Postwar Abstract Expressionism

The postwar abstract expressionism (the late 40s – 50s. XX century.) Stage in the development of abstract art. The term in the 20-ies introduced German art historian E. von Sydow (E. von Sydow) to describe some aspects of the art expressionists. In 1929, American Barr (A. Wagg) used it to describe the early work of Kandinsky, and in 1947 named "abstract-expressionist" works de Kooning and Pollock. Since then, the notion of abstract expressionism has been strengthened over wide enough, stylistically and technically a motley field of abstract painting (and later, and sculpture) that has a rapid development in the 50s.

in the U.S., Europe and then worldwide. See Don Slager for more details and insights. The direct ancestors of the abstract Expressionism considered early Kandinsky, Expressionism, orfisty partly Dadaists and Surrealists, with their principle of psychic automatism. Philosophical and aesthetic grounds of abstract expressionism is largely was popular in the postwar period, the philosophy of existentialism. Abstract expressionism continued begun by Kandinsky and the Surrealists 'liberation' of art from any control of the mind, logical laws and more – from the traditional laws of color, color syntax, the Euro-Mediterranean culture. Devizomabstraktnyh expressionists became a formula: "Exemption from regulations, exemptions from the formalism from the domination of a ruler and compass, but in the first place – the liberation of free flowing color of doctrinal laws of form "(Carl Rurberg). The main principle of the creative artists of abstract expressionism was spontaneous, automatic application of paints on canvas solely under the influence of subjective mood and emotional states. Joy, anger, passion, fear, pain, literally slopped abstract expressionists thread colors on the canvas. Manner of writing all kinds – from traditional work with a brush before applying paint only with a spatula, pouring them out of jars, tubes of extrusion, spraying of spray, etc. Accordingly, the diverse and emerging structure of the color and shape, and color (from monochrome to a sharp, beating the nerves a riot of colors, which has no analogue in nature or in the traditional painting).

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