Abstract Expressionism characteristics
What is Post-Painterly Abstraction: Definition/Characteristics
Greenberg himself described post-painterly abstraction as being typically linear in design, brilliant in colour, lacking detail and incident, and inclined to draw the attention beyond the restrictions of canvas. Above all it absolutely was unknown in execution, reflecting the painter's aspire to abandon the drama and emotionalism for the older types of Abstract Expressionism.
Modern Art Trend
Essentially, Greenberg ended up being showcasing a trend away from gestural-type abstract expressionism - like the gesturalism of Willem de Kooning, the "action-painting" technique of Jackson Pollock, additionally the use of textural impacts - towards higher use of wide aspects of unmodulated colour. Greenberg himself had been a formalist: he thought that the formal attributes of a painting (range, shape, colour) tend to be main (and self-sufficient for the admiration), whereas its mental, representational, ethical or personal aspects are additional, also redundant. Because Post-painterly abstractionists had a tendency to stay away from emotionalism, and then followed an even more private, non-subjective visual, they clearly shared exactly the same view associated with the primacy of formal elements, and therefore came across together with endorsement.
Post-Painterly Abstraction Styles & Artists
The styles embraced by this term include Hard-Edge Painting, illustrated because of the works of abstract painters like Al Held (b.1928), Ellsworth Kelly (b.1923), Frank Stella (b.1936), and Jack Youngerman (b.1926); Colour Stain Painting, exemplified by Helen Frankenthaler (b.1928), Joan Mitchell (1926-92), and Jules Olitski (b.1922); Washington Colour Painters, including Gene Davis (1920-85), Morris Louis (1912-62) and Kenneth Noland (b.1924); Systemic Painting, which covered the task of Josef Albers (1888-1976), Ad Reinhardt (1913-67), along with Stella and Youngerman; Lyrical Abstraction, including functions by Mark Tobey (1890-1976), Frankenthaler among others;, illustrated because of the works of pioneers Barnett Newman (1905-70), Mark Rothko (1903-70), Clyfford Still (1904-80), and Hans Hofmann (1880-1966), also Frankenthaler, Noland, Stella, Olitski, Morris Louis, Ellsworth Kelly and Richard Diebenkorn (1922-93); and Minimal Painting which known photos by Robert Mangold (b.1937), Agnes Martin (1912-2004), Brice Marden (b.1938), and Robert Ryman (b.1930).
Fragmentation and Anti-Formalism
Alas, the 1960s soon undermined Greenberg's notion of Post-painterly abstraction. If there was one identifiable trend, it quickly fragmented into a few competing schools, as painters pursued their particular separate objectives. Additionally, despite some formalist success tales like Frank Stella's Shaped Canvas genre, which proclaimed the "objecthood" of this picture, by 1973, the formalism of these types as Colour Field Painting had been quickly replaced because of the Anti-Formalism of movements like Pop Art and Minimalism. This time (very early 1970s) is traditionally seen as the hinge between Modern Art (c.1850-1970) and Postmodernist Art (early 1970s on). For evaluation of a number of the great works of article Painterly Abstraction, see: Analysis of Modern Paintings (1800-2000).
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