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Abstract expressionism 1 Abstract expressionism Jackson Pollock, No. 5, 1948, oil on fiberboard, 244 x 122 cm. (96 x 48 in.), private collection. Abstract expressionism was an American postWorld War II art movement. It was the first specifically American movement to achieve worldwide influence and put New York City at the center of the western art world, a role formerly filled by Paris. Although the term "abstract expressionism" was first applied to American art in 1946 by the art critic Robert Coates, it had been first used in Germany in 1919 in the magazine Der Sturm, regarding German Expressionism. In the USA, Alfred Barr was the first to use this term in 1929 in relation to works by Wassily Kandinsky. [1] The movement's name is derived from the combination of the emotional intensity and self-denial of the German Expressionists with the anti-figurative aesthetic of the European abstract schools such as Futurism, the Bauhaus and Synthetic Cubism. Additionally, it has an image of being rebellious, anarchic, highly idiosyncratic and, some feel, nihilistic. [2] Style Cubi VI (1963), Israel Museum, Jerusalem. David Smith was one of the most influential American sculptors of the 20th century. Technically, an important predecessor is surrealism, with its emphasis on spontaneous, automatic or subconscious creation. Jackson Pollock's dripping paint onto a canvas laid on the floor is a technique that has its roots in the work of André Masson, Max Ernst and David Alfaro Siqueiros. Another important early manifestation of what came to be abstract expressionism is the work of American Northwest artist Mark Tobey, especially his "white writing" canvases, which, though generally not large in scale, anticipate the "all-over" look of Pollock's drip paintings. The movement's name is derived from the combination of the emotional intensity and self-denial of the German Expressionists with the anti-figurative aesthetic of the European abstract schools such as Futurism, the Bauhaus and Synthetic Cubism. Additionally, it has an image of being rebellious, anarchic, highly idiosyncratic and, some

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Abstract expressionism 1

Abstract expressionism

Jackson Pollock, No. 5, 1948, oil on fiberboard,244 x 122 cm. (96 x 48 in.), private collection.

Abstract expressionism was an American post–World War II artmovement. It was the first specifically American movement to achieveworldwide influence and put New York City at the center of thewestern art world, a role formerly filled by Paris. Although the term"abstract expressionism" was first applied to American art in 1946 bythe art critic Robert Coates, it had been first used in Germany in 1919in the magazine Der Sturm, regarding German Expressionism. In theUSA, Alfred Barr was the first to use this term in 1929 in relation toworks by Wassily Kandinsky.[1]

The movement's name is derived from the combination of theemotional intensity and self-denial of the German Expressionists withthe anti-figurative aesthetic of the European abstract schools such asFuturism, the Bauhaus and Synthetic Cubism. Additionally, it has animage of being rebellious, anarchic, highly idiosyncratic and, somefeel, nihilistic.[2]

Style

Cubi VI (1963), Israel Museum,Jerusalem. David Smith was one of

the most influential Americansculptors of the 20th century.

Technically, an important predecessor is surrealism, with its emphasis onspontaneous, automatic or subconscious creation. Jackson Pollock's drippingpaint onto a canvas laid on the floor is a technique that has its roots in the workof André Masson, Max Ernst and David Alfaro Siqueiros. Another importantearly manifestation of what came to be abstract expressionism is the work ofAmerican Northwest artist Mark Tobey, especially his "white writing" canvases,which, though generally not large in scale, anticipate the "all-over" look ofPollock's drip paintings.

The movement's name is derived from the combination of the emotional intensityand self-denial of the German Expressionists with the anti-figurative aesthetic ofthe European abstract schools such as Futurism, the Bauhaus and SyntheticCubism. Additionally, it has an image of being rebellious, anarchic, highlyidiosyncratic and, some

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Abstract expressionism 2

An abstract expressionist painting by JaneFrank (1918-1986): Crags and Crevices, 1961

feel, nihilistic.[2] In practice, the term is applied to any number ofartists working (mostly) in New York who had quite different stylesand even to work that is neither especially abstract nor expressionist.Pollock's energetic "action paintings", with their "busy" feel, aredifferent, both technically and aesthetically, from the violent andgrotesque Women series of Willem de Kooning's figurative paintings)and the rectangles of color in Mark Rothko's Color Field paintings(which are not what would usually be called expressionist and whichRothko denied were abstract). Yet all three artists are classified asabstract expressionists.

Abstract expressionism has many stylistic similarities to the Russianartists of the early twentieth century such as Wassily Kandinsky. Although it is true that spontaneity or theimpression of spontaneity characterized many of the abstract expressionists works, most of these paintings involvedcareful planning, especially since their large size demanded it. With artists like Paul Klee, Wassily Kandinsky,Emma Kunz, and later on Rothko, Barnett Newman, John McLaughlin, and Agnes Martin, abstract art clearlyimplied expression of ideas concerning the spiritual, the unconscious and the mind.[3]

Why this style gained mainstream acceptance in the 1950s is a matter of debate. American social realism had beenthe mainstream in the 1930s. It had been influenced not only by the Great Depression but also by the muralists ofMexico such as David Alfaro Siqueiros and Diego Rivera. The political climate after World War II did not longtolerate the social protests of these painters. Abstract expressionism arose during World War II and began to beshowcased during the early forties at galleries in New York like The Art of This Century Gallery. The McCarthy eraafter World War II was a time of artistic censorship in the United States, but if the subject matter were totallyabstract then it would be seen as apolitical, and therefore safe. Or if the art was political, the message was largely forthe insiders.[4]

While the movement is closely associated with painting, and painters like Arshile Gorky, Franz Kline, Clyfford Still,Hans Hofmann, Willem de Kooning, Jackson Pollock and others, collagist Anne Ryan and sculpture and certainsculptors in particular were also integral to Abstract Expressionism.[5] David Smith, and his wife Dorothy Dehner,Herbert Ferber, Isamu Noguchi, Ibram Lassaw, Theodore Roszak, Phillip Pavia, Mary Callery, Richard Stankiewicz,Louise Bourgeois, and Louise Nevelson in particular were some of the sculptors considered as being importantmembers of the movement. In addition, the artists David Hare, John Chamberlain, James Rosati, Mark di Suvero,and sculptors Richard Lippold, Herbert Ferber, Raoul Hague, George Rickey, Reuben Nakian, and even Tony Smith,Seymour Lipton, Joseph Cornell, and several others [6] were integral parts of the Abstract expressionist movement.Many of the sculptors listed participated in the Ninth Street Show[6] the famous exhibition curated by Leo Castelli onEast Ninth Street in New York City in 1951. Besides the painters and sculptors of the period the New York Schoolof Abstract expressionism also generated a number of supportive poets, like Frank O'Hara and photographers likeAaron Siskind and Fred McDarrah, (whose book The Artist's World in Pictures documented the New York Schoolduring the 1950s), and filmmakers — notably Robert Frank — as well.Although the abstract expressionist school spread quickly throughout the United States, the major centers of thisstyle were New York City and the San Francisco Bay area of California.

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Abstract expressionism 3

Art critics of the post–World War II era

Willem De Kooning, Woman V,1952–1953. De Kooning's series ofWoman paintings in the early 1950scaused a stir in the New York City

avant-garde circle.

“At a certain moment the canvas began to appear to one American painter after another as an arena in which to act. What was to go on thecanvas was not a picture but an event. ”

— Harold Rosenberg [7]

In the 1940s there were not only few galleries (The Art of This Century, Pierre Matisse Gallery, Julien Levi Galleryand a few others) but also few critics who were willing to follow the work of the New York Vanguard. There werealso a few artists with a literary background, among them Robert Motherwell and Barnett Newman who functionedas critics as well.While New York and the world were yet unfamiliar with the New York avant-garde by the late 1940s, most of theartists who have become household names today had their well established patron critics: Clement Greenbergadvocated Jackson Pollock and the color field painters like Clyfford Still, Mark Rothko, Barnett Newman, AdolphGottlieb and Hans Hofmann. Harold Rosenberg seemed to prefer the action painters like Willem de Kooning, andFranz Kline, as well as the seminal paintings of Arshile Gorky. Thomas B. Hess, the managing editor of ARTnews,championed Willem de Kooning.The new critics elevated their proteges by casting other artists as "followers"[8] or ignoring those who did not servetheir promotional goal.As an example, in 1958, Mark Tobey "became the first American painter since Whistler (1895) to win top prize atthe Venice Biennale. New York's two leading art magazines were not interested. Arts mentioned the historic eventonly in a news column and ARTnews (Managing editor: Thomas B. Hess) ignored it completely. The New YorkTimes and Life printed feature articles."[9]

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Abstract expressionism 4

Barnett Newman, Onement 1, 1948.During the 1940s Barnett Newman

wrote several important articlesabout the new American painting.

Barnett Newman, a late member of the Uptown Group, wrote catalogueforewords and reviews, and by the late 1940s became an exhibiting artist at BettyParsons Gallery. His first solo show was in 1948. Soon after his first exhibition,Barnett Newman remarked in one of the Artists' Session at Studio 35: "We are inthe process of making the world, to a certain extent, in our own image."[10]

Utilizing his writing skills, Newman fought every step of the way to reinforce hisnewly established image as an artist and to promote his work. An example is hisletter on April 9, 1955, "Letter to Sidney Janis: — it is true that Rothko talks thefighter. He fights, however, to submit to the philistine world. My struggle againstbourgeois society has involved the total rejection of it."[11]

Strangely the person thought to have had most to do with the promotion of thisstyle was a New York Trotskyite Clement Greenberg. As long time art critic forthe Partisan Review and The Nation, he became an early and literate proponentof abstract expressionism. The well-heeled artist Robert Motherwell joinedGreenberg in promoting a style that fit the political climate and the intellectualrebelliousness of the era.

Clement Greenberg proclaimed abstract expressionism and Jackson Pollock inparticular as the epitome of aesthetic value. It supported Pollock's work on

formalistic grounds as simply the best painting of its day and the culmination of an art tradition going back viaCubism and Cézanne to Monet, in which painting became ever 'purer' and more concentrated in what was 'essential'to it, the making of marks on a flat surface.[12]

Jackson Pollock's work has always polarised critics. Harold Rosenberg spoke of the transformation of painting intoan existential drama in Pollock's work, in which "what was to go on the canvas was not a picture but an event". "Thebig moment came when it was decided to paint 'just to paint'. The gesture on the canvas was a gesture of liberationfrom value — political, aesthetic, moral."[13]

One of the most vocal critics of abstract expressionism at the time was New York Times art critic John Canaday.Meyer Shapiro, and Leo Steinberg along with Clement Greenberg and Harold Rosenberg were important arthistorians of the post-war era who voiced support for abstract expressionism. During the early to mid sixties youngerart critics Michael Fried, Rosalind Krauss and Robert Hughes added considerable insights into the critical dialecticthat continues to grow around abstract expressionism.

History

World War II and the Post-War periodDuring the period leading up to and during World War II modernist artists, writers, and poets, as well as important collectors and dealers, fled Europe and the onslaught of the Nazis for safe haven in the United States. Many of those who didn't flee perished. Among the artists and collectors who arrived in New York during the war (some with help from Varian Fry) were Hans Namuth, Yves Tanguy, Kay Sage, Max Ernst, Jimmy Ernst, Peggy Guggenheim, Leo Castelli, Marcel Duchamp, André Masson, Roberto Matta, André Breton, Marc Chagall, Jacques Lipchitz, Fernand Léger and Piet Mondrian. A few artists, notably Pablo Picasso, Henri Matisse and Pierre Bonnard remained in France and survived. The post-war period left the capitals of Europe in upheaval with an urgency to economically and physically rebuild and to politically regroup. In Paris, formerly the center of European culture and capital of the art world, the climate for art was a disaster and New York replaced Paris as the new center of the art world. In Europe after the war there was the continuation of Surrealism, Cubism, Dada and the works of Matisse. Also in Europe, Art brut,[14] and Lyrical Abstraction or Tachisme (the European equivalent to Abstract expressionism) took

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Abstract expressionism 5

hold of the newest generation. Serge Poliakoff, Nicolas de Staël, Georges Mathieu, Vieira da Silva, Jean Dubuffet,Yves Klein and Pierre Soulages among others are considered important figures in post-war European painting. In theUnited States a new generation of American artists began to emerge and to dominate the world stage and they werecalled Abstract Expressionists.

Gorky, Hofmann and Graham

Arshile Gorky, The Liver is the Cock's Comb(1944), oil on canvas, 73 1/4 x 98" (186 x 249cm). Gorky was an Armenian-born American

painter who had a seminal influence on AbstractExpressionism. De Kooning said: "I met a lot of

artists — but then I met Gorky... He had anextraordinary gift for hitting the nail on the head;remarkable. So I immediately attached myself to

him and we became very good friends."[15]

The 1940s in New York City heralded the triumph of AmericanAbstract expressionism, a modernist movement that combined lessonslearned from Henri Matisse, Pablo Picasso, Surrealism, Joan Miró,Cubism, Fauvism, and early Modernism via great teachers in Americalike Hans Hofmann from Germany and John D. Graham from Russia.Graham's influence on American art during the early 1940s wasparticularly visible in the work of Arshile Gorky, Willem de Kooningand Jackson Pollock. Gorky's contributions to American and world artare difficult to overestimate. His work as lyrical abstraction[16] [17] [18]

[19] [20] was a "new language.[16] He "lit the way for two generations ofAmerican artists".[16] The painterly spontaneity of mature works like"The Liver is the Cock's Comb". "The Betrothal II", and "One Year theMilkweed" immediately prefigured Abstract expressionism, andleaders in the New York School have acknowledged Gorky'sconsiderable influence. American artists also benefited from thepresence of Piet Mondrian, Fernand Léger, Max Ernst and the AndréBreton group, Pierre Matisse's gallery, and Peggy Guggenheim's

gallery The Art of This Century, as well as other factors. Hans Hofmann in particular as teacher, mentor and artistwas both important and influential to the development and success of Abstract Expressionism in the United States.Among Hofmann's protege's was Clement Greenberg who became an enormously influential voice for Americanpainting and among his students was Lee Krasner who introduced her teacher Hans Hofmann to Jackson Pollock herhusband.

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Hans Hofmann The Gate,1959–1960. Hofmann's presence in

New York City and Provincetown asa teacher and as an artist was

influential to the development ofAmerican painting in the 1930s and

1940s.

Pollock and Abstract influences

During the late 1940s Jackson Pollock's radical approach to paintingrevolutionized the potential for all Contemporary art that followed him. To someextent, Pollock realized that the journey toward making a work of art was asimportant as the work of art itself. Like Pablo Picasso's innovative reinventionsof painting and sculpture near the turn of the century via Cubism and constructedsculpture, Pollock redefined what it was to produce art. His move away fromeasel painting and conventionality was a liberating signal to the artists of his eraand to all that came after. Artists realized that Jackson Pollock's process—theplacing of unstretched raw canvas on the floor where it could be attacked fromall four sides using artist materials and industrial materials; linear skeins of paintdripped and thrown; drawing, staining, brushing; imagery andnon-imagery—essentially blasted artmaking beyond any prior boundary.Abstract expressionism in general expanded and developed the definitions andpossibilities that artists had available for the creation of new works of art.

The other Abstract expressionists followed Pollock's breakthrough with newbreakthroughs of their own. In a sense the innovations of Jackson Pollock,Willem de Kooning, Franz Kline, Mark Rothko, Philip Guston, Hans Hofmann,Clyfford Still, Barnett Newman, Ad Reinhardt, Richard Pousette-Dart, RobertMotherwell, Peter Voulkos and others opened the floodgates to the diversity and scope of all the art that followedthem. The new art movements of the 1960s essentially followed the lead of Abstract Expressionism and in particularthe innovations of Pollock, De Kooning, Rothko, Hofmann, Reinhardt and Newman. The radical Anti-Formalistmovements of the 1960s and 1970s including Fluxus, Neo-Dada, Conceptual art and the Feminist movement can betraced to the innovations of Abstract Expressionism. Rereadings into abstract art, done by art historians such asLinda Nochlin,[21] Griselda Pollock [22] and Catherine de Zegher [23] critically shows, however, that pioneer womenartists who have produced major innovations in modern art had been ignored by the official accounts of its history,but finally began to achieve long overdue recognition in the wake of the abstract expressionist movement of the1940s and 1950s.

Action painting

Franz Kline, Painting Number 2, 1954, TheMuseum of Modern Art

The style was widespread from the 1940s until the early 1960s, and isclosely associated with abstract expressionism (some critics have usedthe terms action painting and abstract expressionism interchangeably).A comparison is often drawn between the American action paintingand the French tachisme.

The term was coined by the American critic Harold Rosenberg in1952[24] and signaled a major shift in the aesthetic perspective of NewYork School painters and critics. According to Rosenberg the canvaswas "an arena in which to act". While abstract expressionists such asJackson Pollock, Franz Kline and Willem de Kooning had long beenoutspoken in their view of a painting as an arena within which to come

to terms with the act of creation, earlier critics sympathetic to their cause, like Clement Greenberg, focused on theirworks' "objectness." To Greenberg, it was the physicality of the paintings' clotted and oil-caked surfaces that was thekey to understanding them as documents of the artists' existential struggle.

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Rosenberg's critique shifted the emphasis from the object to the struggle itself, with the finished painting being onlythe physical manifestation, a kind of residue, of the actual work of art, which was in the act or process of thepainting's creation. This spontaneous activity was the "action" of the painter, through arm and wrist movement,painterly gestures, brushstrokes, thrown paint, splashed, stained, scumbled and dripped. The painter wouldsometimes let the paint drip onto the canvas, while rhythmically dancing, or even standing in the canvas, sometimesletting the paint fall according to the subconscious mind, thus letting the unconscious part of the psyche assert andexpress itself. All this, however, is difficult to explain or interpret because it is a supposed unconscious manifestationof the act of pure creation.[25]

Abstract expressionism has an image of being rebellious, anarchic, highly idiosyncratic and, some feel, rathernihilistic. In practice, the term is applied to any number of artists working (mostly) in New York who had quitedifferent styles, and even applied to work which is not especially abstract nor expressionist. Pollock's energeticaction paintings, with their "busy" feel, are different both technically and aesthetically, to the violent and grotesqueWomen series of Willem de Kooning. (As seen below in the gallery) Woman V is one of a series of six paintingsmade by de Kooning between 1950 and 1953 that depict a three-quarter-length female figure. He began the first ofthese paintings, Woman I, collection: The Museum of Modern Art, New York City, in June 1950, repeatedlychanging and painting out the image until January or February 1952, when the painting was abandoned unfinished.The art historian Meyer Schapiro saw the painting in de Kooning's studio soon afterwards and encouraged the artistto persist. De Kooning's response was to begin three other paintings on the same theme; Woman II, collection: TheMuseum of Modern Art, New York City, Woman III, Tehran Museum of Contemporary Art, Woman IV,Nelson-Atkins Museum of Art, Kansas City, Missouri. During the summer of 1952, spent at East Hampton, deKooning further explored the theme through drawings and pastels. He may have finished work on Woman I by theend of June, or possibly as late as November 1952, and probably the other three women pictures were concluded atmuch the same time.[26] The Woman series are decidedly figurative paintings.Another important artist is Franz Kline, as demonstrated by his painting Number 2, 1954 (see above) as with JacksonPollock and other Abstract Expressionists, was labelled an "action painter because of his seemingly spontaneous andintense style, focusing less, or not at all, on figures or imagery, but on the actual brush strokes and use of canvas.Automatic writing was an important vehicle for action painters Franz Kline in his black and white paintings, JacksonPollock, Mark Tobey and Cy Twombly who used gesture, surface, and line to create calligraphic, linear symbols andskeins that resemble language, and resonate as powerful manifestations from the collective unconscious.[27] RobertMotherwell in his Elegy to the Spanish Republic series also painted powerful black and white paintings usinggesture, surface and symbol evoking powerful emotional charges.While other action painters notably Willem de Kooning, Arshile Gorky, Norman Bluhm, Joan Mitchell, and JamesBrooks (see gallery) used imagery via either abstract landscape or as expressionistic visions of the figure to articulatetheir highly personal and powerful evocations. James Brooks' paintings were particularly poetic and highly prescientin relationship to Lyrical Abstraction that became prominent in the late 1960s and the 1970s.[28]

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Abstract expressionism 8

Color field

Clyfford Still, 1957-D No. 1. During the 1950sStill's paintings were characterized as being

related to Color Fields

Clyfford Still, Barnett Newman, Adolph Gottlieb (see gallery) and theserenely shimmering blocks of color in Mark Rothko's work (which isnot what would usually be called expressionist and which Rothkodenied was abstract), are classified as abstract expressionists, albeitfrom what Clement Greenberg termed the Color field direction ofabstract expressionism. Both Hans Hofmann (see gallery) and RobertMotherwell (gallery) can be comfortably described as practitioners ofaction painting and Color field painting. In the 1940s RichardPousette-Dart's tightly constructed imagery often depended uponthemes of mythology and mysticism; as did the paintings of AdolphGottlieb, and Jackson Pollock in that decade as well.

Color Field painting initially referred to a particular type of abstractexpressionism, especially the work of Mark Rothko, Clyfford Still, Barnett Newman, Robert Motherwell, AdolphGottlieb, Ad Reinhardt and several series of paintings by Joan Miró. Art critic Clement Greenberg perceived ColorField painting as related to but different from Action painting. The Color Field painters sought to rid their art ofsuperfluous rhetoric. Artists like Robert Motherwell, Clyfford Still, Mark Rothko, Adolph Gottlieb, Hans Hofmann,Helen Frankenthaler, Sam Francis, Mark Tobey (see gallery) and especially Barnett Newman whose masterpiece Virheroicus sublimis is in the collection of MoMA and Ad Reinhardt used greatly reduced references to nature, and theypainted with a highly articulated and psychological use of color. In general these artists eliminated recognizableimagery. In the case of Rothko and Gottlieb sometimes using symbol and sign as replacement of imagery. Certainartists quoted references to past or present art, but in general color field painting presents abstraction as an end initself. In pursuing this direction of modern art, artists wanted to present each painting as one unified, cohesive,monolithic image.

In distinction to the emotional energy and gestural surface marks of Abstract Expressionists such as Jackson Pollockand Willem de Kooning, the Color Field painters initially appeared to be cool and austere, effacing the individualmark in favor of large, flat areas of color, which these artists considered to be the essential nature of visualabstraction, along with the actual shape of the canvas, which later in the 1960s Frank Stella in particular achieved inunusual ways with combinations of curved and straight edges. However Color Field painting has proven to be bothsensual and deeply expressive albeit in a different way from gestural Abstract expressionism.Although Abstract expressionism spread quickly throughout the United States, the major centers of this style wereNew York City and California, especially in the New York School, and the San Francisco Bay area. Abstractexpressionist paintings share certain characteristics, including the use of large canvases, an "all-over" approach, inwhich the whole canvas is treated with equal importance (as opposed to the center being of more interest than theedges). The canvas as the arena became a credo of Action painting, while the integrity of the picture plane became acredo of the Color field painters.

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Abstract expressionism 9

In the 1960s after abstract expressionism

Barnett Newman, Who's Afraid ofRed, Yellow and Blue?, 1966.

Typical of Newman's later work,with the use of pure and vibrant

color.

In abstract painting during the 1950s and 1960s several new directions likeHard-edge painting exemplified by John McLaughlin expland other forms ofGeometric abstraction, as a reaction against the subjectivism of Abstractexpressionism began to appear in artist studios and in radical avant-garde circles.Clement Greenberg became the voice of Post-painterly abstraction; by curatingan influential exhibition of new painting that toured important art museumsthroughout the United States in 1964. Color field painting, Hard-edge paintingand Lyrical Abstraction[29] emerged as radical new directions.

Abstract expressionism and the Cold War

Since the mid 1970s it has been argued by revisionist historians that the styleattracted the attention, in the early 1950s, of the CIA, who saw it asrepresentative of the USA as a haven of free thought and free markets, as well asa challenge to both the socialist realist styles prevalent in communist nations andthe dominance of the European art markets.[30] The book by Frances StonorSaunders,[31] The Cultural Cold War—The CIA and the World of Arts andLetters,[32] published in the UK as Who Paid the Piper?: CIA and the CulturalCold War, details how the CIA financed and organized the promotion of

American abstract expressionists as part of cultural imperialism via the Congress for Cultural Freedom from1950–67. Against this revisionist tradition, an essay by Michael Kimmelman, chief art critic of The New York Times,called Revisiting the Revisionists: The Modern, Its Critics and the Cold War, argue that much of this information (aswell as the revisionists' interpretation of it) concerning what was happening on the American art scene during the1940s and 50s is flatly false, or at best (contrary to the revisionists' avowed historiographic principles)decontextualized . Other books on the subject include Art in the Cold War by Christine Lindey, which also describesthe art of the Soviet Union at the same time; and Pollock and After edited by Francis Frascina, which reprinted theKimmelman article.

ConsequencesCanadian artist Jean-Paul Riopelle (1923–2002) helped introduce abstract impressionism to Paris in the 1950s.Michel Tapié's groundbreaking book, Un Art Autre (1952), was also enormously influential in this regard. Tapié wasalso a curator and exhibition organizer who promoted the works of Pollock and Hans Hofmann in Europe. By the1960s, the movement's initial affect had been assimilated, yet its methods and proponents remained highly influentialin art, affecting profoundly the work of many artists who followed. Abstract Expressionism preceded Tachisme,Color Field painting, Lyrical Abstraction, Fluxus, Pop Art, Minimalism, Postminimalism, Neo-expressionism, andthe other movements of the sixties and seventies and it influenced all those later movements that evolved.Movements which were direct responses to, and rebellions against abstract expressionism began with Hard-edgepainting (Frank Stella, Robert Indiana and others) and Pop artists, notably Andy Warhol, Claes Oldenburg and RoyLichtenstein who achieved prominence in the US, accompanied by Richard Hamilton in Britain. RobertRauschenberg and Jasper Johns in the US formed a bridge between abstract expressionism and Pop art. Minimalismwas exemplified by artists such as Donald Judd, Robert Mangold and Agnes Martin.However, many painters, such as Jules Olitski, Jane Frank (a pupil of Hans Hofmann), and Antoni Tàpies continuedto work in the abstract expressionist style for many years, extending and expanding its visual and philosophicalimplications, as many abstract artists continue to do today, in styles described as Lyrical Abstraction,Neo-expressionist and others.

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Major paintings and sculpture

Richard Pousette-Dart,Symphony No. 1, The

Transcendental, 1941-42

Mark Tobey,Canticle,

1954. Tobey,like Pollock,was known

for hiscalligraphic

style ofallover

compositions.

Helen Frankenthaler, Mountainsand Sea, 1952

SamFrancis,

Black andRed,

1950–1953

James Brooks, 1957,Tate Gallery

IsamuNoguchi,

RedUntitled,

red Persiantravertinesculpture,

1965-1966,HonoluluAcademy

of Arts

Robert Motherwell, Elegy to theSpanish Republic No. 110 1971

Mark di Suvero, Aurora,1992-1993

Hans Burkhardt, Untitled, 1950

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Abstract expressionism 11

List of abstract expressionists

Major artists• Significant artists whose mature work defined American Abstract Expressionism:

• Charles Alston • Edward Dugmore • Franz Kline • Fuller Potter • Mark Tobey• Alice Baber • Friedel Dzubas • Albert Kotin • Richard Pousette-Dart • Bradley Walker Tomlin• William Baziotes • Jimmy Ernst • Lee Krasner • Ad Reinhardt • Cy Twombly• Norman Bluhm • Herbert Ferber • Ibram Lassaw • Milton Resnick • Jack Tworkov• Louise Bourgeois • Perle Fine • Norman Lewis • George Rickey • Esteban Vicente• Ernest Briggs • Sam Francis • Richard Lippold • Jean Paul Riopelle • Peter Voulkos• James Brooks • Jane Frank • Seymour Lipton • William Ronald • Hale Woodruff• Fritz Bultman • Helen Frankenthaler • Morris Louis • Theodore Roszak • Emerson Woelffer• Hans Burkhardt • Michael Goldberg • Conrad Marca-Relli • Mark Rothko • Taro Yamamoto• Jack Bush • Robert Goodnough • Nicholas Marsicano • Anne Ryan • Manouchehr Yektai• Alexander Calder • Arshile Gorky • Mercedes Matter • Louis Schanker• Nicolas Carone • Adolph Gottlieb • Joan Mitchell • Jon Schueler• Giorgio Cavallon • Morris Graves • Robert Motherwell • Charles Seliger• John Chamberlain • Cleve Gray • Louise Nevelson • Harold Shapinsky• Elaine de Kooning • Philip Guston • Barnett Newman • David Smith• Willem de Kooning • David Hare • Isamu Noguchi • Theodoros Stamos• Robert De Niro, Sr. • Grace Hartigan • Kenzo Okada • Joe Stefanelli• Richard Diebenkorn • Hans Hofmann • Stephen Pace • Hedda Sterne• Mark di Suvero • Paul Jenkins • Ray Parker • Clyfford Still• Enrico Donati • Earl Kerkam • Jackson Pollock • Alma Thomas

Other artists• Significant artists whose mature work relates to American Abstract Expressionism:

• Karel Appel • Hans Hartung • Robert Rauschenberg• James Bohary • Gino Hollander • Larry Rivers• William Brice • Jasper Johns • Jack Roth• Charles Ragland Bunnell • Karl Kasten • Pablo Serrano• Mary Callery • Michael Loew • Aaron Siskind• Edward Clark • John Levee • Pierre Soulages• Donald Cole • Knox Martin • Nicolas de Staël• Alfred L. Copley aka (L. Alcopley) • Georges Mathieu • Frank Stella• Jean Dubuffet • Herbert Matter • Stuart Sutcliffe• Lynne Drexler • Edward Meneeley • Augustus Vincent Tack• Lucio Fontana • Ludwig Merwart • Antoni Tàpies

• Herbert Gentry[33] • Jan Müller • Nína Tryggvadóttir

• Sam Gilliam • Robert Natkin • Don Van Vliet• John D. Graham • Jules Olitski • Ulfert Wilke• Elaine Hamilton • Irene Rice-Pereira • Zao Wou Ki

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Abstract expressionism 12

References[1] Hess, Barbara; "Abstract Expressionism", 2005[2] Shapiro, David/Cecile (2000): Abstract Expressionism. The politics of apolitical painting. p. 189-190 In: Frascina, Francis (2000): Pollock

and After. The critical debate. 2nd ed. London: Routledge[3] Catherine de Zegher and Hendel Teicher (eds.). 3 X Abstraction. NY: The Drawing Center and /New Haven: Yale University Press. 2005.[4] Serge Gibalt. How New York Stole the Idea of Modern Art, University of Chicago Press, 1983.[5] Marika Herskovic, American Abstract Expressionism of the 1950s An Illustrated Survey, (http:/ / www. worldcatlibraries. org/ oclc/

50253062& tab=holdings) (New York School Press, 2003.) ISBN 0-9677994-1-4 pp12-13[6] Marika Herskovic, New York School Abstract Expressionists Artists Choice by Artists, (http:/ / www. worldcatlibraries. org/ oclc/ 50666793&

tab=holdings) (New York School Press, 2000.) ISBN 0-9677994-0-6 p.11-12[7] Abstract Expressionism, by Barbara Hess, Taschen, 2005, back cover[8] Thomas B. Hess, "Willem de Kooning", George Braziller, Inc. New York, 1959 p.:13[9] William C. Seitz, Mark Tobey by William C. Seitz, The Museum of Modern Art, New York, 1962. (http:/ / www. worldcatlibraries. org/ oclc/

5750568& referer=brief_results)[10] Barnett Newman Selected Writings and Interviews, (ed.) by John P. O'Neill, pgs.: 240-241, University of California Press, 1990[11] Barnett Newman Selected Writings Interviews, (ed.) by John P. O'Neill, p.: 201, University of California Press, 1990.[12] Clement Greenberg, "Art and Culture Critical essays", ("The Crisis of the Easel Picture"), Beacon Press, 1961 pp.:154-157[13] Harold Rosenberg, The Tradition of the New, Chapter 2, "The American Action Painter", pp.:23-39[14] Jean Dubuffet: L’Art brut préféré aux arts culturels [1949](=engl in: Art brut. Madness and Marginalia, special issue of Art & Text, No. 27,

1987, p. 31-33)[15] Willem de Kooning (1969) by Thomas B. Hess[16] Dorment, Richard. "Arshile Gorky: A Retrospective at Tate Modern, review" (http:/ / www. telegraph. co. uk/ culture/ art/ art-reviews/

7190303/ Arshile-Gorky-A-Retrospective-at-Tate-Modern-review. html), The Daily Telegraph, 8 February 2010. Retrieved May 24, 2010.[17] Art Daily (http:/ / www. artdaily. org/ section/ news/ index. asp?int_sec=11& int_new=36171& int_modo=1) retrieved May 24, 2010[18] "L.A. Art Collector Caps Two Year Pursuit of Artist with Exhibition of New Work" (http:/ / artdaily. org/ index. asp?int_sec=2&

int_new=37112), ArtDaily. Retrieved 26 May 2010. "Lyrical Abstraction ... has been applied at times to the work of Arshile Gorky"[19] "Arshile Gorky: A Retrospective" (http:/ / www. tate. org. uk/ about/ pressoffice/ pressreleases/ 2010/ 21322. htm), Tate, February 9, 2010.

Retrieved June 5, 2010.[20] Van Siclen, Bill. "Art scene by Bill Van Siclen: Part-time faculty with full-time talent" (http:/ / www. projo. com/ art/ content/

projo_20030710_artwrap10. 5e2b3. html), The Providence Journal, July 10, 2003. Retrieved June 10, 2010.[21] Nochlin, Linda, Ch.1 in: Women Artists at the Millennium (edited by C. Armstrong and C. de Zegher) MIT Press, 2006.[22] Pollock, Griselda, Encounters in the Virtual Feminist Museum: Time, Space and the Archive. Routledge, 2007.[23] De Zegher, Catherine, and Teicher, Hendel (eds.), 3 X Abstraction. New Haven: Yale University Press. 2005.[24] Rosenberg, Harold. "The American Action Painters" (http:/ / www. poetrymagazines. org. uk/ magazine/ record. asp?id=9798).

poetrymagazines.org.uk. . Retrieved 20 August 2006.[25] based (very) loosely on a lecture by Fred Orton at the Uni of Leeds and H. Geldzahler, New York Painting and Sculpture: 1940-1970, NY

1969[26] NGA.gov.au (http:/ / www. nga. gov. au/ International/ Catalogue/ Detail. cfm?IRN=47761& BioArtistIRN=25281& MnuID=2& GalID=1),

National Gallery of Australia[27] Collective unconscious[28] The Aldrich Museum of Contemporary Art, Lyrical Abstraction, exhibition: April 5 through June 7, 1970, Statement of the exhibition[29] Aldrich, Larry. Young Lyrical Painters, Art in America, v.57, n6, November–December 1969, pp.104-113.[30] CIA and AbEx (http:/ / www. independent. co. uk/ news/ world/ modern-art-was-cia-weapon-1578808. html) Retrieved November 7, 2010[31] Ratical.org (http:/ / www. ratical. org/ ratville/ CAH/ CIAcultCW. html)[32] Worldcatlibraries.org (http:/ / www. worldcatlibraries. org/ wcpa/ oclc/ 43114251?loc=#tabs)[33] Pattan, S. F. (1998) African American Art, New York: Oxford University Press

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Abstract expressionism 13

Books• Anfam, David. Abstract Expressionism (New York & London: Thames & Hudson, 1990). ISBN 0-500-20243-5• Craven, David, Abstract expressionism as cultural critique: dissent during the McCarthy period (http:/ / www.

worldcatlibraries. org/ oclc/ 39523558& tab=holdings) (Cambridge ; New York: Cambridge University Press,1999.) ISBN 0-521-43415-7

• Marika Herskovic, American Abstract and Figurative Expressionism: Style Is Timely Art Is Timeless (http:/ /www. worldcat. org/ search?qt=worldcat_org_bks& q=9780967799421& fq=dt:bks) (New York School Press,2009.) ISBN 978-0-9677994-2-1

• Marika Herskovic, American Abstract Expressionism of the 1950s An Illustrated Survey, (http:/ / www.worldcatlibraries. org/ oclc/ 50253062& tab=holdings) (New York School Press, 2003.) ISBN 0-9677994-1-4

• Marika Herskovic, New York School Abstract Expressionists Artists Choice by Artists, (http:/ / www.worldcatlibraries. org/ oclc/ 50666793& tab=holdings) (New York School Press, 2000.) ISBN 0-9677994-0-6

• Serge Guilbaut. How New York Stole the Idea of Modern Art, University of Chicago Press, 1983.

Bibliography• Saunders, Frances Stonor, The cultural cold war: the CIA and the world of arts and letters (http:/ / www.

worldcatlibraries. org/ oclc/ 43114251& referer=brief_results) (New York: New Press: Distributed by W.W.Norton & Co., 2000) ISBN 1-56584-596-X

• O'Connor, Francis V. Jackson Pollock (http:/ / www. worldcatlibraries. org/ oclc/ 165852& referer=brief_results)[exhibition catalogue] (New York, Museum of Modern Art, [1967]) OCLC 165852

• The Philosophy and Politics of Abstract Expressionism 1940-1960 Cambridge University Press, Cambridge,United Kingdom, 2000 ISBN 0-521-65154-9

• Tapié, Michel. Hans Hofmann: peintures 1962 : 23 avril-18 mai 1963. (http:/ / www. worldcatlibraries. org/ oclc/62515192& referer=brief_results) (Paris: Galerie Anderson-Mayer, 1963.) [exhibition catalogue andcommentary] OCLC: 62515192

• Tapié, Michel. Pollock (http:/ / www. worldcatlibraries. org/ oclc/ 30601793?tab=details) (Paris, P. Facchetti,1952) OCLC: 30601793

• Jeffrey Wechsler (2007). Pathways and Parallels: Roads to Abstract Expressionism. New York: Hollis TaggartGalleries. ISBN 0-9759954-9-9.

• Anfam, David. Abstract Expressionism—A World Elsewhere. New York: Haunch of Venison, 2008,Haunchofvenison.com (http:/ / www. haunchofvenison. com/ en/ #page=home. shop. books.abstract_expressionism)

Quotations about abstract expressionism• Abstract Expressionist value expression over perfection, vitality over finish, fluctuation over repose, the unknown

over the known, the veiled over the clear, the individual over society and the inner over the outer.• William C. Seitz,American artist and art historian

External links• Jackson Pollock (http:/ / www. terraingallery. org/ Jackson-Pollock-Ambition-DK. html)• Louis Schanker (http:/ / www. louisschanker. info)• Philip Guston (http:/ / www. aestheticrealism. org/ Philip_Guston/ Philip_Guston. html)• Perle Fine (http:/ / www. perlefine. com)• Perle Fine Abstract Expressionism-1950s New York action painter' (http:/ / www. youtube. com/

watch?v=yqUORQW8lHQ)- video from youtube.com

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Abstract expressionism 14

• Albert Kotin (http:/ / www. albertkotin. com)• Albert Kotin Abstract Expressionism 1950s-New York School 1950s action painting (http:/ / www. youtube. com/

watch?v=iN_tQlGdLe8)— video from youtube.com• James Brooks Abstract Expressionist painter 1906-1992 (http:/ / www. jamesbrooks. org/ )• James Brooks Abstract Expressionsim-New York School 1950s (http:/ / www. youtube. com/

watch?v=McBpuNIyOWM)-video from youtube.com• American Abstract Artists (http:/ / www. americanabstractartists. org)• Beginning of the New York School 1950s-Abstract Expressionism of the 1950s (http:/ / www. youtube. com/

watch?v=yeUX9ICyLaQ)— video from youtube.com 13:06• Clyfford Still Museum (http:/ / www. clyffordstillmuseum. org/ )• Abstract expressionism 1950s-New York School Artists of the 9th St Show Reminisce (http:/ / www. youtube. com/

watch?v=twshPjpOzzU)—video from youtube.com 13:34• 9th Street Art Exhibition-abstract expressionist artists reminisce (http:/ / www. youtube. com/

watch?v=9R6cnawfnCI)—video from youtube.com 9:27• Nicolas Carone-Abstract Expressionism-Artist of the 9th St. Show (http:/ / www. youtube. com/

watch?v=J-kMxtJ0GfA)—video from youtube.com• Conrad Marca-Relli Abstract Expressionism 1950s-New York School collage-painter (http:/ / www. youtube.

com/ watch?v=gGJergg0zvo)— video from youtube.com• Robert Richenburg Abstract Expressionism 1950s-New York School 1950s (http:/ / www. youtube. com/

watch?v=FkjUToTZAQM)— video from youtube.com• Joe Stefanelli Abstract Expressionism 1950s-New York School 1950s (http:/ / www. youtube. com/

watch?v=m-V3LqRMv1w)— video from youtube.com

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Article Sources and Contributors 15

Article Sources and ContributorsAbstract expressionism  Source: http://en.wikipedia.org/w/index.php?oldid=426142392  Contributors: 1717, ALoveSupreme, Abstract8, Academic Challenger, Ae1.wiki, Ahoerstemeier, Aitias,Akradecki, Akriasas, Alex contributing, Aliciapenelope, Allreet, Alp1776, Alpinwolf, Alsandro, Alt212, Anastrophe, Andrew28913, Andreworkney, Andrewsey, Anetode, Arterial, Artifactindex,Artreseachart, Az1568, Baoutrust, Being & becoming, Betterusername, Bookgrrl, Bus stop, Caitosarts, Camembert, Cesca1910, Chuunen Baka, Cindamuse, Citicat, Cmdrjameson, ColoniesChris, CommonsDelinker, Corvus cornix, Cowboy456, Cuchullain, DARTH SIDIOUS 2, DVD R W, DW, Danny, Danwalk, Darklilac, Darkwind, Darlingtonart, David Gale, David Shankbone,Daydreamer6928, Defence321, Dekisugi, DerHexer, DigitalC, DivGirl78, Dk321, Drszucker, Dryman, Duncanssmith, Durham1984, Egmontaz, Er a wikipiki wiki wum, Eric Winesett,Ethicoaestheticist, Everyking, Farras Octara, FayssalF, Flyty, Fontgirl, Fram, Fratrep, Freshacconci, Funandtrvl, GT5162, Gaius Cornelius, Genex1, Gimmetrow, Goethean, Grantbw, Gregbard,Gökhan, Hephaestos, HisSpaceResearch, Hubertfarnsworth, Hyacinth, Ichthys58, Indopug, J Milburn, JHMM13, JNW, JSpung, James Ervin May, James Woodstuff, Jengod, JeremyA,JoeStrange27, Joel Finsel, John Ellsworth, John of Reading, Jonathan.s.kt, Joseph Solis in Australia, Joyous!, Jpquist, Jusdafax, Justin Foote, Katieh5584, Katvaara, Ken Gallager, Knowledge4all,Knulclunk, Kunstnetje, Kwamikagami, Kwork2, L Kensington, Leafs252, Leafyplant, Leonard G., Lestrade, Leszek Jańczuk, Levi69, Lidya, Lightmouse, Ling.Nut, Lotje, Lounflo, Lusitana,MA3ARG, MNartist, Mafmafmaf, Magister109, Malick78, Man vyi, Mandarax, Mareino, Marika Herskovic, Marlengonzalez, Martarius, MarylandArtLover, Maslauskas, Mattisse, Mayfly mayfly, Mcdonal6, Mentifisto, Mettimeline, Mgpie, Mike Lawrence Turner, Minderbinder, Mloew, Modernist, Mr.Clicky, Mrdanielpartridge, Mrshaba, Nabla, Nagy, Natcheznme, Navstar, Nburden,Nektai, Neurolysis, Nimish Gautam, Nlu, Nolomotm, Norcalal, Nuvainmealina, Nyeditor, OldakQuill, OnBeyondZebrax, Onegin1, Onionmon, Orlady, Paloma747, Parent5446, Philip Cross,Photoart77, Pingveno, Pink!Teen, Planetneutral, Precious Roy, R'n'B, R.123, Range kingrj, Rasmus Faber, Raven in Orbit, RedWolf, Redthoreau, Research Method, RexNL, Riana, RichFarmbrough, Rjwilmsi, RobertG, Rocator, Rocknrollsnob, Rocksaid82, Rodney Boyd, Ronwebber, RoyBoy, Rumiton, SDC, Salmon1, Saposapo, Saravask, Sardanaphalus, Schwnj, ScottSteiner,Sdlc, Seaphoto, Seidenstud, Setwisohi, Shannonshead, Shimgray, SimonP, Sionus, Sir Richardson, Skizzik, Slawojarek, Sluzzelin, Sparkit, Spinster, Stevage, Stevertigo, Storm Rider,Stwalkerster, Suicidalhamster, Suicidalsos, Swortis, Taxisfolder, Teles, The Phantom Blot, TheKid, Thejewishmuseum, Tide rolls, Tjmayerinsf, Tobias Bergemann, Trusilver, Twotimes,Tyrenius, Usability 3, VMS Mosaic, Val mond, Versus22, Vianello, Viriditas, VisualGent, Waldemar smolarek art, Warofdreams, Wbkelley, Westviler, Wik, WikiArchitect, Wocdocdingo,Woohookitty, Wowmom1980, Xeno, Yasuimichael, Zsinj, 477 anonymous edits

Image Sources, Licenses and ContributorsImage:No. 5, 1948.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:No._5,_1948.jpg  License: unknown  Contributors: Diannaa, Ethicoaestheticist, Gilliam, J Milburn, Mareino,Mechamind90, Modernist, Reguiieee, Rettetast, Rizalninoynapoleon, The Master of Mayhem, Tree Biting Conspiracy, Tyrenius, 15 anonymous editsImage:SMITH CUBI VI.JPG  Source: http://en.wikipedia.org/w/index.php?title=File:SMITH_CUBI_VI.JPG  License: Public Domain  Contributors: Gerardus, Gryffindor, J Milburn,Look2See1, TalmoryairImage:Jane Frank Crags And Crevices.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Jane_Frank_Crags_And_Crevices.jpg  License: unknown  Contributors: Harmvandendorpel,MarylandArtLover, Mechamind90, Modernist, 3 anonymous editsImage:Kooning woman v.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Kooning_woman_v.jpg  License: unknown  Contributors: Mechamind90, Melesse, Modernist,Philosophistry, Sparkit, Stan Shebs, VegitaU, 1 anonymous editsImage:Newman-Onement 1.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Newman-Onement_1.jpg  License: unknown  Contributors: Cactus.man, Mechamind90, ModernistFile:Gorky-The-Liver.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Gorky-The-Liver.jpg  License: unknown  Contributors: Mechamind90, Modernist, TyreniusImage:Hans Hofmann's painting 'The Gate', 1959–60.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Hans_Hofmann's_painting_'The_Gate',_1959–60.jpg  License: unknown Contributors: Modernist, Wpearl, 1 anonymous editsImage:Kline no2.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Kline_no2.jpg  License: unknown  Contributors: Araignee, Ethicoaestheticist, Modernist, Philosophistry, RayChason, Sparkit, 3 anonymous editsImage:Still 1957 D1.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Still_1957_D1.jpg  License: unknown  Contributors: Ethicoaestheticist, Knulclunk, Modernist, SparkitImage:Newman-Who's Afraid of Red, Yellow and Blue.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Newman-Who's_Afraid_of_Red,_Yellow_and_Blue.jpg  License: unknown Contributors: Cactus.man, Lithoderm, ModernistImage:'Symphony No. 1, The Transcendental', oil on canvas painting by Richard Pousette-Dart, 1941-42, Metropolitan Museum of Art.jpg  Source:http://en.wikipedia.org/w/index.php?title=File:'Symphony_No._1,_The_Transcendental',_oil_on_canvas_painting_by_Richard_Pousette-Dart,_1941-42,_Metropolitan_Museum_of_Art.jpg License: unknown  Contributors: Melesse, Modernist, PhilKnight, WmpearlImage:'Canticle', casein on paper by Mark Tobey, 1954.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:'Canticle',_casein_on_paper_by_Mark_Tobey,_1954.jpg  License:unknown  Contributors: Franamax, Modernist, Wmpearl, 1 anonymous editsImage:Frankenthaler_Helen_Mountains and Sea_1952.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Frankenthaler_Helen_Mountains_and_Sea_1952.jpg  License: unknown Contributors: Modernist, Sparkit, Stan ShebsImage:Oil painting by Sam Francis.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Oil_painting_by_Sam_Francis.jpg  License: unknown  Contributors: Modernist, WmpearlImage:'Boon' oil on canvas painting by James Brooks, 1957, Tate Gallery.jpg  Source:http://en.wikipedia.org/w/index.php?title=File:'Boon'_oil_on_canvas_painting_by_James_Brooks,_1957,_Tate_Gallery.jpg  License: unknown  Contributors: Melesse, Modernist, PhilKnight,WmpearlImage:'Red Untitled' red Persian travertine sculpture by --Isamu Noguchi--, 1965-1966, --Honolulu Academy of Arts--.jpg  Source:http://en.wikipedia.org/w/index.php?title=File:'Red_Untitled'_red_Persian_travertine_sculpture_by_--Isamu_Noguchi--,_1965-1966,_--Honolulu_Academy_of_Arts--.jpg  License: unknown Contributors: Melesse, Modernist, Rjwilmsi, Seresin, Skier Dude, Voyaging, WmpearlImage:Robert Motherwell's 'Elegy to the Spanish Republic No. 110'.jpg  Source:http://en.wikipedia.org/w/index.php?title=File:Robert_Motherwell's_'Elegy_to_the_Spanish_Republic_No._110'.jpg  License: unknown  Contributors: Modernist, Wpearl, 2 anonymous editsImage:Aurora Mark di Suvero.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Aurora_Mark_di_Suvero.jpg  License: Public Domain  Contributors: User:AndyZImage:Hans Burkhardt's untitled, 1950.JPG  Source: http://en.wikipedia.org/w/index.php?title=File:Hans_Burkhardt's_untitled,_1950.JPG  License: Public Domain  Contributors:User:MA3ARG

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