson Pollock, Convergence, c. 1952.
    11. 11. Purpose• Tap into the “universal inner source”• Remake the world into a new image that everyone could understand through a collective unconscious• Envelop the audience• Express spiritual and emotional truths• Communicate emotions not story
    12. 12. Jackson Pollock“I have no fears about making changes, destroying the image, etc., because the painting had a life of its own”
    13. 13. Background• Alcoholic• Died prematurely in an alcohol related car crash• His father was never in his life• Thomas Hart Benton (famous social realistic painter) was his mentor• Married to artist Lee Krasner• Employed by WPA during his early work
    14. 14. Characteristics• Action Painter• Loops and Swirls of color• Depicted neither landscape nor figures• Poured, spattered, and dripped his paint onto the canvas• Used sticks, trowels, and knives• Often mixed paint with sand, broken glass, and other material around studio
    15. 15. Going West- 1934-35 Pre-Abstract Expressionist
    16. 16. The She-Wolf - 1943
    17. 17. Number 1a - 1948
    18. 18. Number 14 (Gray) - 1948
    19. 19. Number 1 (Lavender Mist) - 1950
    20. 20. Number 30 (Autumn Rhythm) - 1950
    21. 21. Willem De Kooning “The attitude that nature is chaotic and that the artist puts order into it is a very absurd point of view, I think. All that we can hope for is to put some order into ourselves”
    22. 22. Background• Illegal Dutch Immigrant• Painted murals for WPA between 1935 – 1939• Inspired by Arshile Gorky to paint a series of males• Heavy Influenced by Picasso’s Cubism• Married Elaine Fried, another Abstract Expressionist• Hated the restriction that came with naming a movement
    23. 23. Characteristics• Cubism, Surrealism, and Expression• Combination of Figuration and Abstraction• Rework painting giving the appearance of incompletion• Portrayed violent encounters• Ambiguously blended figures• Dismembering and then re-assembling his figure, distorting them
    24. 24. The Artist and his Mother – Arshile Gorky Seated Woman – De Kooning (1926) (1940)
    25. 25. Attic - 1949
    26. 26. Excavation - 1950
    27. 27. Woman I & Woman III – (1950 – 1952) & (1952 – 1953)
    28. 28. Hans Hoffman “Color is a plastic means of creating intervals... color harmonics produced by special relationships, or tensions. We differentiate now between formal tensions and color tensions, just as we differentiate in music between counterpoint and harmony.”
    29. 29. Background•Excelled in mathematics and science, invented radar devicefor ships.• At age sixteen, work with the Bavarian government asassistant to the director of Public Works.• Influenced by Impressionism, Pointillism, Pablo Picasso,and George Braque• Completely abstract works date from the 1940s.•Believed that abstract art was a way to get at theimportant reality.
    30. 30. Characteristics• Pictorial structure, spatial illusion, and colorrelationship.• “Push and Pull”•“Floating” rectangular forms• Volume in painting through contrasting colors, shapes,and surfaces• Built up impastos to give thicker color
    31. 31. The Gate (1959 -1960)
    32. 32. Equinox (1958)
    33. 33. Franz Jozef Kline (May 23, 1910 – May 13, 1962) “If you’re a painter, you are not alone. There’s no way to be alone. You think and you care and you’re with all the people who care. You think you care and you’re with all the people who care, including the young people who don’t know they do yet.”
    34. 34. Background• Was born in Wilkes-Barre, Pennsylvania• Attended Girard College and Boston University.• Married Elizabeth Vincent Parsons, a British balletdancer.• Died in New York City of a rheumatic heart disease.• Influenced by Japanese art styles, Willem de Kooning,Jackson Pollock, Rembrandt, Goya, Manet, Sargent,and Whistler.
    35. 35. Characteristics•Majority of paintings were Black and White, Re-introduced color into his paintings around 1955.•Painted what he saw during a day• Focused less on figures or imagery• Focused on actual brush strokes and use of canvas.• Translated animated subjects into quick, rudimentarystrokes.
    36. 36. Mahoning, 1956
    37. 37. Painting No. 7, 1952
    38. 38. Mark Rothko (1903-1970) “Silence is so accurate.”
    39. 39. Background• Born September 25, 1903 in Russia• Immigrated to United States at age 10• Attended Yale, but gave up studies and moved to New York in 1923• Taught at the Center Academy of Brooklyn Jewish Center for 20+ years• Max Weber Art Students League, he encouraged Rothko to paint in a figurative style (following Cezanne)• Milton Avery – “Simplified and colorful depictions of domestic subjects” influenced Rothko’s application of paint and the treatment of colors
    40. 40. Milton Avery, Three Friends, 1944.
    41. 41. Characteristics•Early Work - Mostly street scenes• Stressed emotional approach• More interested in perceptual experience;exploring the relationship between the paintingand the viewer• Influenced by Surrealism, focused on“painting without conscious control”• Loosened form• Diluted pigments = thin “glazed” layers• Large canvasses• Nonobjective compositions
    42. 42. Street Scene - 1937
    43. 43. Underground Fantasy (Subway) -1940
    44. 44. Changing Towards Abstractionism Mark Rothko, Hierarchical Birds, c. 1944. (left) Mark Rothko, Untitled,c. 1948. (right)
    45. 45. Characteristics (con.)• Saturating the canvas with paint = soft, indistinct edges• More attention to color and tone = create different moods• 1950 “Signature Style” emerges: • Few floating rectangles aligned vertically • Similar style but different colors and tones • Oil and egg-based paints create more luminosity • Large canvasses show direction and texture
    46. 46. Mark Rothko, no. 17,c. 1949. Mark Rothko, no. 10, c. 1950.
    47. 47. White Center (Yellow, Pink, and Lavender on Rose) -1950.White Center - 1957.
    48. 48. Mark Rothko, Untitled (Red)c. 1958.
    49. 49. Influences on other Movements• Pop Art• Op Art• Minimalism Gilbert Hsaio (Op Art)
    50. 50. Summary of Abstract Expressionism• Based in New York• Tap into the unconscious with the use of color and gestures in order to create a emotional response to the piece• Untraditional methods in the creation of the piece• Subjective• Use of many motifs• Importance on the process