Which Art Movement Can Colorfield Painting Be Classified Under

Art movement

Color field painting is a mode of abstruse painting that emerged in New York City during the 1940s and 1950s. It was inspired by European modernism and closely related to abstruse 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 beyond or stained into the canvas creating areas of unbroken surface and a apartment picture aeroplane. The movement places less emphasis on gesture, brushstrokes and action in favor of an overall consistency of form and process. In color field painting "colour is freed from objective context and becomes the subject in itself."^[1]

During the late 1950s and 1960s, colour field painters emerged in parts of Great United kingdom, Canada, Australia, and the United States, especially New York, Washington, D.C., and elsewhere, using formats of stripes, targets, elementary geometric patterns and references to mural imagery and to nature.^[2]

Historical roots [edit]

The focus of attention in the world of contemporary art began to shift from Paris to New York later World War II and the evolution of American abstruse expressionism. During the late 1940s and early 1950s Cloudless Greenberg was the starting time art critic to suggest and place a dichotomy between differing tendencies within the abstract expressionist canon. Taking issue with Harold Rosenberg (another important champion of abstract expressionism), who wrote of the virtues of action painting in his article "American Action Painters" published in the Dec 1952 event of ARTnews,^[4] Greenberg observed another tendency toward all-over color or color field in the works of several of the and then-called "showtime generation" abstract expressionists.^[5]

Mark Rothko was one of the painters that Greenberg referred to as a color field painter exemplified by Magenta, Black, Green on Orange, although Rothko himself refused to adhere to any label. For Rothko, color was "merely an instrument". In a sense, his best known works – the "multiforms" and his other signature paintings – are, in essence, the same expression, albeit ane of purer (or less concrete or definable, depending on the interpretation) means, which is that of the aforementioned "basic human emotions", as his before surrealistic mythological paintings. What is common amongst these stylistic innovations is a concern for "tragedy, ecstasy and doom". Past 1958, whatever spiritual expression Rothko meant to portray on canvas, it was growing increasingly darker. His bright reds, yellows and oranges of the early 1950s subtly transformed into nighttime blues, greens, grays and blacks. His final series of paintings from the mid-1960s were grey, and black with white borders, seemingly abstract landscapes of an countless bleak, tundra-like, unknown country.

Rothko, during the mid-1940s, was in the heart of a crucial period of transition, and he had been impressed by Clyfford Nonetheless's abstruse fields of color, which were influenced in part past the landscapes of Still's native Northward Dakota. In 1947, during a subsequent semester teaching at the California School of Fine Fine art (known today every bit the San Francisco Art Found), Rothko and Notwithstanding flirted with the idea of founding their own curriculum or school. All the same was considered 1 of the foremost color field painters – his non-figurative paintings are largely concerned with the juxtaposition of different colors and surfaces. His jagged flashes of color give the impression that one layer of colour has been "torn" off the painting, revealing the colors underneath, reminiscent of stalactites and primordial caverns. Withal's arrangements are irregular, jagged, and pitted with heavy texture and abrupt surface contrast every bit seen above in 1957D1.

Another creative person whose best known works relate to both abstruse expressionism and to colour field painting is Robert Motherwell. Motherwell's style of abstract expressionism, characterized by loose opened fields of painterly surfaces accompanied by loosely drawn and measured lines and shapes, was influenced past both Joan Miró and past Henri Matisse.^[6] Motherwell's Elegy to the Castilian Republic No. 110 (1971) is a pioneering work of both abstruse expressionism and colour field painting. While the Elegy series embodies both tendencies, his Open Series of the late 1960s, 1970s and 1980s places him firmly within the color field camp.^[7] In 1970 Motherwell said, "Throughout my life, the 20th-century painter whom I've admired the almost has been Matisse",^[viii] alluding to several of his own series of paintings that reflect Matisse's influence, well-nigh notably his Open Series that come closest to archetype color field painting.

Barnett Newman is considered one of the major figures in abstract expressionism and one of the foremost of the color field painters. Newman'south mature work is characterized by areas of color pure and flat separated by thin vertical lines, or "zips" as Newman called them, exemplified by Vir Heroicus Sublimis in the collection of MoMA. Newman himself thought that he reached his fully mature style with the Onement series (from 1948) seen here.^[9] The zips define the spatial structure of the painting while simultaneously dividing and uniting the composition. Although Newman'southward paintings appear to be purely abstract, and many of them were originally untitled, the names he subsequently gave them hinted at specific subjects existence addressed, often with a Jewish theme. Two paintings from the early on 1950s, for case, are called Adam and Eve (run into Adam and Eve), and there are also Uriel (1954) and Abraham (1949), a very dark painting, which, in improver to being the name of a biblical patriarch, was also the name of Newman'due south male parent, who had died in 1947. Newman's tardily works, such as the Who's Afraid of Red, Yellow and Blue series, use vibrant, pure colors, often on very large canvases.

Jackson Pollock, Adolph Gottlieb, Hans Hofmann, Barnett Newman, Clyfford Still, Marking Rothko, Robert Motherwell, Ad Reinhardt and Arshile Gorky (in his concluding works) were amid the prominent abstract expressionist painters that Greenberg identified as being connected to color field painting in the 1950s and 1960s.^[ten]

Although Pollock is closely associated with activity painting considering of his style, technique, and his painterly 'touch' and his physical application of paint, fine art critics have likened Pollock to both activity painting and color field painting. Another critical view advanced past Clement Greenberg connects Pollock's allover canvases to the large-calibration Water Lilies of Claude Monet done during the 1920s. Greenberg, art critic Michael Fried, and others take observed that the overall feeling in Pollock's most famous works – his drip paintings – read as vast fields of congenital-upward linear elements often reading as vast complexes of similar valued paint skeins that read every bit all over fields of colour and drawing, and are related to the landscape-sized late Monets that are synthetic of many passages of close valued brushed and scumbled marks that likewise read as close valued fields of color and drawing that Monet used in building his picture show surfaces. Pollock's use of all-over limerick lend a philosophical and a physical connexion to the style the color field painters like Newman, Rothko and All the same construct their unbroken and in Yet's case cleaved surfaces. In several paintings that Pollock painted afterwards his classic drip painting menses of 1947–1950, he used the technique of staining fluid oil pigment and house paint into raw canvas. During 1951 he produced a serial of semi-figurative black stain paintings, and in 1952 he produced stain paintings using color. In his November 1952 exhibition at the Sidney Janis Gallery in New York City Pollock showed Number 12, 1952, a large, masterful stain painting that resembles a brightly colored stained landscape (with an overlay of broadly dripped dark paint); the painting was acquired from the exhibition past Nelson Rockefeller for his personal collection. In 1960 the painting was severely damaged past fire in the Governors Mansion in Albany that also severely damaged an Arshile Gorky painting and several other works in the Rockefeller collection. However, past 1999 information technology had been restored and was installed in Empire Land Plaza.^{[11] [12]}

While Arshile Gorky is considered to be 1 of the founding fathers of abstract expressionism and a surrealist, he was as well one of the outset painters of the New York Schoolhouse who used the technique of "staining". Gorky created broad fields of brilliant, open, unbroken color that he used in his many of his paintings as grounds. In Gorky's nearly constructive and accomplished paintings between the years 1941 and 1948, he consistently used intense stained fields of color, often letting the pigment run and baste, under and around his familiar lexicon of organic and biomorphic shapes and frail lines. Some other abstract expressionist whose works in the 1940s phone call to heed the stain paintings of the 1960s and the 1970s is James Brooks. Brooks oftentimes used stain as a technique in his paintings from the belatedly 1940s. Brooks began diluting his oil pigment in club to accept fluid colors with which to pour and drip and stain into the mostly raw canvas that he used. These works often combined calligraphy and abstruse shapes. During the concluding 3 decades of his career, Sam Francis' style of large-scale brilliant abstruse expressionism was closely associated with colour field painting. His paintings straddled both camps within the abstract expressionist rubric, action painting and color field painting.

Having seen Pollock's 1951 paintings of thinned black oil paint stained into raw canvas, Helen Frankenthaler began to produce stain paintings in varied oil colors on raw sheet in 1952. Her almost famous painting from that period is Mountains and Sea (every bit seen below). She is one of the originators of the color field movement that emerged in the late 1950s.^[13] Frankenthaler also studied with Hans Hofmann. Hofmann's paintings are a symphony of colour as seen in The Gate, 1959–1960. Hofmann was renowned not just every bit an creative person but also as a teacher of art, both in his native Germany and later in the U.Due south. Hofmann, who came to the United states from Germany in the early 1930s, brought with him the legacy of Modernism. Hofmann was a young artist working in Paris who painted in that location before World War I. Hofmann worked in Paris with Robert Delaunay, and he knew firsthand the innovative piece of work of both Pablo Picasso and Henri Matisse. Matisse'due south work had an enormous influence on him, and on his agreement of the expressive linguistic communication of color and the potentiality of brainchild. Hofmann was one of the first theorists of color field painting, and his theories were influential to artists and to critics, particularly to Clement Greenberg, as well as to others during the 1930s and 1940s. In 1953 Morris Louis and Kenneth Noland were both profoundly influenced by Frankenthaler'southward stain paintings after visiting her studio in New York Metropolis. Returning to Washington, DC., they began to produce the major works that created the color field motion in the late 1950s.^[14]

In 1972 then Metropolitan Museum of Art curator Henry Geldzahler said:

Cloudless Greenberg included the piece of work of both Morris Louis and Kenneth Noland in a show that he did at the Kootz Gallery in the early 1950s. Clem was the first to come across their potential. He invited them upward to New York in 1953, I think it was, to Helen'southward studio to see a painting that she had just done called Mountains and Sea, a very, very beautiful painting, which was in a sense, out of Pollock and out of Gorky. It also was one of the first stain pictures, one of the beginning large field pictures in which the stain technique was used, perhaps the first ane. Louis and Noland saw the motion picture unrolled on the flooring of her studio and went back to Washington, DC., and worked together for a while, working at the implications of this kind of painting.^{[fifteen] [16]}

Morris Louis'south painting Where 1960, was a major innovation that moved abstract expressionist painting frontward in a new direction toward color field and minimalism. Among Louis's major works are his various series of colour field paintings. Some of his all-time known series are the Unfurleds, the Veils, the Florals and the Stripes or Pillars. From 1929 to 1933, Louis studied at the Maryland Institute of Fine and Applied Arts (at present Maryland Institute College of Art). He worked at diverse odd jobs to support himself while painting and in 1935 was president of the Baltimore Artists' Association. From 1936 to 1940, he lived in New York and worked in the easel division of the Works Progress Administration Federal Art Projection. During this period, he knew Arshile Gorky, David Alfaro Siqueiros, and Jack Tworkov, returning to Baltimore in 1940. In 1948, he started to use Magna – oil-based acrylic paints. In 1952, Louis moved to Washington, D.C., living there somewhat autonomously from the New York scene and working almost in isolation. He and a group of artists that included Kenneth Noland were primal to the development of color field painting. The basic point about Louis'south work and that of other color field painters, sometimes known as the Washington Color School in dissimilarity to most of the other new approaches of the late 1950s and early 1960s, is that they greatly simplified the thought of what constitutes the look of a finished painting.

Noland, working in Washington, DC., was also a pioneer of the colour field motility in the belatedly 1950s who used serial as of import formats for his paintings. Some of Noland's major series were called Targets, Chevrons and Stripes. Noland attended the experimental Black Mountain College and studied art in his home land of North Carolina. Noland studied with professor Ilya Bolotowsky who introduced him to neo-plasticism and the piece of work of Piet Mondrian. There he besides studied Bauhaus theory and colour with Josef Albers^[17] and he became interested in Paul Klee, specifically his sensitivity to color.^[18] In 1948 and 1949 he worked with Ossip Zadkine in Paris, and in the early on 1950s met Morris Louis in Washington, DC.^[19]

In 1970 fine art critic Cloudless Greenberg said:

I'd identify Pollock along with Hofmann and Morris Louis in this country among the very greatest painters of this generation. I actually don't recollect there was anyone in the aforementioned generation in Europe quite to match them. Pollock didn't similar Hofmann's paintings. He couldn't make them out. He didn't take the trouble to. And Hofmann didn't like Pollock's allover paintings, nor could nearly of Pollock'southward artist friends brand head or tail out of them, the things he did from 1947 to '50. But Pollock'southward paintings live or die in the same context every bit Rembrandt's or Titian'south or Velázquez's or Goya's or David's or ... or Manet's or Ruben's or Michelangelo's paintings. There'south no pause, at that place's no mutation here. Pollock asked to be tested past the same eye that could run into how good Raphael was when he was good or Piero when he was good.^[20]

Color field movement [edit]

By the late 1950s and early 1960s young artists began to break abroad stylistically from abstract expressionism; experimenting with new ways of making pictures; and new ways of handling pigment and color. In the early on 1960s several and diverse new movements in abstruse painting were closely related to each other, and superficially were categorized together; although they turned out to exist greatly different in the long run. Some of the new styles and movements that appeared in the early 1960s as responses to abstract expressionism were called: Washington Colour School, difficult-edge painting, geometric abstraction, minimalism, and colour field.

Gene Davis also was a painter known especially for paintings of vertical stripes of color, similar Black Grey Beat, 1964, and he also was a member of the group of abstract painters in Washington, D.C. during the 1960s known as the Washington Color Schoolhouse. The Washington painters were among the most prominent of the mid-century color field painters.

Jack Bush-league, Large A, 1968. Bush was a Canadian abstract expressionist painter, born in Toronto, Ontario in 1909. He became closely tied to the 2 movements that grew out of the efforts of the abstract expressionists: color field painting and lyrical abstraction.^[21]

The artists associated with the color field move during the 1960s were moving away from gesture and angst in favor of articulate surfaces and gestalt. During the early to mid-1960s color field painting was the term for the work of artists like Anne Truitt, John McLaughlin, Sam Francis, Sam Gilliam, Thomas Downing, Ellsworth Kelly, Paul Feeley, Friedel Dzubas, Jack Bush-league, Howard Mehring, Gene Davis, Mary Pinchot Meyer, Jules Olitski, Kenneth Noland, Helen Frankenthaler, Robert Goodnough, Ray Parker, Al Held, Emerson Woelffer, David Simpson, and others whose works were formerly related to 2nd generation abstract expressionism; and also to younger artists like Larry Poons, Ronald Davis, Larry Zox, John Hoyland, Walter Darby Bannard and Frank Stella. All were moving in a new management away from the violence and feet of action painting toward a new and seemingly calmer language of color.

Although colour field is associated with Clement Greenberg, Greenberg actually preferred to utilise the term post-painterly abstraction. In 1964, Clement Greenberg curated an influential exhibition that traveled the land called post-painterly abstraction.^[22] The exhibition expanded the definition of color field painting. Color field painting clearly pointed toward a new direction in American painting, away from abstract expressionism. In 2007 curator Karen Wilkin curated an exhibition called Colour As Field: American Painting 1950–1975 that traveled to several museums throughout the United States. The exhibition showcased several artists representing ii generations of color field painters.^[23]

In 1970 painter Jules Olitski said:

I don't know what Color Field painting means. I think information technology was probably invented past some critic, which is okay, but I don't call back the phrase means anything. Color Field painting? I mean, what is color? Painting has to do with a lot of things. Color is among the things it has to do with. Information technology has to do with surface. It has to do with shape, It has to exercise with feelings which are more hard to go at.^[24]

Ronnie Landfield, Rite of Bound, 1985. Landfield'south work emerged during the 1960s. His works are reflections of both Chinese landscape painting and the color field idiom. His paintings bridge color field painting with lyrical brainchild.^[25]

Jack Bush was a Canadian abstract expressionist painter, built-in in Toronto, Ontario in 1909. He was a member of Painters Eleven, the group founded by William Ronald in 1954 to promote abstract painting in Canada, and was soon encouraged in his art past the American art critic Clement Greenberg. With encouragement from Greenberg, Bush became closely tied to two movements that grew out of the efforts of the abstruse expressionists: colour field painting and lyrical abstraction. His painting Big A is an example of his color field paintings of the belatedly 1960s.^{[21] [27]}

During the late 1950s and early 1960s Frank Stella was a significant figure in the emergence of minimalism, post-painterly abstraction and color field painting. His shaped canvases of the 1960s like Harran Ii, 1967, revolutionized abstract painting. One of the most important characteristics of Stella's paintings is his utilize of repetition. His Black Pin Stripe paintings of 1959 startled and shocked an art world that was unused to seeing monochromatic and repetitive images, painted flat, with virtually no inflection. During the early 1960s Stella made several series' of notched Aluminum Paintings and shaped Copper Paintings before making multi-colored and asymmetrical shaped canvases of the late 1960s. Frank Stella's approach and relationship to color field painting was not permanent or central to his artistic output; every bit his work became more than and more three-dimensional after 1980.

In the late 1960s Richard Diebenkorn began his Body of water Park series; created during the final 25 years of his career and they are important examples of color field painting. The Ocean Park series exemplified past Body of water Park No.129, connects his earlier abstract expressionist works with Color field painting. During the early 1950s, Richard Diebenkorn was known as an abstract expressionist, and his gestural abstractions were close to the New York Schoolhouse in sensibility just firmly based in the San Francisco abstruse expressionist sensibility; a place where Clyfford Still has a considerable influence on younger artists by virtue of his pedagogy at the San Francisco Art Institute.

By the mid-1950s, Richard Diebenkorn along with David Park, Elmer Bischoff and several others formed the Bay Area Figurative School with a return to Figurative painting. During the period between the fall 1964 and the spring of 1965 Diebenkorn traveled throughout Europe, he was granted a cultural visa to visit and view Henri Matisse paintings in important Soviet museums. He traveled to the then Soviet Marriage to written report Henri Matisse paintings in Russian museums that were rarely seen outside of Russia. When he returned to painting in the Bay Area in mid-1965 his resulting works summed up all that he had learned from his more than a decade equally a leading figurative painter.^{[28] [29]} When in 1967 he returned to brainchild his works were parallel to movements like the color field movement and lyrical abstraction simply he remained independent of both.

During the tardily 1960s Larry Poons whose earlier Dot paintings were associated with Op Fine art began to produce looser and more gratuitous formed paintings that were referred to as his Lozenge Ellipse paintings of 1967–1968. Along with John Hoyland, Walter Darby Bannard, Larry Zox, Ronald Davis, Ronnie Landfield, John Seery, Pat Lipsky, Dan Christensen^[30] and several other young painters a new movement that related to colour field painting began to grade; somewhen called lyrical abstraction.^{[31] [32] [33]} The late 1960s saw painters turning to surface inflection, deep infinite depiction, and painterly affect and paint treatment merging with the linguistic communication of color. Among a new generation of abstract painters who emerged combining colour field painting with expressionism, the older generation also began infusing new elements of complex space and surface into their works. By the 1970s Poons created thick-skinned, cracked and heavy paintings referred to equally Elephant Pare paintings; while Christensen sprayed loops, colored webs of lines and calligraphy, across multi-colored fields of delicate grounds; Ronnie Landfield'south stained band paintings are reflections of both Chinese landscape painting and the colour field idiom, and John Seery'southward stained painting as exemplified by E, 1973, from the National Gallery of Australia. Poons, Christensen, Davis, Landfield, Seery, Lipsky, Zox and several others created paintings that span color field painting with lyrical abstraction and underscore a re-accent on landscape, gesture and affect.^{[26] [34] [35]}

Overview [edit]

Color field painting is related to post-painterly abstraction, suprematism, abstract expressionism, difficult-edge painting and lyrical brainchild. It initially referred to a item blazon of abstruse expressionism, particularly the piece of work of Mark Rothko, Clyfford Still, Barnett Newman, Robert Motherwell, Adolph Gottlieb and several serial of paintings past Joan Miró. Art critic Clement Greenberg perceived color field painting as related to but unlike from action painting.

An of import distinction that made color field painting different from abstract expression was the pigment handling. The most bones fundamental defining technique of painting is application of paint and the color field painters revolutionized the way paint could be effectively applied.

Color field painting sought to rid art of superfluous rhetoric. Artists like Barnett Newman, Mark Rothko, Clyfford Notwithstanding, Adolph Gottlieb, Morris Louis, Jules Olitski, Kenneth Noland, Friedel Dzubas, and Frank Stella, and others oftentimes used profoundly reduced formats, with drawing essentially simplified to repetitive and regulated systems, basic references to nature, and a highly articulated and psychological use of color. In full general these artists eliminated overt recognizable imagery in favor of abstraction. Certain artists quoted references to past or present art, merely in general colour field painting presents brainchild as an finish in itself. In pursuing this management of modern fine art, these artists wanted to present each painting every bit i unified, cohesive, monolithic paradigm frequently inside serial' of related types.

In distinction to the emotional energy and gestural surface marks and paint treatment of abstract expressionists such as Jackson Pollock and Willem de Kooning, color field painting initially appeared to exist cool and austere. Color field painters efface the individual marking in favor of large, flat, stained and soaked areas of colour, considered to be the essential nature of visual abstraction along with the actual shape of the canvas, which Frank Stella in particular achieved in unusual ways with combinations of curved and directly edges. However, color field painting has proven to be both sensual and deeply expressive albeit in a different way from gestural abstruse expressionism. Denying connection to abstract expressionism or whatever other Art Move Mark Rothko spoke clearly about his paintings in 1956:

I am not an abstractionist ... I am not interested in the relationship of color or class or anything else. ... I'g interested only in expressing bones human emotions — tragedy, ecstasy, doom and and so on — and the fact that a lot of people break down and cry when confronted with my pictures show that I communicate those basic human emotions. ... The people who weep before my pictures are having the same religious experience I had when I painted them. And if you lot, as you lot say, are moved only past their colour relationships, then yous miss the signal!^[36]

Stain painting [edit]

Joan Miró was 1 of the first and most successful stain painters. Although staining in oil was considered dangerous to cotton canvas in the long run, Miró'south example during the 1920s, 1930s and 1940s was an inspiration and an influence on the younger generation. 1 of the reasons for the success of the color field movement was the technique of staining. Artists would mix and dilute their paint in buckets or coffee cans making a fluid liquid and then they would pour information technology into raw unprimed canvass, mostly cotton duck. The paint could besides be brushed on or rolled on or thrown on or poured on or sprayed on, and would spread into the fabric of the canvass. Generally artists would describe shapes and areas as they stained. Many different artists employed staining as the technique of pick to utilize in making their paintings. James Brooks, Jackson Pollock, Helen Frankenthaler, Morris Louis, Paul Jenkins and dozens of other painters plant that pouring and staining opened the door to innovations and revolutionary methods of drawing and expressing meaning in new ways. The number of artists who stained in the 1960s greatly increased with the availability of acrylic pigment. Staining acrylic paint into the fabric of cotton duck sheet was more benign and less damaging to the material of the canvas than the use of oil paint. In 1970 creative person Helen Frankenthaler commented nigh her utilize of staining:

When I first started doing the stain paintings, I left big areas of canvas unpainted, I call up, considering the canvas itself acted every bit forcefully and every bit positively every bit paint or line or color. In other words, the very footing was part of the medium, so that instead of thinking of it as groundwork or negative space or an empty spot, that area did not need pigment because it had paint adjacent to it. The matter was to decide where to leave information technology and where to fill it and where to say this doesn't need another line or another pail of colors. It's saying information technology in space.^[37]

Spray painting [edit]

Surprisingly few artists used the spray gun technique to create large expanses and fields of color sprayed across their canvases during the 1960s and 1970s. Some painters who effectively used spray painting techniques include Jules Olitski, who was a pioneer in his spray technique that covered his large paintings with layer after layer of different colors, oftentimes gradually changing hue and value in subtle progression. Another important innovation was Dan Christensen's use of a spray technique to peachy result in loops and ribbons of bright color; sprayed in clear, calligraphic marks across his big-scale paintings. William Pettet, Richard Saba, and Albert Stadler, used the technique to create large-scale fields of multi-colors; while Kenneth Showell sprayed over crumpled canvases and created an illusion of abstract all the same-life interiors. Most of the spray painters were active especially during the late 1960s and 1970s.

Stripes [edit]

Stripes were ane of the nigh pop vehicles for color used by several unlike colour field painters in a variety of different formats. Barnett Newman, Morris Louis, Jack Bush-league, Gene Davis, Kenneth Noland and David Simpson, all made important Serial' of stripe paintings. Although he did not call them stripes but zips Barnett Newman's stripes were generally vertical, of varying widths and sparingly used. In Simpson and Noland'south case their stripe paintings were all by and large horizontal, while Factor Davis painted vertical stripe paintings and Morris Louis mostly painted vertical stripe paintings sometimes called Pillars. Jack Bush tended to do both horizontal and vertical stripe paintings as well equally angular ones.

Magna paint [edit]

Magna, a special artist employ acrylic pigment was developed by Leonard Bocour and Sam Golden in 1947 and reformulated in 1960, specifically for Morris Louis and other stain painters of the color field motility.^[38] In Magna pigments are ground in an acrylic resin with booze-based solvents.^[39] Unlike modernistic water-based acrylics, Magna is miscible with turpentine or mineral spirits and dries rapidly to a matte or glossy finish. It was used extensively past Morris Louis, and Friedel Dzubas and also by Pop artist Roy Lichtenstein. Magna colors are more than vivid and intense than regular acrylic water-based paints. Louis used Magna to nifty result in his Stripe Series,^[40] where the colors are used undiluted and are poured unmixed directly from the can.^[41]

Acrylic paint [edit]

In 1972, former Metropolitan Museum of Art curator Henry Geldzahler said:

Color field, curiously enough or perhaps not, became a viable way of painting at exactly the time that acrylic pigment, the new plastic paint, came into being. It was equally if the new paint demanded a new possibility in painting, and the painters arrived at it. Oil paint, which has a medium that is quite unlike, which isn't water-based, always leaves a slick of oil, or puddle of oil, effectually the edge of the colour. Acrylic pigment stops at its ain edge. Color field painting came in at the aforementioned time equally the invention of this new paint.^[42]

Acrylics were first made commercially available in the 1950s equally mineral spirit-based paints called Magna^[43] offered past Leonard Bocour. Water-based acrylic paints were subsequently sold as "latex" house paints, although acrylic dispersion uses no latex derived from a rubber tree. Interior "latex" house paints tend to be a combination of folder (sometimes acrylic, vinyl, pva and others), filler, pigment and water. Outside "latex" house paints may also be a "co-polymer" alloy, but the very best exterior water-based paints are 100% acrylic.

Soon after the water-based acrylic binders were introduced equally house paints, both artists – the first of whom were Mexican muralists – and companies began to explore the potential of the new binders. Acrylic artist paints tin can be thinned with water and used every bit washes in the manner of watercolor paints, although the washes are fast and permanent once dry. Water-soluble artist-quality acrylic paints became commercially available in the early 1960s, offered by Liquitex and Bocour under the trade name of Aquatec. Water-soluble Liquitex and Aquatec proved to be ideally suited for stain painting. The staining technique with water-soluble acrylics made diluted colors sink and concord fast into raw canvas. Painters such as Kenneth Noland, Helen Frankenthaler, Dan Christensen, Sam Francis, Larry Zox, Ronnie Landfield, Larry Poons, Jules Olitski, Gene Davis, Ronald Davis, Sam Gilliam and others successfully used water-based acrylics for their new stain, color field paintings.^[44]

Legacy: influences and influenced [edit]

The painterly legacy of 20th-century painting is a long and intertwined mainstream of influences and circuitous interrelationships. The use of large opened fields of expressive color practical in generous painterly portions, accompanied by loose drawing (vague linear spots and/or figurative outline) tin can first be seen in the early on 20th-century works of both Henri Matisse and Joan Miró. Matisse and Miró, as well as Pablo Picasso, Paul Klee, Wassily Kandinsky, and Piet Mondrian directly influenced the abstruse expressionists, the color field painters of post-painterly brainchild and the lyrical abstractionists. Belatedly 19th-century Americans like Augustus Vincent Tack and Albert Pinkham Ryder, forth with early American Modernists like Georgia O'Keeffe, Marsden Hartley, Stuart Davis, Arthur Dove, and Milton Avery'south landscapes besides provided of import precedents and were influences on the abstract expressionists, the colour field painters, and the lyrical abstractionists. Matisse paintings French Window at Collioure, and View of Notre-Dame ^[45] both from 1914 exerted tremendous influence on American color field painters in full general, (including Robert Motherwell's Open up Series), and on Richard Diebenkorn's Ocean Park paintings specifically. Co-ordinate to art historian Jane Livingston, Diebenkorn saw both Matisse paintings in an exhibition in Los Angeles in 1966, and they had an enormous touch on him and his piece of work.^[46] Jane Livingston says about the January 1966 Matisse exhibition that Diebenkorn saw in Los Angeles:

It is difficult not to ascribe enormous weight to this experience for the management his piece of work took from that time on. Ii pictures he saw at that place reverberate in most every Bounding main Park sheet. View of Notre Dame and French Window at Collioure, both painted in 1914, were on view for the commencement fourth dimension in the Usa.^[46]

Livingston goes on to say "Diebenkorn must take experienced French Window at Collioure, every bit an epiphany."^[47]

Miró was i of the nigh influential artists of the 20th century. He pioneered the technique of staining; creating blurry, multi-colored cloudy backgrounds in thinned oil paint throughout the 1920s and 1930s; on peak of which he added his calligraphy, characters and abundant lexicon of words, and imagery. Arshile Gorky openly admired Miró's work and painted Miró-like paintings, before finally discovering his own originality in the early 1940s. During the 1960s Miró painted large (abstract expressionist scale) radiant fields of vigorously brushed pigment in blue, in white, and other monochromatic fields of colors; with blurry blackness orbs and calligraphic stone-similar shapes, floating at random. These works resembled the colour field paintings of the younger generation. Biographer Jacques Dupin said this about Miró's piece of work of the early 1960s:

These canvases disclose affinities – Miró does non in the least attempt to deny this – with the researches of a new generation of painters. Many of these, Jackson Pollock for one, have acknowledged their debt to Miró. Miró in plough displays lively involvement in their piece of work and never misses an opportunity to encourage and support them. Nor does he consider it beneath his dignity to employ their discoveries on some occasions.^[48]

Taking its example from other European modernists similar Miró, the color field movement encompasses several decades from the mid 20th century through the early 21st century. Color field painting actually encompasses iii separate only related generations of painters. Commonly used terms to refer to the three divide merely related groups are abstract expressionism, post-painterly abstraction, and lyrical abstraction. Some of the artists made works in all three eras, that relate to all of the three styles. Color field pioneers such every bit Jackson Pollock, Marking Rothko, Clyfford Still, Barnett Newman, John Ferren, Adolph Gottlieb, and Robert Motherwell are primarily idea of as abstract expressionists. Artists like Helen Frankenthaler, Sam Francis, Richard Diebenkorn, Jules Olitski, and Kenneth Noland were of a slightly younger generation, or in the case of Morris Louis aesthetically aligned with that generation's signal of view; that started out as abstract expressionists but quickly moved to mail-painterly abstraction. While younger artists like Frank Stella, Ronald Davis, Larry Zox, Larry Poons, Walter Darby Bannard, Ronnie Landfield, Dan Christensen, began with post-painterly abstraction and somewhen moved frontwards towards a new type of expressionism, referred to every bit lyrical brainchild. Many of the artists mentioned, as well every bit many others, have practiced all iii modes at ane phase of their careers or another. During the later phases of color field painting; equally reflections of the zeitgeist of the belatedly 1960s (in which everything began to hang loose) and the angst of the age (with all of the uncertainties of the time) merged with the gestalt of post-painterly abstraction, producing lyrical brainchild which combined precision of the color field idiom with the malerische of the abstract expressionists. During the same period of the belatedly 1960s, and early on 1970s in Europe, Gerhard Richter, Anselm Kiefer^[49] and several other painters besides began producing works of intense expression, merging brainchild with images, incorporating landscape imagery, and figuration that by the late 1970s was referred to as Neo-expressionism.

Painters [edit]

The following is a list of color field painters, closely related artists and some of their more important influences:

See also [edit]

• Abstract art
• Abstract Imagists
• Concrete art
• Difficult-edge painting
• Lyrical brainchild
• Mod art
• Mail service-painterly abstraction
• Warming stripes (data visualization technique using the color field concept)
• Washington Color School
• Western painting

References [edit]

1. ^ "Themes in American Art: Abstraction". National Gallery of Art. Archived from the original on June 8, 2011. Retrieved June 11, 2011. .
2. ^ "Colour Field Painting". Tate. Retrieved May 2, 2014
3. ^ Emile De Antonio, Painters Painting, a Aboveboard History of The Modernistic Fine art Scene 1940–1970, P.44, Abbeville Press 1984, ISBN 0-89659-418-one
4. ^ Harold Rosenberg Archived 2012-01-14 at the Wayback Machine. National Portrait Gallery, Smithsonian Institution. Retrieved 22 February 2008.
5. ^ "Color As Field: American Painting". The New York Times. Retrieved December 7, 2008.
6. ^ De Antonio, Emile. Painters Painting, a Candid History of The Modern Fine art Scene 1940–1970. Abbeville Printing, 1984. 44, 61–63, 65, 68–69. ISBN 0-89659-418-1
7. ^ "Open Series #121". Tate. Retrieved Dec 7, 2008.
8. ^ De Antonio, Emile. Painters Painting, a Candid History of The Modern Art Scene 1940–1970, p. 44, Abbeville Press 1984, ISBN 0-89659-418-ane
9. ^ Barnett Newman
10. ^ "Smithsonian Museum Exhibits Color Field Painting", retrieved December 7, 2008
11. ^ Hess, Thomas B. (Baronial xvi, 1967). "A Descent Into the Mall Tempest". New York. p. 66. Retrieved May 6, 2011.
12. ^ Pollock #12 1952 at NY State Mall projection Archived 2014-03-13 at the Wayback Machine Retrieved May 6, 2011
13. ^ "'Color Field' Artists Found a Different Way" Retrieved 3 August 2010
14. ^ Fenton, Terry. "Morris Louis". sharecom.ca. Retrieved Dec 8, 2008
15. ^ De Antonio, Emile. Painters Painting, a Candid History of The Modern Art Scene 1940–1970, p. 79, Abbeville Press 1984, ISBN 0-89659-418-1
16. ^ Carmean, E. A. Helen Frankenthaler A Paintings Retrospective, Exhibition Catalog, pp. 12–20, Harry N. Abrams in conjunction with The Museum of Modern Art, Fort Worth, ISBN 0-8109-1179-5
17. ^ "Bold Emblems". Time. Apr eighteen, 1969. Retrieved February 8, 2008.
18. ^ Lempesis, Dimitris. "TRACES:Kenneth Noland". Dream thought machine.
19. ^ "Morris Louis". National Gallery of Art.
20. ^ De Antonio, Emile. Painters Painting, a Aboveboard History of The Modern Fine art Scene 1940–1970, p. 47, Abbeville Press 1984, ISBN 0-89659-418-ane
21. ^ ^{a b} "Jack Bush". The Fine art History Archive; Canadian Art. Retrieved December ix, 2008.
22. ^ "Cloudless Greenberg". Postal service-Painterly Abstraction. Retrieved Dec 8, 2008.
23. ^ Smith, Roberta. "Weightless Color, Floating Free". The New York Times. March 7, 2008. Retrieved December 7, 2008.
24. ^ De Antonio, Emile. Painters Painting, a Aboveboard History of The Modern Art Scene 1940–1970, P.81, Abbeville Press 1984, ISBN 0-89659-418-1
25. ^ Morgan, Robert C. Landfield'due south Illuminations. Exhibition Catalogue: Ronnie Landfield: Paintings From Five Decades. The Butler Institute of American Art. ISBN 1-882790-fifty-2
26. ^ ^{a b} Peter Schjeldahl Archived June 2, 2012, at the Wayback Auto] annotate on John Seery]
27. ^ Fenton, Terry. "Jack Bush". sharecom.ca. Retrieved Dec nine, 2008.
28. ^ Livingston, Jane. "The Art of Richard Diebenkorn". 1997–1998 Exhibition catalog. In The Art of Richard Diebenkorn, Whitney Museum of American Art. 56. ISBN 0-520-21257-6
29. ^ American Abstruse and Figurative Expressionism: Style Is Timely Fine art Is Timeless (New York School Press, 2009.) ISBN 978-0-9677994-ii-1. p. 80–83
30. ^ [1] Archived 2010-07-03 at the Wayback Machine retrieved June 2, 2010
31. ^ Ashton, Dore. "Young Abstruse Painters: Right On!". Arts vol. 44, no. iv, February, 1970. 31–35
32. ^ Aldrich, Larry. Young Lyrical Painters. Art in America, vol. 57, no. 6, Nov–December 1969. 104–113
33. ^ Color Fields, Deutsche Guggenheim Archived 2010-11-20 at the Wayback Machine Retrieved November 26, 2010
34. ^ Exhibition Catalogue, Ronnie Landfield: Paintings From V Decades. The Butler Institute of American Art, Seeking the Miraculous. 5–6. ISBN 1-882790-50-2
35. ^ Ratcliff, Carter. The New Informalists, Art News, five. 68, due north. viii, December 1969, p.72.
36. ^ Rodman, Selden. Conversations with Artists, 1957. Later published in "Notes from a conversation with Selden Rodman, 1956" in Writings on Art: Mark Rothko 2006, edited past López-Remiro, Miguel.
37. ^ De Antonio, Emile. Painters Painting, a Candid History of The Modern Art Scene 1940–1970, P.82, Abbeville Press 1984, ISBN 0-89659-418-i
38. ^ Henry, Walter. palimpsest.stanford.edu – Technical Exchange Archived October 12, 2008, at the Wayback Machine. Stanford Academy, Volume 11, Number 2, May 1989, eleven–14. Retrieved Dec 8, 2007.
39. ^ Fenton, Terry. "Appreciating Noland". Retrieved Apr 30th, 2007.
40. ^ Number 182, Phillips Collection, Washington, DC., retrieved December 8, 2008 Archived Feb 28, 2009, at the Wayback Machine
41. ^ Blake Gopnik, "Morris Louis: A Painter Of a Different Stripe". The Washington Post, retrieved December eight, 2008
42. ^ De Antonio, Emile. Painters Painting, a Candid History of The Modern Art Scene 1940–1970 Abbeville Press, 1984. 81. ISBN 0-89659-418-1
43. ^ Terry Fenton online essay about Kenneth Noland, and acrylic pigment, accessed April 30th, 2007
44. ^ Junker, Howard. The New Fine art: It's Way, Way Out, Newsweek, July 29, 1968, pp.3, 55–63.
45. ^ ^{a b} View of Notre Matriarch, 1914 at MoMA, retrieved Dec 18, 2008
46. ^ ^{a b} Livingston, Jane. "The Art of Richard Diebenkorn". In: 1997–1998 Exhibition catalog, Whitney Museum of American Art. 62–67. ISBN 0-520-21257-6
47. ^ Livingston, Jane. The Art of Richard Diebenkorn. In 1997–1998 Exhibition catalog, Whitney Museum of American Art. 64. ISBN 0-520-21257-six,
48. ^ Dupin, Jacques. Joan Miró Life and Work. New York City: Harry N. Abrams, 1962. 481
49. ^ "White Cube: Anselm Kiefer". White Cube. Retrieved December xv, 2008.

Sources [edit]

• Greenberg, Clement. Art and Culture, Beacon Press, 1961
• Greenberg, Clement. Tardily Writings, edited by Robert C. Morgan, St. Paul: University of Minnesota Press, 2003.
• Greenberg, Clement. Homemade Esthetics: Observations on Fine art and Gustation. Oxford University Printing, 1999.
• Kleiner, Fred S.; and Mamiya, Christin J., Gardner'due south Art Through the Ages (2004). Volume II. Wadsworth Publishing. ISBN 0-534-64091-five.
• Schwabsky, Barry. "Irreplaceable Hue – Color Field Painting". ArtForum 1994. Look Smart 20 Apr 2007.
• Color As Field: American Painting, 1950–1975, retrieved December 7, 2008
• Wilkin, Karen and Belz, Carl. Colour As Field: American Painting, 1950–1975. Published: Yale Academy Printing; 1 edition (November 29, 2007). ISBN 0-300-12023-0, ISBN 978-0-300-12023-3
• Livingston, Jane. The Art of Richard Diebenkorn, with essays by John Elderfield, Ruth E. Fine, and Jane Livingston. The Whitney Museum of American Art, 1997, ISBN 0-520-21257-6
• De Antonio, Emile and Tuchman, Mitchell. Painters Painting A Candid History of The Modern Art Scene, 1940–1970, Abbeville Press 1984, ISBN 0-89659-418-i
• Jacques Dupin, Joan Miró Life and Work, Harry N. Abrams, Inc., Publisher, New York City, 1962, Library of Congress Catalog Carte du jour Number: 62-19132
• Various authors: Barbara Rose, Gerald Nordland, Walter Hopps, Hardy S. George; Breaking the Mold, Selections from the Washington Gallery of Modern Fine art, 1961–1968, exhibition catalogue, Oklahoma City Museum of Fine art 2007, ISBN 0-911919-05-eight
• Cynthia Goodman. Hans Hofmann, with essays past Irving Sandler, and Cloudless Greenberg; Exhibition Catalog, Whitney Museum of American Fine art, New York in association with Prestel-Verlag, Munich, ISBN 0-87427-070-7
• Irving Sandler. The New York School: The Painters and Sculptors of the Fifties, Harper & Row, 1978 ISBN 0-06-438505-1
• Aldrich, Larry. Young Lyrical Painters, Art in America, 5.57, n6, Nov–December 1969, pp. 104–113.
• Peter Schjeldahl. New Abstract Painting: A Variety of Feelings, Exhibition review, "Standing Brainchild", The Whitney Downtown Branch, 55 Water St. NYC. The New York Times, October thirteen, 1974.
• Kertess, Klaus. Peter Immature Paintings 1963–1980. Parc Foundation. ISBN 978-ane-931885-68-iii
• Kertess, Klaus. The Nature of Paint, Ronnie Landfield:Forty Years of Color Abstraction, Exhibition Catalog, ISBN 978-0-9820841-2-0
• Carmean, E.A. Toward Color and Field, Exhibition Catalogue, Houston Museum of Fine Arts, 1971.
• Carmean, E.A. Helen Frankenthaler A Paintings Retrospective, Exhibition Catalog, Harry N. Abrams in conjunction with The Museum of Modernistic Art, Fort Worth, ISBN 0-8109-1179-5
• Henning, Edward B. Color & Field, Art International May 1971: 46–50.
• Tucker, Marcia. The Structure of Color, New York: Whitney Museum of American Fine art, NYC, 1971.
• Robbins, Daniel. Larry Poons: Creation of the Circuitous Surface, Exhibition Catalogue, Salander/O'Reilly Galleries, pp. 9–nineteen, 1990.
• Michael Fried. Morris Louis, Harry N. Abrams, Library of Congress Number: 79-82872

External links [edit]

• Marking Jenkins, Revisiting Morris Louis's Lighter Touch retrieved Dec eight, 2008, Washington Post Review of the Morris Louis retrospective at the Hirshhorn Museum and Sculpture Garden September 2007.
• Washington Post online gallery of Morris Louis paintings
• Kreeger Museum; an expanded exhibition which also involved several museums and galleries in Washington DC and surrounding areas
• Art Manner: Color Field Painting – Motility Overview on The Art Story Foundation

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Source: https://en.wikipedia.org/wiki/Color_field

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