Paul Jackson Pollock was an American painter. A major figure in the abstract expressionist movement, Pollock was widely noticed for his "drip technique" of pouring or splashing liquid household paint onto a horizontal surface, enabling him to view and paint his canvases from all angles. It was called all-over painting and action painting, since he covered the entire canvas and used the force of his whole body to paint, often in a frenetic dancing style. This extreme form of abstraction divided the critics: some praised the immediacy of the creation, while others derided the random effects. In 2016, Pollock's painting titled Number 17A was reported to have fetched US$200 million in a private purchase.
Kenneth Noland was an American painter. He was one of the best-known American color field painters, although in the 1950s he was thought of as an abstract expressionist and in the early 1960s he was thought of as a minimalist painter. Noland helped establish the Washington Color School movement. In 1977, he was honored with a major retrospective at the Solomon R. Guggenheim Museum in New York that then traveled to the Hirshhorn Museum and Sculpture Garden in Washington, D.C., and Ohio's Toledo Museum of Art in 1978. In 2006, Noland's Stripe Paintings were exhibited at the Tate in London.
Abstract Expressionism in the United States emerged as a distinct art movement in the immediate aftermath of World War II and gained mainstream acceptance in the 1950s, a shift from the American social realism of the 1930s influenced by the Great Depression and Mexican muralists. The term was first applied to American art in 1946 by the art critic Robert Coates. Key figures in the New York School, which was the epicenter of this movement, included such artists as Jackson Pollock, Franz Kline, Mark Rothko, Norman Lewis, Willem de Kooning and Theodoros Stamos among others.
Clement Greenberg, occasionally writing under the pseudonym K. Hardesh, was an American essayist known mainly as an art critic closely associated with American modern art of the mid-20th century and a formalist aesthetician. He is best remembered for his association with the art movement abstract expressionism and the painter Jackson Pollock.
Helen Frankenthaler was an American abstract expressionist painter. She was a major contributor to the history of postwar American painting. Having exhibited her work for over six decades, she spanned several generations of abstract painters while continuing to produce vital and ever-changing new work. Frankenthaler began exhibiting her large-scale abstract expressionist paintings in contemporary museums and galleries in the early 1950s. She was included in the 1964 Post-Painterly Abstraction exhibition curated by Clement Greenberg that introduced a newer generation of abstract painting that came to be known as color field. Born in Manhattan, she was influenced by Greenberg, Hans Hofmann, and Jackson Pollock's paintings. Her work has been the subject of several retrospective exhibitions, including a 1989 retrospective at the Museum of Modern Art in New York City, and been exhibited worldwide since the 1950s. In 2001, she was awarded the National Medal of Arts.
Samuel Lewis Francis was an American painter and printmaker.
Lenore "Lee" Krasner was an American Abstract Expressionist painter and visual artist active primarily in New York. She received her early academic training at the Women's Art School of Cooper Union, and the National Academy of Design from 1928 to 1932. Krasner's exposure to Post-Impressionism at the newly opened Museum of Modern Art in 1929 led to a sustained interest in modern art. In 1937, she enrolled in classes taught by Hans Hofmann, which led her to integrate influences of Cubism into her paintings. During the Great Depression, Krasner joined the Works Progress Administration's Federal Art Project, transitioning to war propaganda artworks during the War Services era.
Elaine Marie Catherine de Kooning was an Abstract Expressionist and Figurative Expressionist painter in the post-World War II era. She wrote extensively on the art of the period and was an editorial associate for Art News magazine.
Morris Louis Bernstein, known professionally as Morris Louis, was an American painter. During the 1950s he became one of the earliest exponents of Color Field painting. While living in Washington, D.C., Louis, along with Kenneth Noland and other Washington painters, formed an art movement that is known today as the Washington Color School.
Color field painting is a style of abstract painting that emerged in New York City during the 1940s and 1950s. It was inspired by European modernism and closely related to abstract expressionism, while many of its notable early proponents were among the pioneering abstract expressionists. Color field is characterized primarily by large fields of flat, solid color spread across or stained into the canvas creating areas of unbroken surface and a flat picture plane. The movement places less emphasis on gesture, brushstrokes and action in favor of an overall consistency of form and process. In color field painting "color is freed from objective context and becomes the subject in itself."
The Washington Color School, also known as the Washington, D.C., Color School, was an art movement starting during the 1950s–1970s in Washington, D.C., in the United States, built of abstract expressionist artists. The movement emerged during a time when society, the arts, and people were changing quickly. The founders of this movement are Morris Louis and Kenneth Noland, however four more artists were part of the initial art exhibition in 1965.
Jack Hamilton Bush was a Canadian abstract painter. A member of Painters Eleven, his paintings are associated with the Color Field movement and Post-painterly Abstraction. Inspired by Henri Matisse and American abstract expressionist painters like Helen Frankenthaler and Morris Louis, Bush encapsulated joyful yet emotional feelings in his vibrant paintings, comparing them to jazz music. Clement Greenberg described him as a "supreme colorist", along with Kenneth Noland in 1984. Bush explained that capturing the feeling of a subject rather than its likeness was
a hard step for the art loving public to take, not to have the red look like a side of a barn but to let it be the red for its own sake and how it exists in the environment of that canvas.
Friedel Dzubas was a German-born American abstract painter.
Michael Goldberg was an American abstract expressionist painter and teacher known for his gestural action paintings, abstractions and still-life paintings. A retrospective show, "Abstraction Over Time: The Paintings of Michael Goldberg", was shown at MOCA Jacksonville in Florida from 9/21/13 to 1/5/14. His work was seen in September 2007 in a solo exhibition at Knoedler & Company in New York City, as well as several exhibitions at Manny Silverman Gallery in Los Angeles. Additionally, a survey of Goldberg's work is exhibited at the University Art Museum at California State University, Long Beach since September 2010.
Raymond Parker (1922-1990) was an Abstract expressionist painter who also is associated with Color Field painting and Lyrical Abstraction. Ray Parker was an influential art teacher and an important Color Field painter and an instrumental figure in the movement coined by Clement Greenberg called Post-Painterly Abstraction.
The New New Painters were a self-labeled art group whose core members are twelve abstract artists who first came together in 1978 contemporaneously with the further development of acrylic gel paint as developed by the paint chemist Sam Golden. The NewNew Painters as they are called, arose from the roots of Jackson Pollock and Abstract Expressionism, The New York School, and Color Field. The Color Field artists worked by staining on raw canvas, in close value, high key colors, often large scale. The artists of The New New Painters came together with a desire to move forward into a new kind of painting using acrylic gels. Unofficially the group members were exhibiting together in smaller groups up until 1992 when Gerald Piltzer asked Kenworth W. Moffett to curate an exhibition in his new gallery in Paris, France under the name "New New Painting". The term "New New Painting" was coined in a conversation between Graham Peacock and John Gittins and was used by Piltzer for the Paris Show and the hardcover catalog of the same name.
20th-century Western painting begins with the heritage of late-19th-century painters Vincent van Gogh, Paul Cézanne, Paul Gauguin, Georges Seurat, Henri de Toulouse-Lautrec, and others who were essential for the development of modern art. At the beginning of the 20th century, Henri Matisse and several other young artists including the pre-cubist Georges Braque, André Derain, Raoul Dufy and Maurice de Vlaminck, revolutionized the Paris art world with "wild", multi-colored, expressive landscapes and figure paintings that the critics called Fauvism. Matisse's second version of The Dance signified a key point in his career and in the development of modern painting. It reflected Matisse's incipient fascination with primitive art: the intense warm color of the figures against the cool blue-green background and the rhythmical succession of the dancing nudes convey the feelings of emotional liberation and hedonism.
Grace Hartigan was an American Abstract Expressionist painter and a significant member of the vibrant New York School of the 1950s and 1960s. Her circle of friends, who frequently inspired one another in their artistic endeavors, included Jackson Pollock, Larry Rivers, Helen Frankenthaler, Willem and Elaine de Kooning and Frank O'Hara. Her paintings are held by numerous major institutions, including the Museum of Modern Art in New York City. As director of the Maryland Institute College of Art's Hoffberger School of Painting, she influenced numerous young artists.
Charlotte Park, also known as Charlotte Park Brooks (1918–2010) was an American abstract painter. She began work as a professional artist soon after the close of World War II, working in studios first in Manhattan and then in eastern Long Island. She was associated with and drew both support and inspiration from her husband James Brooks and other first-generation abstract expressionist artists, including particularly her neighbors, Jackson Pollock, and Lee Krasner. During most of her career she neither sought nor received praise from critics and collectors, but late in life was celebrated for the quality of her artistic achievements and had her work shown in prestigious solo and group exhibitions. At the end of her life a critic said, "Hers was a major gift all but stifled by a happily embraced domesticity and by the critical bullying of a brutally doctrinaire art world."
Barbara Januszkiewicz is a Washington, D.C.-based American multimedia artist, creative activist, and teacher; best known for her stained neo Color field style abstract expressionism paintings. She works in water based media, specifically watercolor and diluted acrylic paint on unprepared canvas in the manner of Morris Louis and Helen Frankenthaler. She uses brushes to control her fans of color rather than create pours in her color field works. Januszkiewicz's paintings are inspired by her interest in the overlap of the vocabularies involved with visual art and music. Her visual interpretation in painting employs large color fields that meld and overlap in translucent layers, evoking the rhythm and flow of her musical inspiration.
