16. abstract expressionism

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  • 1. Late 1940s-1950s Abstract Expressionism
  • 2. Abstract Expressionism  A Modern Art Movement  Began in New York in 1940’s  Post World War II  Response to conservative American Culture
  • 3. Abstract Expressionism  Artists needed to communicate feelings and experiences  New York replaced Paris as centre of Art World  Non coherent Art Movement  Grew out of Surrealism
  • 4. Where it Started-Influences  Cubism  Surrealism  Abstraction
  • 5. Influences http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=1&page=2&f=Works%20on%20View&cr=17 http://www.moma.org/collection/object.php?object_id=79018 http://www.metmuseum.org/toah/works-of-art/1999.363.11 Cubism Surrealism Abstraction
  • 6. Subject Matter  Abstract imagery  Expression through Colour and Line  Work reflected individual Artists own emotions  Valued spontaneity & improvisation  Expressive method of painting as important as painting itself
  • 7. Key Characteristics of Abstract Expressionism:  Emotional Expression  Unconventional method of painting  Dripping, smearing, slathering paint on canvas  Spontaneous, Automatic and Subconscious Creation  Vivid Colours
  • 8. Key Characteristics of Abstract Expressionism:  Emphasis on process  Allowed for Spontaneity  Gestural Writing-loosely calligraphic  Large Scale canvasses  Two main types of painting: - Action Painting - Colour Field Painting
  • 9. Two Main Types of Painting: Action Painting Colour Field Painting http://www.metmuseum.org/toah/works-of-art/1982.147.27 http://www.metmuseum.org/toah/works-of-art/1985.63.5
  • 10. Art Critic- Harold Rosenberg  Rosenberg redefined Abstract Expressionism as ‘Action Painting’.  As he put it; "At a certain moment the canvas began to appear to one American painter after another as an arena in which to act... What was to go on the canvas was not a picture but an event.“ – Harold Rosenberg
  • 11. Action Painting:  Painting was the result of the artist’s dynamic action  Act of painting more important than the painting itself  Gave freedom to the painter’s creative impulses  Paint energetically splashed, spilt or dribbled on to canvas  Usually placed face up on the floor
  • 12. Key Artists: Action Painting  Jackson Pollock  William de Kooning  Joan Mitchell  Franz Kline  Lee Krasner http://www.vanguardia.com.mx/XStatic/vanguardia/images/espanol/9500316c.jpg
  • 13. “Painting is a state of being… Painting is self discovery. Every good painter paints what he is… When I am in my painting I’m not aware of what I’m doing”. Jackson Pollock
  • 14. Jackson Pollock abstracted4life.blogspot.com No. 6, 1948,Oil on Paper •American Painter •Nicknamed ‘Jack the Dripper •Unique style of Drip painting •Enlarged Scale •Many layers to his work •Wanted to be ‘in’ the painting- to be physically part of it.
  • 15. Jackson Pollock • Un-primed Canvas • Abandoned conscious control of painting • Hand controlled conscious • Layering of colour • Limited Palette • Mark-making • Visual Rhythms • Sensations Autumn Rhythm, No. 30, 1950, Enamel on Canvas http://www.metmuseum.org/toah/works-of-art/57.92
  • 16. William De Kooning http://whitney.org/Collection/WillemDeKooning/5535/Audio Woman and Bicycle, 1952-53, Oil on Canvas • Dutch Born Painter • Bold and spontaneous brushwork • Abstract figurative work • Women I • Series of provocative paintings of women • Reversed traditional representation of the woman as ‘the idol’.
  • 17. Joan Mitchell   http://www.artnet.com/usernet/awc/awc_workdetail.asp?aid=424260964&gid=424260964&cid=75384&wid=424342786&page=1 Harbour December, 1956, Oil on Canvas
  • 18. Franz Kline Ballantine, 1958-60,Oil on Canvas    http://martintomlinson.wordpress.com/2011/03/11/paint-it-black/
  • 19. Lee Krasner Gothic Landscape, 1961, Oil on Canvas   http://www.cavetocanvas.com/post/17453987164/lee-krasner-gothic-landscape-1961-from-the-tate
  • 20. Colour Field Painting:  Bold and assertive.  Contemplative and questioning.  Carefully constructed.  Large scale canvasses.
  • 21. Colour Field Painting:  Sought to rid art of superflows and rhetoric.  Artists used reduced references to nature.  Eliminated recognisable imagery.  Presented abstraction as an end in itself.
  • 22. Key Artists: Colour Field Painting  Mark Rothko  Adolph Gottlieb  Helen Frankenthaler  Kenneth Noland  Barnett Newman http://www.moma.org/collection/object.php?object_id=80566
  • 23. Mark, Rothko, Untitled http://www.guggenheim.org/new-york/collections/collection -online/show-full/piece/?object=78.2461&search=&page=&f=Title 1949, Oil on Canvas • Russian Born Painter • Distinctive Style- • Large Canvasses • Deliberate plain, soft edge   shapes • Luminous, glowing    colours • ‘Paintings were    about tragedy, ecstacy   and doom, fundamental    emotions and passions’-    -Rothko
  • 24. Adolf Gottlieb Adolf Gottlieb, Sentinel, 1951 Oil on Linen http://arttattler.com/archivecolorasfield.html •  Adopted the term   “pictograph” • Connection between    image making and   writing • Fascinated by myth • Sought painting that     was ‘timeless and     tragic’
  • 26. Kenneth Noland: EAST WEST, 1963 http://www.kennethnoland.com/works/1960-1970.php
  • 27. Barnett Newman: http://www.moma.org/learn/moma_learning/themes/abstract-expressionism/barnett-newman Vir Heroicus Sublimis. 1950–51
  • 28. Acknowledgements Art Associates Maria Moore Margaret O’Shea Local Facilitator Team Aine Andrews Joe Caslin Jane Campbell Siobhan Campbell Niamh O’Donoghue Niamh O’Neill Keith O’Rahilly Sheena McKeon Tony Morrissey Monica White Many thanks to the following for their invaluable contribution to the European Art History and Appreciation series of workshops and resource materials. Professional Development Service for Teachers
  • 29. Professional Development Service for Teachers The PDST is funded by the Department of Education and Skills under the National Development Plan 2007 - 2013 Cultural & Environmental Education Professional Development Service for Teachers (PDST) Dublin West Education Centre, Old Blessington Road, Tallaght, Dublin 24 National Co-ordinator Conor Harrison Mobile: 087 240 5710 E-mail: conorharrison@pdst.ie Administrator Angie Grogan Tel: 014528018 Fax: 014528010 E-mail: angiegrogan@pdst.ie.