Lesson 7 Flashcards
The post War
From Paris to New York
Art informel:
Abstract Expressionism / Tachisme / Graphism
European Influence on American Art
begin of XX century American artist were still paing with an Impressionst style
4 Main events change thier view towards art:
4-Main events that changed amerians view
1913 - Ther internation ecpostion of Modern Art
“Armory Show”
introduced american to themodernist work of Mattise / Kadinsky / Bransui / Picasso /Brawu
Nude Descendign a Staircase / A cubist canvas by marchel Duchamp crat a
4-Main events that changed amerians view
1929 - The Museum of moder Art (MoMa) opend
exposed to ground breaking temarary echibiton of new work
1. Cubism
2. Abstract art
3. Fantastic art
4. Dada
5. Surrelaism
6. retroperspective fo Matise / Picasso
4-Main events that changed amerians view
30’s-40’s - The Great Depression
-surped teh development -> Workd Progress -> Administration (allowd many artist to establish a career path)
-Wave of Euroepan artits / architects / interlecutals emmigarte the the US ( Germany and France)
art inflormel
originated by a French critci Michel Tapié
-> it emphazises intution / spontaneity ( over the Cubist tradition)
art informel = informel art = informatlism is wrong
not about reducing their concer fo formal values but that they reject the disicplien an stucture of geometic abstacion ( less cerebral apporach)
restulign abstraction took a veriatiy of form - 3 major expressions
Gestural
Matial
Graphic
**Gestural: **gesture of paint in the main form of expression -> inheritance of the surrelais automatism
Material: The matierl itslef -> expermient in all protentialitly
**Graphic: **the artist chooses and inflects a sign ( unlimited combinations)
1940’s
new vanguard emerges pimairly in new york
radical new directions in art
“Abstrect Expressionsits “ “The New York School”
-> breakgin away from accepted convetions int both Techique / subject Matter
-monumentatlly scaled works thar stood as reflectionfo theri individual psyches
->tap into univera inner sources
-> spontaneity / improvistion / highest improtance to process
-> yougn artits awar of human irrationaltiy / vulnerabiltiy = direct contratst with Euroepan Surrealism
two basic inclations:
emphases on dynamic / energetic gesture (Action painting) in contrast to a reflective / cerebral focus more open flied of colour (colour Field)
-> imagery primary abstract
Jackson Pollock 1912-1955
pioneer of Abstract Expressionsim
influenced by regional styl / Meciam mural painter / Picasso
-> paitings fo ritual violence / secualtiy , clashed of movemtent = archtypel imagery
-in early 1940’s compleatyl abstr “all-over” stlye => Abstract Expressionism
-involvemtn with gesutal paitng (inpred by American Indians / Surrelaism)
1947 readical new techique = pourign and dripping (thing paint onto raw canvas laid onthe gournd)
-> paintign were rentierly nonobjective
Jackson Pollock “Number 8” 1949
-subject matter or seemign lack of one
- sacle = huge
-technique = no brush ; no stecher bars; no easel
teh works werer shockign to many viwer of dirppign trails of piant onto a canvas laid fla on the floor
action painting
Willem De Kooning 1904-1997
1938 - developed his own ever of highly charged gestura stlye, alterign between abstract work / powerful iconic difurative images
-> started hsi first Women series
-strong pull towards tradtion subjects - never fully abandond the depiction of the human figure
painings of woman feature - unique blend of gestural abstraction / figuration
-> heavely influenced by Cubism / Picasson -> master of ambiguously bleding figure and ground => dismemberign / re-assembling / distorting figures
often left canvases witha sens of dynamic incompletion ( form were still in the process of moving / settelign / coming into definition) => Action painting (reccords of violent encounter)
colour field
Barnett Newman 1905-1970
inrest in myth and the primitive unconscious (like Abstract Expressionists)
-huge field of colour / trademark (zips) distanced him form the gestural abstraction toward the reflective/ cerebral Color field painters
-he crated a symbol the “zip” (reach out invoke the viewer stand before it)
-more philosophica edge into his paitings -> inving audience to experience them (body ad psych)
Barnett Newman “Vir Heroicus Sublimis” 1950-1951
colour field
Mark Rothko 1903-1970
-profoundly imbued with emotion content -> articulated througth rand of stlye that evolved form figurative to abstract
figurative work: ladnscapes / still lives / figure studies / portrias (demonstrated an abiltiy to blend Expresionsim and surrealsim)
->search for new form of expression -> colour Field paintigns
=> shimmering colours to convey a sense of spiritualtiy
-> achieve sublime (not beautiful)
->compositon potential of colour / form on the human psyche
->artit’s total freedom of expression
Jean Dubuffet 1901-1985
-attracted to the art of children and the mentally ill (Art Brut)
-influenced by outsiders / interst in materiality (associated with teh Art informel movment)
-public looked for beuty he gave the pictes wit coarse textures / drab colours / gritty surfaces (dirt / excrement)
emphasis on tecture = insitence on the real ( appeal to acknowlege humantiy failings (beging form the ground = soil)
1960 = a radical new graphic style = Hourloupe (developed form a chance doodle)
a tangel of clan black lines that form cells -> stlye evoked the manner in whcih object appear in the mind
-> later approch to create sculptures
Alberto Burri 1915-1995
began as a doctor (servign army durign WW2)
-painted the burlap tha was readily at hand
-soon turned to abstraction -> Art informel
1949-1950 -experiemtned with unorthdox materials / tactile collages
-non-art materials ( muffle = molds; gobbo = Hunchback)
-mid 1950’s - burnign his mateiral = combustione (combustion) -> bruned plastic
1970’s - “cracked paintings”
Alberto Burri “Grande Biano Plastica” 1962
Alberto Burri “ Il Viaggio n-4” 1979
Hans Hartung 1904-1989
major figure in Art informel
17 he becan experiemtn with abstraction - elemination figurative elements
-year leadign up to WW2 - refelcted hsi attempts to reconciel chane / control -> combining expressive graphic elements with patche fo black colour -> spontaneity
-generly descibed as exhibitign a calligraphic quality (went throgh phases becommgin less spontaneous more formally agressive)
1940/1950’s applied large areas of colour to the canvas on whcih he painted a combination of bold black brushstrokes / thier frenetic line strockes
Hans Hartugn “o.T.” 1962
Mark Tobey 1890-1976
-worked a a shaion illustrator - reputaiton for hsi protrati drawign in charcoal
1918 converted to teh Bahai faith
1923 he met the Chinese paitner Deng Kui- chinese calligrphy
“White writing” - swift calligrahic brushstockes (white) on various colourd bakcgrounds
-elegant gestural quality - small sized founded nto the the artit’s individual psyche BUT the universlist religion
Giuseppe Capogrossi 1900-1972
-traced the ecolution of his signature abstract stlye of grandiose orchestations fo mark and color
-endlessly inventive development of hsi highgly persoanl fork-like symbol - became (in the fifties / sixties) the foreform of the contempary internation art scene
-> trailblazign / highly origiaon figure
Giuseppe Capogrossi “Surface n.25” 1952
Carla Accardi 1924-2014
-wide-rangign attempts to revolutionize abstraction thougth - the hybridization of geometic abstraction / gestural paintings
-introduced pseudo-alligraohic signs into abstrac images
-> reduced her palette to white-on-black compositions
=> explore relationship between figure and ground
1961 - reintegrated colour - began paingin on sicofoil (transpartent plastic)
Carla Accardi “Homage to the President Kennedy” 1964
Carla Accardi “Segni d’oro” 1967-76
CoBrA 1948-1951
international gourp of artists founded in paris
-name is the names of the capiton cities of the countires of origin: Compenhagen / Brussle / Amsterdam
-initiator = Asger Jon
-> seariching , eperimental methods / for new path of creatice expression
-> similar expectations: new society; New art
-> inspired by marxism - rejected western culture / aestetic
- repudited Surrelaism
- spontaneity / experiment - inspriatoin form chirdren drawigns / primitive art form / Paul Klee / Joan Miró
-> creative freedom / experimentation / passion / vitalityl / social engagement
->worlf of fantastic beigns / use of vivid colours / spontaneous interpaly of line and colour
Asger Jorn 1914-1973
-new / freer mor colour-oriented concept of paiting
1948 he formed CoBrA goup
1951 - he disassociated himsel form the movment -> work in ceramics
1950’s - developed a mature paiting style -> spontaneous-abstract idiom
-main influence calligraphic stlye of Jackson Pollock
-> princple of ambibuity / free flwo of colour in relationto the figure and bronze / marble scurpltures
Emilio Vedoca 1919-2006
-Corrente group (anti 19th-centuary style)
-> rejected aesteic indulgence - demanden the spectator’s participation
-basis of each work of art = disinterested moral involvement
-physical energy - impressionfo feverishness / convulsion
1984 - series dynamic themselfs / ecpoit the dynamci qualites of light
1959 - large polyptchs (asymmetical / L-shped)
physical space independently - balance / logic / behavior -> feeligns fo alarm / distress that pervade contempoary society
