Abstract Expressionism Action painting
Influenced By Surrealism
The influence of Surrealism and its using automatism in art, to be able to give no-cost creative expression into the subconscious head, can plainly be viewed within the above analysis. Motivated by Freud's ideas of subconscious, surrealist music artists like Andre Breton (1896-1966), Andre Masson (1896-1987) and Joan Miro (1893-1983) had been persuaded users of this sort of involuntary, natural painting, which had a significant affect later on abstract expressionists. See, by way of example, Pasiphae (1943, Metropolitan Museum of Art) by Jackson Pollock.
Following individual experiments by other abstract painters like Hans Hofmann (1880-1966) and Lee Krasner (1908-84), Pollock himself started using his splash/drip method in 1947, partly due to the surrealists' experience, as well as (reportedly) after witnessing how Navajo Indians in New Mexico made their sand paintings by sprinkling earth on the surface to create complex patterns. (See Sand Art.)
Another chance is Pollock been aware of experiments conducted in ny during war, by the emigre surrealist artist Max Ernst (1891-1976), whom married Peggy Guggenheim, among Pollock's key clients. Ernst developed a technique of utilizing paint dripped from a swinging can.
Pollock worked in a highly spontaneous improvisatory way, moving around the canvas pouring, splashing and dripping paint onto it. In this way, he advertised is channelling their inner impulses straight on the fabric. But, he stayed not able to articulate precisely what transpired during bouts of action-painting. He varied between admitting: "once I am during my painting, I am not alert to what I'm doing"; and saying "once I was painting... I can control the flow of paint; there is no accident." Pollock's extraordinary working methods were extensively publicized by Hans Namuth, whose dramatic pictures grabbed the artist at the office in his studio in 1950. For more about Pollock's looks and methods, see: Jackson Pollock's paintings (1940-56).
Various other exponents of abstract expressionist painting, notably Kline and De Kooning, used comparable methods although not to your exact same degree as Pollock. Among them, they jettisoned most of the conventional concepts of composition, room, volume and level, enabling the flatness of picture airplane to just take centre stage. Acclaimed by the art experts (except for this new York Times art critic John Canaday) once the heirs to an art tradition - extending to water Lily images of Claude Monet - whoever defining attribute may be the creating of scars on a-flat area, they formed the core for the "gestural abstraction" model of Abstract Expressionism. This highly active textural style was at stark comparison into the quieter idiom called Colour Field Painting, practiced because of the likes of Mark Rothko (1903-70), Clyfford However (1904-80), Barnett Newman (1905-70), regarding opposing wing associated with the action. For US collections including types of action painting, see: Art Museums in the usa.
In European countries, Abstract Expressionism is famous broadly speaking as Art Informel, and action-painting as Tachisme.
Known Action Paintings
Arguably Jackson Pollock's greatest examples of action painting feature:
One (Number 31) (1950) Museum of Modern Art, ny.