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 1. 
 2. / Columbia Encyclopedia
 3. / Literature and the Arts
 4. / Art and Architecture
 5. / American and Canadian Art
 6. / abstract expressionism


ABSTRACT EXPRESSIONISM

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abstract expressionism, movement of abstract painting that emerged in New York
City during the mid-1940s and attained singular prominence in American art in
the following decade; also called action painting and the New York school. It
was the first important school in American painting to declare its independence
from European styles and to influence the development of art abroad. Arshile
Gorky first gave impetus to the movement. His paintings, derived at first from
the art of Picasso, Miró, and surrealism, became more personally expressive.

Jackson Pollock's turbulent yet elegant abstract paintings, which were created
by spattering paint on huge canvases placed on the floor, brought abstract
expressionism before a hostile public. Willem de Kooning's first one-man show in
1948 established him as a highly influential artist. His intensely complicated
abstract paintings of the 1940s were followed by images of Woman, grotesque
versions of buxom womanhood, which were virtually unparalleled in the sustained
savagery of their execution. Painters such as Philip Guston and Franz Kline
turned to the abstract late in the 1940s and soon developed strikingly original
styles—the former, lyrical and evocative, the latter, forceful and boldly
dramatic. Other important artists involved with the movement included Hans
Hofmann, Robert Motherwell, and Mark Rothko; among other major abstract
expressionists were such painters as Clyfford Still, Theodoros Stamos, Adolph
Gottlieb, Helen Frankenthaler, Lee Krasner, and Esteban Vicente.

Abstract expressionism presented a broad range of stylistic diversity within its
largely, though not exclusively, nonrepresentational framework. For example, the
expressive violence and activity in paintings by de Kooning or Pollock marked
the opposite end of the pole from the simple, quiescent images of Mark Rothko.
Basic to most abstract expressionist painting were the attention paid to surface
qualities, i.e., qualities of brushstroke and texture; the use of huge canvases;
the adoption of an approach to space in which all parts of the canvas played an
equally vital role in the total work; the harnessing of accidents that occurred
during the process of painting; the glorification of the act of painting itself
as a means of visual communication; and the attempt to transfer pure emotion
directly onto the canvas. The movement had an inestimable influence on the many
varieties of work that followed it, especially in the way its proponents used
color and materials. Its essential energy transmitted an enduring excitement to
the American art scene.

See M. Seuphor, Abstract Painting (1962, repr. 1964); I. Sandler, The Triumph of
American Painting (1970); M. Tuchman, ed., The New York School (rev. ed. 1970);
D. Ashton, The Unknown Shore (1962) and The New York School (1973); S. Guilbaut,
How New York Stole the Idea of Modern Art (1983); W. C. Seitz, Abstract
Expressionist Painting in America (1983); F. Frascina, ed., Pollock and After
(1985); D. Anfam, Abstract Expressionism (1990); S. Polcari, Abstract
Expressionism and the Modern Experience (1991); A. E. Gibson, Abstract
Expressionism: Other Politics (1997); D. Craven, Abstract Expressionism as
Cultural Critique (1999).

The Columbia Electronic Encyclopedia, 6th ed. Copyright © 2024, Columbia
University Press. All rights reserved.

See more Encyclopedia articles on: American and Canadian Art

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