Order 203468: Art in a historical era and comparing two major works of art

Name FINAL PAPER FEEDBACK Name, Your writing on the New York School in the post-World War II era is filled with good details that help the reader understand the context of the time, the role of art as a means of a new and open vehicle for expression, along with very descriptive areas about each painting’s physical and metaphysical characteristics. I can picture the wet, fluid paint strokes in each artist’s work due to your colorful, descriptive language. Good work. The content of parts A & B could be switched in some areas, but good information is included nonetheless. Part A (4 pts.) provides accurate, interesting facts about the post-World War II era in the United States, but could include just a bit more to inform the reader of the compressed or anarchic context of the world at large. Part B (5 pts.) describes how art functions in this context, and the quote from the Philadelphia Art Museum is an important viewpoint within the surrounds of war and conflict. Part C (5 pts.) offers 3 art elements and 2 design principles to describe the work in full and richly descriptive ways. Part D (5 pts.) offers 3 art elements and 2 design principles to describe the work, and makes necessary connections between the elements/principles and their purpose with the resulting meaning for the artist and viewer. Part E (5 pts.) compares and contrasts these two works using a full range of elements and principles that inform the artist’s intentions, dispositions and the feeling of the resulting paintings and subject matter. Part F (3 pts.) Reference list does include 5 sources in proper APA style. Part F (2 pts.) In-text citations are consistently present. Grade: 29 of 30 (Online Final Paper is worth 30 points) Best to you in your future projects ! Darele Bisquerra [email protected]

Abstract Expressionism 2

Abstract Expressionism

Aimee Blood

Understanding Art

April 25 th , 2012

Abstract Expressionism 3

A: Subject/ Historical Era

When World War II started, the world went through many changes. (One needs to define

what World War II was about, because one can’t assume the reader knows this) Art was not to be

left out of these changes. With the start of World War II and a rise in fascism, many artists

packed up their lives and moved to the United States (from where?). Many of which ended up in

New York City. A movement called Abstract expressionism evolved from the inspiration of

Surrealists. Abstract Expressionism helped to revolutionize the face of art. Another name for

Abstract Expressionism is the New York School. Most of their early inspirations came from

Cubist formalism and Surrealist automatism. Both of these ideas were early roots of modernism,

despite their vast differences. (Moffat, 2008) Many of the Abstract Expressionists believe in the

theories of Carl Jung, a Swiss psychoanalyst. Jung’s most influential theory was “The collective

unconscious holds that beneath one’s private memories lives a storehouse of feelings and

symbolic associations common to all humans.” (Stokstad, 2005)

Abstract expressionism gained instant recognition. It caused confusion and controversy

while simultaneously causing passion and feeling. In addition to the Surrealists, some believe the

roots of Abstract Expressionism can also be traced back to Picasso and Kandinsky. Abstract

expressionism artists applied paint freely to their huge canvas in effort to show feelings and

emotion, rather than realistic subject matter. It was more about the actual physical action of

applying paint to the canvas surface and the resulting effect of that action became the art. Their

methods of action were not comprised of painstaking, delicate brush strokes like is often thought

of when thinking of art; but rather intense and abrupt application through spills, splatter, drips,

slashes, and the like. Their use of color further enhanced the structure of their designs. (Moffat,

2008) (This is a good overview of the trend, but might be better included in Part B)

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B: The Role of Art in this Society

The USA was wholly involved with the war during the beginning of the 1940’s. This

caused a hardship on many of the art establishments with so many people away at war. However,

a new wave of inspiration emerged in the late 1940’s after the war was over. Abstract

expressionism was beginning to evolve and two new concepts took hold of artists’ inspiration.

Pieces were now being based on fields of color and others on the active handling of paint.

(Mittler Ph. D, 2000)

In 1952, Harold Rosenberg, a famous art critic coined the term action painting or what

others would call gesturalism. He was quoted as saying, “At a certain moment, the canvas began

to appear to one American painter after another as an arena in which to act, rather than a space in

which to reproduce, redesign, analyze, or express an object, actual or imagined. What was to go

on the canvas was not a picture but an event.” The two painters he was making reference to was

Pollock and de Kooning.

Art was forced to take a backseat during the war. There was so much going on

throughout this time period. Some feel that it was a cause of inspiration for their art. Even with

everything that was happening, there was still a group of people that saw preserving at as their

priority. At a Museum Association meeting in 1942, Curator Horace H. F. Jayne said the

following:

“Even though some of us shall be called upon to carry on more immediate, more

forthright tasks of war, let us never forget to hand on our charge to others so that all may

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ever enjoy the privilege of seeing these true proofs of man’s belief in liberty of the spirit

[works of art]." (Philadelphia Museum of Art, 2012)

C: Willem de Kooning (1904-1997)

Willem de Kooning moved to the US in 1926 from Holland. In the late 40’s, he began

painting a series that consisted of portraits of females. However, these were not elegant portraits

that one would find hanging above a parlor mantle, or one similar to those of the Neo Classicism

era. These portraits were said to be “grotesque, insulting, and ugly” by those observing the

works. His purpose was not to degrade the appearance of a woman, but to express her

complexity and empower her through a depiction that was both shocking and intriguing at the

same time. It showed the woman as a catalyst of many emotions ranging from hate to pity, anger

to love, and sadness to elation. De Kooning felt that he could not fully represent these emotions

that when put together form a uniquely beautiful and strong woman by painting a traditional

portrait, as the viewers would not be able to see past her outward appearance.

Color plays an intricate part in de Kooning’s piece. Woman I blocks of color

create a structure of a female form, creating a vibrant and multidimensional

figure without fixating on the materialistic nature of her attire. His colors were

rich and balanced throughout the piece, and his abrupt applications of large,

violent strokes further enhanced the feelings of strength and emotion he was

trying to convey. It appears that a lot of the variation in value comes from de Kooning’s process

of applying and stripping layer after layer right on the canvas.

Kooning’s abrupt use of paint application and sharp colors provide a great sense of

energy, as well as overall structure. The degree of variety in value helps to enhance Kooning’s

WOMAN I

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goal to shock his viewer and symbolize the complexity of women. The beauty still shows

through his ability to capture the multidimensional colors, light and dark, pure and combined.

Line in Woman I played an important role in the overall composition and also converged the

theory and concept behind the piece. De Kooning’s lines were sharp and abrupt, varying greatly

in thickness, direction, and density. The lines were created through a series of layering and

stripping the oil paint on the canvas. His strokes do not appear delicate, as many artists are when

depicting a woman or her attire. They are harsh and aggressive, strong in angles and give way to

curves. It is clear that his lines are used to evoke emotions in the viewer.

Willem de Kooning used variety in this piece of art, not only in brush stroke and line, but

also in value and color. De Kooning created high gestural lines that varied in size, shape, and

direction, ultimately creating a complex and active composition. De Kooning utilized horizontal

and vertical lines repeated throughout the piece, allowing for a smooth guide of the viewer’s eye

throughout the canvas. The variety in thick and thin lines helped create the structure that makes

the female figure. The harsh lines depicted the power and strength of the woman, contrary to

many soft and curved lines often found in pieces depicting females. (The Art Story, 2012)

D: Jackson Pollock (1912-1956)

Jackson Pollock evolved a lot throughout this life as an artist. Early on in his career, he

began to replace his symbols with freely applied paint. He set up a studio in a renovated barn

and created countless large scale paintings. He would tack down the edges of his canvas and

walk around all four sides, splattering, throwing, and drizzling paint. What would come of thi s

unique method of application were nature inspired pieces full of rhythmic lines and bold designs.

Pollock took great enjoyment in becoming one with his paintings. He felt free~ blissfully

unaware of his actions. The result of this was a harmonious spatter that existed without any

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AUTUMN RHYTHM

beginning or end. (Jackson Pollock, 2003) Pollock married abstract painter Lee Krasner in 1945,

who took a short hiatus from producing until 1956, when Pollock was killed in a car wreck. It

was then that she took over his studio, creating her own series of work with similar themes to her

late husband, but unique in gestural style and brushstroke. (Pioch, 2002)

Pollock uses contrasting color. The black is distinct and the white is

softened with the aid of the browns and teals that intermix throughout

the piece. In reference to the title, the colors chosen further enhance the

tone with its darker values and neutral browns. The usage of cool and

neutral colors help associate the composition to its autumn theme. (Jackson Pollock, 2003)

Pollock loves the use of line. Though line can be difficult to put into words, Pollock was

successful in creating an endless variety of line. Line is defined as “a continuous mark made on

the same surface by a point.” (Fichner-Rathus, 2010) Pollock did just that. He created lines that

overlapped, intertwined, curved and went straight all over his canvases and exceeded the lines

that were created form the edge of the canvas. The lines guide the viewer’s eyes around the

painting in a fluid and continuous motion, provoking the thought that the painting just continues

on and on. Pollock’s use of line allows the viewer to enjoy the overall composition and does not

allow them to become fixated on one particular object or area. (Stokstad, 2005)

Texture is demonstrated in this piece in a variety of ways. Pollock started with a blank,

flat canvas with little texture to the human eye. However, upon paint application, the piece grew

into a highly textural creation that could not only be seen but would also be able to be felt should

one place their hand over the bumpy and smooth layers of paint. The areas that involved a heavy

application of paint produced an almost rough, wrinkly texture.

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Pollock covered all the principles of design in this piece, but there are two that allow for

the overall composition to be successful~ movement and rhythm. Movement is created in this

piece because it is an example of “action painting”. The lines, shapes, and overall flow directly

correlate with the movement coming directly from Pollock himself. The movement he created

successfully guides the viewer’s eye throughout the overall canvas, guiding you from side to

side, up and down. It is nearly impossible to become fixated on one particular area with the

harmonious balance of sweeping lines and gentle colors.

Rhythm, which goes hand in hand with movement in design, is an obvious principle and

reoccurring theme in Pollock’s work. So much so, that he even put it in the title of our piece

“Autumn Rhythm.” Rhythm in art occurs when there is a repetition of the elements in a work of

art, creating some sort of tempo or beat that the viewer can follow. Rhythm is the key to setting

the mood of a piece, and providing a continuous guide that takes the viewer’s eyes on an

exploration of the overall composition. The delicate and unique patterns represent what we

experience in nature, uncontrolled variation and beauty. All of these elements and principles of

design combined to create a unified design. Each plays an intricate part in Autumn Rhythm and

demonstrates the ability and talent that Pollock possessed. (Mittler Ph. D, 2000)

E: de Kooning’s Woman I vs. Pollock’s Autumn Effect

De Kooning’s application in stripping away of paint is a metaphor for his attempt to strip

away ones outer beauty to show what truly lies within. He used a variety of violent and abrupt

applications of paint through large, gestural strokes. He, like many abstract painters, left what

happened on his canvas up to chance, though demonstrated a clear skill and understanding of

rules set by the Masters several centuries before. A great deal of interpretation is allowed for the

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viewer to determine on his paintings, allowing for a deeper connection and meaning between the

viewer and the piece.

Pollock used a variety of tools to apply paint including brushes, sticks, glass and knives.

He was physically involved with each of his pieces, as if his actions and applications were just as

important as the medium and canvas being used. He did not believe that the artist should know

what his finished product would look like from the conception of the idea of the painting. His

paint application was always at random and though his method of application became a

discipline, there was never a way of knowing how the paint would fall, so to speak. The purpose

of Pollock’s painting was not just to show the viewer his feelings, but the literally EXPRESS

them in his act of putting paint on the canvas. His paintings are a direct reflection of who Pollock

was. His color choice, application, and themes further enhance d the viewer’s ability to connect

with Pollock and his piece. (Stokstad, 2005)

It wasn’t until the 1960’s that abstract expressionism started to truly be given the

recognition that it deserved as being an incredible new movement in art. (Mittler Ph. D, 2000)

Both Pollock and de Kooning utilized oil and enamel on canvas. They both clearly demonstrated

their feelings within their large-scale pieces. They start to show many differences when it

comes to their themes. Pollock’s theme was nature; de Kooning’s is the power within women.

Pollock limited his use of color. De Kooning had variation in blocks of color, mainly primary

and flesh tones. Pollock had long sweeping, fluid lines of harmony; his brush never touches the

canvas. De Kooning had harsh, abrupt, angular lines. Contact is made directly with paint and

canvas. Pollock did not feel anxiety when painting, de Kooning was ravaged with nervous,

agitated doubt. (The Art Story, 2012) These two men are a true representation of how very

different art is to every individual artist, even if they produce the same style of art. Well stated !

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References

Fichner-Rathus, L. (2010). Understanding Art. Boston, MA: Wadsworth Cengage Learning .

Jackson Pollock. (2003). Bio. Retrieved from Jackson Pollock:

http://www.jacksonpollock.com/index.php

Mittler Ph. D, G. A. (2000). Art in Focus. New York City: Glencoe/McGraw-Hill.

Moffat, C. (2008, January). Abstract Expressionalism. Retrieved April 5, 2012, from The Art

History Archive: http://www.arthistoryarchive.com/arthistory/abstractexpressionism/

Philadelphia Museum of Art. (2012). 1940-1950. Retrieved from Philadelphia Museum of Art:

http://www.philamuseum.org/information/45-230-26.html

Pioch, N. (2002, July 2). Jackson Pollock. Retrieved from Paris WebMuseum:

http://www.ibiblio.org/wm/paint/auth/pollock/

Stokstad, M. (2005). Art History. Upper Saddle River, New Jersey: Pearson Education.

The Art Story. (2012). Willem de Kooning. Retrieved from The Art Story:

http://www.theartstory.org/artist-de-kooning-willem.htm