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Lecture notes from 9/13 and 9/15!

by: maditaylor7

Lecture notes from 9/13 and 9/15! ARH 4642

Marketplace > Florida State University > Art History > ARH 4642 > Lecture notes from 9 13 and 9 15
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About this Document

These notes include the two lectures: 9/13/16: The New York School and Abstract Expressionism 9/15/16: Postwar Figuration in Europe Hope these notes help your studies! They include artists from ...
Art after 1940
Adam Jolles
Class Notes
arh4642, ARH, new, York, school, abstract, expressionism, notes, FSU, jolles, Fall, 2016
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This 10 page Class Notes was uploaded by maditaylor7 on Thursday September 22, 2016. The Class Notes belongs to ARH 4642 at Florida State University taught by Adam Jolles in Fall 2016. Since its upload, it has received 18 views. For similar materials see Art after 1940 in Art History at Florida State University.


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Date Created: 09/22/16
 1940s­50s  Artists who sought to compete with contemporary art from around the world o art world building in America in both art and galleries o rejected: geometric abstraction from Mondrian and Kandinsky  too rooted in the idea or preconceived notion o terms to describe new divide in American Art: Abstract Expressionist,  Ab­X, Action Painting, Gestural Abstraction  How to Look at Modern Art in America o Reinhart o 1946, PM Magazine o shows where American Art stands  o depicted as growing from the tree that is European Art  at base of tree: the great impressionists rooting into the ground of  the antiquity classics  working up the tree: spectrum of abstraction to social surrealists  precarious branch seems to be breaking in the social  surrealists   collapsing under the weight of Subject Matter  those moving into the realm of abstraction have a brighter  future  Garden in Sochi o Gorky o 1943 o discovered by Breton; claimed to be one of the most important  contemporary painters in the united states o "good because they are large” Clement Greenberg o biomorphic: a form that appears to be natural o the title should not steer your opinion of the painting  How My Mother’s Embroidered Apron Unfolds in My Life o Gorky o 1943 o motion with emotion  The Arttist and His Mother o Gorky o 1926­36 o watched his mother die of starvation after fleeing Armenia o difficult to dissociate his life from his painting  Expectation of Evil &  Antigone o Gottlieb & Rothko o 1945 & 1941 o shows interest in Greek classics or mythology o primaries segregated, color is mix­mashed o exploration of non­traditional subject matter or reimagined subject  matter  The Moon­Woman Cuts the Circle o Pollock o 1943 o colorful and messy, covering the canvas o seeks to alter his own artwork to move away from the canvas and instead create movable murals  intends to create large moveable pictures that will function  between easel and mural; halfway state  Large Scale Modern Paintings (MoMA) & Number 10 o Pollock o 1947 & 1949 o believed that contemporary art ought to aspire to these kinds of large  scale painting and ultimately transition into just mural paintings that are  permanent o no apparent content/subject matter o index of the artists gestures o didn’t apply paint in a common method of brushstrokes o layers and layers of colors  o you can see records of the paint as it lands on the canvas and previously  applied paint o article in Life magazine “Jackson Pollock: Is He the Greatest Living  Painter in the United States?"  doesn’t look like a “painter”   macho american man, confident, not rich or haughty, ‘real’  american painter  Autumn Rhythm (Number 30) o Pollock o 1950 o careful color schemes contradicts splattering of paint o orderly disorder o very resistant to the threat of figuration  no large uniform passages of color— no real shapes o doesn’t have to worry about gravity that would create dripping o “all­over painting” or “drip­painting" o was featured in Vogue —> something fashionable, trendy, new, stylish  Number 27 o Pollock o 1950 o different kinds of paint, oil, enamel and aluminum paint,   allows for different effects and the paint doesn’t blend together  suggestions of depth  Chief & Painting No. 7 o Kline o 1950 & 1952 o highly reductive palette    only black and white o ragged ends of lines — gestural qualities o by eliminating color he draws full attention to his gestures o similar to calligraphy  No. 9 & Number 22 & No. 3 (No.13) [Magenta, Black, Green on Orange] o Rothko o 1948 & 1949 o actually worked a lot with jewish and christian themes not that it is  obvious o can’t paint those holy figures/events they way they used too —> have to  move forward o exploring the nature of abstract painting in respect to the aesthetic  encounter the viewer will experience o "color field painting” or “all­over painting" o overlapping colors, conscious of edge of canvas, soft un­finished edges  to horizontal bands of color, o approximation of horizon line, stoic, calm even with jolting colors , self­ defined space of enclosure, o contrast and color create depth   Onement I o Newman o 1948 o took 8 months to complete  implies that he had a concept and execution of this concept is  potent and clear in the painting  o methodical  Vir Heroicus Sublimus o Newman o 1950­51 o slender vertical lines in huge fields of color o vertical version of Rothko? o great ambitions of meaning clear in his interesting titles  striving to represent a thing that is greater than us humans  how do you paint the vastness of being without falling into some  old convention— this is his answer  unlearning conventions  Swimming Pool & Henri Matti’s Studion in the Hotel Regina, Nice & Blue  Nude o Matisse o what’s happening in Europe during this time  still feeling the devastating effects of WWII o engage with art different than americans  o primacy of the body o has to reconsider and figure out how his artistic practice is going to  change after becoming handicapped  o paper cutout  o Blue Nude from 1952 series  o critics not interested in what is happening in Europe during this booming time of abstract expressionism  subject isn’t new but methods/genres are changing and new o abstract gestural figural paintings o filling out canvas with the figure— using all of the space just like  abstract expressionism  aspires to condition of flatness also o not at all concerned with politics or current events — simplicity and  beauty of the form  Massacre in Korea o Picasso o 1951 o continues to feel obligated to represent history such as the greats of the  past  fully invested in the politics of the war and current era  seems almost regressive because of the inclusion of figures in a  natural setting o definitely inspired by Goya’s The Third of May o teetering on the edge of abstraction  The Kitchen o Picasso o 1948 o his attempt at abstract expressionism… doesn’t continue with this  Henri Michaud & Childbirth o Dubuffet o his influence in media, art, city life, was very strong o “…Art returns to its real function, much more significant than creating  shapes and colors agreeable for a so­called pleasure of the eyes….” —  doesn’t agree with abstract aesthetic   fundamentally disagrees with the pleasures that are meant to come from art aesthetic goals  believed art is a means of communication — a language o worked through genres  portraiture, the nude, the landscape genres are taken and  reimagined by Dubuffet o concepts of childbirth are exemplified in his painting —  o lack on interest with working with conventions of painting — linear  perspective, childlike innocence to the drawing and application of paint  (deliberately trying to unlearn painting both in form and technique) o art brut: suggests rawness, lack of interest in training, values authentic  gesture that comes from interior of the artist o the art of the mad and non­western art also big influence  Olympia & Olympia o Dubuffet & Manet o 1950 & 1863 o people complained of the surface of Manet’s version of the female body, decaying nature of flesh and illness  Dubuffet magnifies this idea, no interest in accurately portraying  flesh of the body, texture looks decaying   no suggestion of face, identity, or personality  Building Facades & Traveller Without a Compass o Dubuffet o color not important o top line of horizon only thing that deviates from full on abstractions  City Square (La Place) & The Nose & The Chariot o Giacometti o was a surrealist but then became a communist o figural  o elongated body, loneliness, isolation o “Man reduced to a thread… exhausted, thin, emaciated, naked.  Aimlessly wandering in the crowd…”­ Francis Ponge o collapse of supporting structures— family, church, friends o existentialist— representing the terrible condition of the aloneness of  man  The Artists Mother & Jean Genet o Giacometti o always portraits of people he knows  o reworking and reworking of the same image defaces the identity and  personality of the people in his life o always represented alone and isolated in a confined space whether it be  architectural or in the canvas


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