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Jackson Pollock Abstract Expressionism

» United States Abstract Expressionism: Painting Action and Colorfields

Inside 1940s and also the 1950s, US performers come to be recognized for their new sight, called Abstract Expressionism. The group includes musicians and artists such as Jackson Pollock (1912-1956), Lee Krasner (1908-1984), Willem and Elaine de Kooning (1904-1997, 1920-1989), Mark Rothko (1903-1970), Barnett Newman (1905-1970), Ad Reinhardt (1913-1967), Robert Motherwell (1915-1991), and Norman Lewis (1909-1979).

Autumn Rhythm No. 30, Jackson Pollock, 1950. Pollock unveiled living of a painting through “actions, ” a technique of dripping and pouring paint on a canvas which put directly on a floor.

Jackson Pollock’s art conveys the mentality of Abstract Expressionism. Pollock argued, “The artwork has a life of its own. We you will need to allow it to come through”. Pollock reveals the life span of painting through “actions, ” an energetic technique of dripping and pouring paint on a canvas that is put right on the floor. Pollock explained, “On the floor i'm more at ease, i'm closer, much more an integral part of the artwork… Since this means I can walk around inside it… Work from four sides and become virtually ‘in’ the painting.”

Pollock abandons conventional composition. His works do not have any points of focus or identifiable components. In addition they lack a central theme. For that reason, the spectator’s attention is continually on the go. Pollock’s approach encourages the spectator’s peripheral vision. Action paintings tend to be perceived as important and dynamic because our look cannot settle or focus on the canvas.


Blue, Yellow, Green on Red, Mark Rothko, 1954.

Mark Rothko’s manner of painting departs from Pollock’s activities. Rothko’s style is called colorfield painting. His works consist of powerful formal elements, like color, form, stability, depth, composition, and scale. They confirm the a few ideas of the formalist critic Clement Greenberg, who advised in “Modernist Painting” (1960) that artists should respect the restrictions of each and every media. Because a canvas is a two-dimensional area, painting should stay away from any impression of three-dimensional representation.

However, Rothko declined to be considered exclusively in these terms, arguing, “It is a commonly acknowledged notion among painters that it will not matter what an individual paints providing it is well painted. This Is Basically The essence of academic painting…. But there's absolutely no such thing of the same quality painting about nothing”. Rothko believed that while level, two-dimensional forms destroyed illusion, they also disclosed truth.

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Source: www.webexhibits.org
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