Term
Hans Hoffman. Composition. 1942. |
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Definition
-most important influence to come from Europe in the thirties
-the painter should so handle his means-drawing and color- that the finished picture would evoke a sense of depthwhile also afirming the two-dimensionality of its actual surface
-temperature (the hot and cold characteristics that make a given hue seem to advance or recede, expand or contract)
-Hofmann joined Kandinsky and Mondrian in their insistence that process was merely a means of achieving spiritual syntheses
- <!-- /* Font Definitions */ @font-face {font-family:Cambria; panose-1:2 4 5 3 5 4 6 3 2 4; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:3 0 0 0 1 0;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-parent:""; margin:0in; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:Cambria; mso-fareast-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} @page Section1 {size:8.5in 11.0in; margin:1.0in 1.25in 1.0in 1.25in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.Section1 {page:Section1;} --> Cubism, non-representational, gestural, but hates their meta-physicals.
-Admired Kandinsky and Mondrian- similar meta-physical understanding of what art is and how it works.
-Saw art as a spiritual practice. Art to change the world and affect human behavior for the better. -Avant-garde: changes corruption in society to create a new world order. |
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-self taught
-fascinated by sex, terror, violence
-deliberately intended to shock the "good people" of the art world |
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Agony. 1947. Number 484
-Surrealist ambiguity of shape and the spontaneity fostered by automatist techniques remainpronounced but have been assimilated into a highly personal style.
-botanical elements and male and female genitalia
-vaguely erotic mood
-links his work to the pictorial methods of such emerging Abstract Expressionists
-great synthesizer and may be viewed as a transitional figure
-Gorky lacked the primitive force and energy to bring on the "new" in art
<!-- /* Font Definitions */ @font-face {font-family:Cambria; panose-1:2 4 5 3 5 4 6 3 2 4; mso-font-charset:0; mso-generic-font-family:auto; mso-font-pitch:variable; mso-font-signature:3 0 0 0 1 0;} /* Style Definitions */ p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-parent:""; margin:0in; margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:"Times New Roman"; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:Cambria; mso-fareast-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:"Times New Roman"; mso-bidi-theme-font:minor-bidi;} @page Section1 {size:8.5in 11.0in; margin:1.0in 1.25in 1.0in 1.25in; mso-header-margin:.5in; mso-footer-margin:.5in; mso-paper-source:0;} div.Section1 {page:Section1;} --> -Arshile Gorky- from Armenia, family came to the Americas, became an artist because it was a way to express himself.
Action painting-color and gesture drawing from the unconscious mind.
Used nature of his distortions. Subjective use of color. Very aware of combining different methods from different artists. Allegory of emotional expression.
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Willem de Kooning. Excavation. 1950.
-realize his own personal synthesis of Cubism and Surrealism
-exhibit all the flatness, interpenetration, and firm infrastructure of a high Analytic Cubism work, but the lanes have been shifted and shuffled far more dynamically
-complex and dense style, with its suggestions of both human anatomy and the life of the city |
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Willem de Kooning. Woman and Bicycle. 1952-53.
-scandalized the more nonobjective American artists
-an assertion of individual freedom
-leader of progressive American painting
-First interpreted as automatic process.
-Feminist critics:When you take the body apart it could be an aggressive act.
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Jackson Pollock. Pasiphaë. c.1943
-totemic image and mythic theme reflected the artist's current involvement in Jungian analysis
-Jung's theories of archetypes and the collective unconscious
-abstract painting was an altogether more solemn and even desperate matter.
-more savage and self absorbed
-elementary expression of belief and in this conviction lay his power and originality
-named it for the chimera it still rather irrelevantly suggested
-continuous field ofuniform accents where it was impossible to distinguish between scrolling lin of paint and phantasmagorias
-the symbolic and the plastic
-generous and impersonal flow of pictorial energy |
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Jackson Pollock. Autumn Rhythm. 1950.
-generous and impersonal flow of pictorial energy.
-surrealistic, action
-Native Am. Shaman-sand painting
-convergent events of WWII
-defies control of reason
-canvas on floor (no top and bottom, left, right)
-allows accidents
-Why Autumn Rhythms? color
-Metaphysical view= Autumn-period of time
-Rhythm-repetition period of time
-Responce of world: his connection to it
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-deals with pictorial decorum in a new way
-fragile and oscillating "zips"
-plays tricks on the eye and the mind by their alternate compliance and aggression
-zips served to "cut" the great plane of saturated hue and shock it into waves of visual energy
-making dynamic what otherwise might seem a totally static image |
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Adolf Gottlieb. Red Earth. 1959.
-colorfield painter or abstract expressionist
-centipital
-expanding consciousness, uncivilized culture, human progress
-parallel of child to adult
-art like a writing-primary experience of markmaking |
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MARK ROTHKO. Maroon on Blue. 1957-60. |
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-unprimed canvas-paint spreads-not fully predictable
-mystic (Art-spiritual, religious)
-Reigion- spiritual experience, intangible
-Eastern Jewish Tradition
-3 Diff. Views (his views, psychologist view, Greenburg view)
-"I am not interested in relationships of color or form...I am interested only in expressing the basic human emotions-tragedy, ecstasy, doom, and so on"
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Robert Motherwell. Elegy to the Spanish Republic No. 34. 1953-54.
-philosophy major- paint philosophy instead of writing it
-Guernica-also about Spanish Republic
-Contrast=dialectic=conscious and unconscious (soft/vague shapes)
-theoretical, visual expression of life vs. death |
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Herbert Ferber. Cage. 1954.
-expressive, spontaneous-sculpture |
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Ad Reinhardt. Abstract Painting. 1960.
-buddhism
-imperfections-nature of world
-Clement Greenberg-understood each other
-Abstract painting 1960
-black painting on canvas-using acrylic
-painting is self-referential
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Isamu Noguchi. Kouros. 1944-45.
· Japanese American Artist
· Greek male figure, 1944 traces back to Egyptian source
· The Japanese, considered a danger to the US. Rounded up and put in camps…one was in Wyoming.
· Body parts carefully arranged, biomorphic forms.
· What’s Japanese about the work? Arrangement not unlike the calligraphy. Connected to Zen Buddhism and Shinto. Sacredness of the materials. Allowing the materials to be themselves in the work.
o Example: how Pollock used the paint to express itself.
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