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, and Willem de Kooning, among others.
Abstract Impressionism is an art movement that originated in New York City, in the 1940s. It involves the painting of a subject such as real-life scenes, objects, or people (portraits) in an Impressionist-style, but with an emphasis on varying measures of abstraction. The paintings are often painted en plein air, an artistic style involving painting outside with the landscape directly in front of the artist. The movement works delicately between the lines of pure abstraction and the allowance of an impression of reality in the painting.
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.
Visual art of the United States or American art is visual art made in the United States or by U.S. artists. Before colonization, there were many flourishing traditions of Native American art, and where the Spanish colonized Spanish Colonial architecture and the accompanying styles in other media were quickly in place. Early colonial art on the East Coast initially relied on artists from Europe, with John White the earliest example. In the late 18th and early 19th centuries, artists primarily painted portraits, and some landscapes in a style based mainly on English painting. Furniture-makers imitating English styles and similar craftsmen were also established in the major cities, but in the English colonies, locally made pottery remained resolutely utilitarian until the 19th century, with fancy products imported.
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.
Milton Clark Avery was an American modern painter. Born in Altmar, New York, he moved to Connecticut in 1898 and later to New York City. He was the husband of artist Sally Michel Avery and the father of artist March Avery.
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."
Philip Guston, was a Canadian American painter, printmaker, muralist and draftsman. Early in his five decade career, muralist David Siquieros described him as one of "the most promising painters in either the US or Mexico," in reference to his antifascist fresco The Struggle Against Terror, which "includes the hooded figures that became a lifelong symbol of bigotry for the artist." "Guston worked in a number of artistic modes, from Renaissance-inspired figuration to formally accomplished abstraction," and is now regarded one of the "most important, powerful, and influential American painters of the last 100 years." He also frequently depicted racism, antisemitism, fascism and American identity, as well as, especially in his later most cartoonish and mocking work, the banality of evil. In 2013, Guston's painting To Fellini set an auction record at Christie's when it sold for $25.8 million.
Ronnie Landfield is an American abstract painter. During his early career from the mid-1960s through the 1970s his paintings were associated with Lyrical Abstraction, and he was represented by the David Whitney Gallery and the André Emmerich Gallery.
Lyrical abstraction is either of two related but distinct trends in Post-war Modernist painting:
The history of Western painting represents a continuous, though disrupted, tradition from antiquity until the present time. Until the mid-19th century it was primarily concerned with representational and Classical modes of production, after which time more modern, abstract and conceptual forms gained favor.
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.
Carol Lorraine Sutton is a multidisciplinary artist born in Norfolk, Virginia, USA and now living in Toronto, Ontario, Canada. She is a painter whose works on canvas and paper have been shown in 32 solo exhibits as well as being included in 94 group shows. Her work, which ranges from complete abstraction to the use of organic and architectural images, relates to the formalist ideas of Clement Greenberg and is noted for the use of color. Some of Sutton paintings have been related to ontology.
Pat Passlof was an American abstract expressionist painter.
Thornton Willis is an American abstract painter. He has contributed to the New York School of painting since the late 1960s. Viewed as a member of the Third Generation of American Abstract Expressionists, his work is associated with Abstract Expressionism, Lyrical Abstraction, Process Art, Postminimalism, Bio-morphic Cubism and Color Field painting.
Lisa Corinne Davis is an American visual artist known for abstract paintings and works on paper that suggest maps and other encoded forms of knowledge. She employs abstraction as a means of rendering the complexities of contemporary experience—including her own as an African-American woman—often questioning preconceived notions about identity, classification, and rationality versus subjectivity. Her densely layered, colorful work merges contrasting schemas, visual elements and formal languages, blurring distinctions between figuration and abstraction, real and fictive spaces and concepts, and microcosmic or macrocosmic reference. Brooklyn Rail critic Joan Waltemath wrote, "The urban experiences of space and time that Davis presents are subtle distillations of moment and coincidence ... Her attempt to map the shattered terrain of contemporary life points both to an awareness of other times and a belief in navigating the present one."
Laurie Fendrich is an American artist, writer and educator based in New York City, best known for geometric abstract paintings that balance playfulness and sophistication. Her work has been featured in solo exhibitions in New York, Los Angeles and Chicago, a retrospective at the Williamson Gallery at Scripps College (2010), and group shows at MoMA PS1, the Los Angeles County Museum of Art, and the National Academy of Design, among many venues. She has received reviews in publications including The New York Times, Artforum, Art in America, Arts Magazine, ARTnewsPartisan Review, and New York Magazine. Fendrich has been awarded fellowships from the Guggenheim Foundation (2016), Brown Foundation at the Museum of Fine Arts, Houston, and National Endowment for the Arts (1983–4). She has been an educator for more than four decades, notably at Hofstra University (1989–2014), and a regular essayist for The Chronicle Review at The Chronicle of Higher Education.
Tom Goldenberg is an American artist, best known for landscape and abstract paintings. He has shown throughout the United States and internationally, and his work has been covered by The New York Times, The New Criterion, Art in America, Arts Magazine, Art & Antiques, and The New York Observer, among other publications. Critics often note his landscape works for their contemporary interplay of stylization and observation and concern for form over verisimilitude, pointing to his beginnings in abstraction as a foundation that underlies his ordered pictorial structures. In the later 2010s, Goldenberg has returned to abstraction that sometimes suggests interior or "fictive" landscapes. The New Criterion editor and writer Roger Kimball described his paintings as leading "double lives, as memorable evocations of rural landscape and tightly organized arrangements of abstract planes of color." Hilton Kramer characterized his work as "deeply mediated by aesthetic reflection" and classical rather than romantic in feeling. Goldenberg and his wife, Michelle Alfandari, have lived in Sharon, Connecticut since 2016, after being based in New York City since the 1970s.
Harriet Korman is an American abstract painter based in New York City, who first gained attention in the early 1970s. She is known for work that embraces improvisation and experimentation within a framework of self-imposed limitations that include simplicity of means, purity of color, and a strict rejection of allusion, illusion, naturalistic light and space, or other translations of reality. Writer John Yau describes Korman as "a pure abstract artist, one who doesn’t rely on a visual hook, cultural association, or anything that smacks of essentialization or the spiritual," a position he suggests few post-Warhol painters have taken. While Korman's work may suggest early twentieth-century abstraction, critics such as Roberta Smith locate its roots among a cohort of early-1970s women artists who sought to reinvent painting using strategies from Process Art, then most associated with sculpture, installation art and performance. Since the 1990s, critics and curators have championed this early work as unjustifiably neglected by a male-dominated 1970s art market and deserving of rediscovery.
Frances Barth is an American visual artist best known for paintings situated between abstraction, landscape and mapping, and in her later career, video and narrative works. She emerged during a period in which contemporary painters sought a way forward beyond 1960s minimalism and conceptualism, producing work that combined modernist formalism, geometric abstraction, referential elements and metaphor. Critic Karen Wilkin wrote, "Barth’s paintings play a variety of spatial languages against each other, from aerial views that suggest mapping, to suggestions of perspectival space, to relentless flatness … [she] questions the very pictorial conventions she deploys, creating ambiguous imagery and equally ambiguous space that seems to shift as we look."
