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Abstract Expressionism- Essay

The American painters Jackson Pollock and Mark Rothko are credited for introducing Abstract Expressionism as a form of art. Abstract expressionism is a work of art based on gestural strokes of brush. During the 1940s and 1950s, this form of art started gaining the attention of the art lovers. The impressions of spontaneity are also associated with this form of the art. Abstract expressionism is also known as the New York School of Art, because the early expressionists were based in New York. Since the artists of that time focused their work mainly on expressions or emotions therefore, such pieces of arts were known as expressive art. The abstract expressionism term was associated with such art later. The abstract expressionism is also recognized by it’s another aspect I.e. the kind of the psychological nature. As in the first instance, it appears unclear that what the picture is all about therefore, the art lovers associated with it the personal psychologies of the artists. Pepper has also mentioned this form of art as more of the kind of psychological nature ADDIN ZOTERO_ITEM CSL_CITATION {"citationID":"45zbv4Xe","properties":{"formattedCitation":"(Pepper)","plainCitation":"(Pepper)","noteIndex":0},"citationItems":[{"id":169,"uris":["http://zotero.org/users/local/pCT5fGyt/items/9CKVXW5Z"],"uri":["http://zotero.org/users/local/pCT5fGyt/items/9CKVXW5Z"],"itemData":{"id":169,"type":"book","title":"The basis of criticism in the arts","publisher":"Harvard University Press Cambridge","source":"Google Scholar","author":[{"family":"Pepper","given":"Stephen Coburn"}],"issued":{"date-parts":[["1945"]]}}}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"} (Pepper).

Mark Rothko belongs to the second class of artists who started painting as an abstract expression after the World War two. Since they have been through the hard times of killing, he was more interested toward the spiritual ideas and thinking’s. He based his major work inspired by the ideas of religion and myths. In his paintings, he used large areas of colors, which some artists believed that were a type of meditational response. One of the abstract artists of that time wrote that ‘we do not paint cathedrals or makes our self-more attached to God by the, instead we paint our self out… our feelings ADDIN ZOTERO_ITEM CSL_CITATION {"citationID":"NNJMv0Kz","properties":{"formattedCitation":"(Schildkraut and Otero)","plainCitation":"(Schildkraut and Otero)","noteIndex":0},"citationItems":[{"id":170,"uris":["http://zotero.org/users/local/pCT5fGyt/items/H9X652Z4"],"uri":["http://zotero.org/users/local/pCT5fGyt/items/H9X652Z4"],"itemData":{"id":170,"type":"book","title":"Depression and the Spiritual in Modern Art: homage to Miró","publisher":"Wiley","source":"Google Scholar","title-short":"Depression and the Spiritual in Modern Art","author":[{"family":"Schildkraut","given":"Joseph J."},{"family":"Otero","given":"Aurora"}],"issued":{"date-parts":[["1996"]]}}}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"} (Schildkraut and Otero)’. Mark Rothko’s painting included the excessive use of some primary colors. Mainly the colors he used were red, yellow, red or the dark green color. In some of his late paintings, he used some very few colors from the colors he used initially. Some late drawings do not include the red as the base color. One of the very interesting aspect of his painting includes the thin layer of colors as the base color. It helped in reflecting each color of the paintings. The abstract art lovers’ credits Mark for this attribution.

Clifford Still is known as the artists of late years in the abstract art. He is not the contemporaries of the New York school of arts. Still is known for his work of introducing radical attributes in painting. His use of colors as a form of abstract expressionism was different from many of the artists is of abstract expressionism. His main themes of paintings included the relationship of man with nature. Majority of his work is based on this idea. He attributed nature with the human way of living in such a manner that attracted the eyes of many art lovers. About his paintings, he has been quoted as saying that ‘my work shows everyone a relation between the life and death… I still leave many things for my viewers to think again about their concepts of life and death ADDIN ZOTERO_ITEM CSL_CITATION {"citationID":"r9KF8Gxx","properties":{"formattedCitation":"(Schildkraut and Otero)","plainCitation":"(Schildkraut and Otero)","noteIndex":0},"citationItems":[{"id":170,"uris":["http://zotero.org/users/local/pCT5fGyt/items/H9X652Z4"],"uri":["http://zotero.org/users/local/pCT5fGyt/items/H9X652Z4"],"itemData":{"id":170,"type":"book","title":"Depression and the Spiritual in Modern Art: homage to Miró","publisher":"Wiley","source":"Google Scholar","title-short":"Depression and the Spiritual in Modern Art","author":[{"family":"Schildkraut","given":"Joseph J."},{"family":"Otero","given":"Aurora"}],"issued":{"date-parts":[["1996"]]}}}],"schema":"https://github.com/citation-style-language/schema/raw/master/csl-citation.json"} (Schildkraut and Otero)’. Some more themes in his paintings included the struggle of humans and the nature. This notion has always founded the expressions in the vertical form. To depict the struggle between the man and the nature he has designed caves. These caves depict the man’s struggle of coming out from the forces of nature. In doing so he has used the darkest color combinations. He has used the yellow colors to draw flames. Still as an abstract artist was different to all others. He was a kind of a difficult contemporaries among the New York school of artists. Some also believe about him that he always worked oppositely, compared to the abstract artists of his times.

Works Cited:

ADDIN ZOTERO_BIBL {"uncited":[],"omitted":[],"custom":[]} CSL_BIBLIOGRAPHY Pepper, Stephen Coburn. The Basis of Criticism in the Arts. Harvard University Press Cambridge, 1945.

Schildkraut, Joseph J., and Aurora Otero. Depression and the Spiritual in Modern Art: Homage to Miró. Wiley, 1996.