Abstract impressionism: Difference between revisions
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'''Abstract impressionism''' represented a new tendency of the [[avant–garde]] at the end of [[World War II]].<ref>[http://www.worldcat.org/oclc/179297&referer=brief_results New Tendencies in Art]</ref> The painters of this tendency transposed nature into its purely plastic values (lines and color | '''Abstract impressionism''' represented a new tendency of the [[avant–garde]] at the end of [[World War II]].<ref>[http://www.worldcat.org/oclc/179297&referer=brief_results New Tendencies in Art]</ref> The painters of this tendency transposed nature into its purely plastic values (lines and color). They intended to transmit the essential plastic emotion of the natural phenomenon. These artworks represented a new form of [[impressionism]] which are characterized by their search for a vibrant, chromatic atmosphere, which brought their work close to the impressionistic tradition. Therefore for some of the members of the [[abstract expressionism]] movement the designation ''abstract impressionists'' is justified. | ||
==American abstract impressionists== | |||
According to the painter Elaine de Kooning:<ref>[http://www.worldcat.org/oclc/299204717&referer=brief_results ''Abstract Impressionism,''] (Oxford University Press, 1998.) ISBN 0192116452 </ref>abstract impressionists were ''retaining the quiet uniform pattern of strokes that spread over the canvas without climax or emphasis, these followers keep the Impressionist manner of looking at the scene but leave out the scene.'' The painterly factor and luminosity of abstract impressionism necessitated its distinction from the more aggressive [[abstract expressionism]].<ref>Louis Finkelstein, ''New Look: Abstract-Impressionism,'' Art News, LV, No.1 (March 1956). 36-37, 66</ref> According to [[H. H. Arnason]]: <ref>[http://www.worldcat.org/oclc/177306111&referer=brief_results ''Introduction to Abstract Expressionists Imagists, Exhibition october - december 1961, The Solomon R. Guggenheim Museum, New York''] (Published in New York, 1961.) p.23</ref>''Abstract Impressionism may appear in the textures of [[Guston]], [[Resnick]] and [[Vicente]]—although the intents of these artists are quite different from those of the Impressionists.'' The critic [[Clement Grennberg]] by 1955, was writing about a purely chromatic field abstraction, which he believed was the revival of [[Impressionism]].<ref>[http://www.worldcat.org/oclc/245980796&referer=brief_results The Triumph of American Painting,]</ref> | According to the painter Elaine de Kooning:<ref>[http://www.worldcat.org/oclc/299204717&referer=brief_results ''Abstract Impressionism,''] (Oxford University Press, 1998.) ISBN 0192116452 </ref>abstract impressionists were ''retaining the quiet uniform pattern of strokes that spread over the canvas without climax or emphasis, these followers keep the Impressionist manner of looking at the scene but leave out the scene.'' The painterly factor and luminosity of abstract impressionism necessitated its distinction from the more aggressive [[abstract expressionism]].<ref>Louis Finkelstein, ''New Look: Abstract-Impressionism,'' Art News, LV, No.1 (March 1956). 36-37, 66</ref> According to [[H. H. Arnason]]: <ref>[http://www.worldcat.org/oclc/177306111&referer=brief_results ''Introduction to Abstract Expressionists Imagists, Exhibition october - december 1961, The Solomon R. Guggenheim Museum, New York''] (Published in New York, 1961.) p.23</ref>''Abstract Impressionism may appear in the textures of [[Guston]], [[Resnick]] and [[Vicente]]—although the intents of these artists are quite different from those of the Impressionists.'' The critic [[Clement Grennberg]] by 1955, was writing about a purely chromatic field abstraction, which he believed was the revival of [[Impressionism]].<ref>[http://www.worldcat.org/oclc/245980796&referer=brief_results The Triumph of American Painting,]</ref> | ||
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==References== | ==References== | ||
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Latest revision as of 16:00, 5 July 2024
Abstract impressionism represented a new tendency of the avant–garde at the end of World War II.[1] The painters of this tendency transposed nature into its purely plastic values (lines and color). They intended to transmit the essential plastic emotion of the natural phenomenon. These artworks represented a new form of impressionism which are characterized by their search for a vibrant, chromatic atmosphere, which brought their work close to the impressionistic tradition. Therefore for some of the members of the abstract expressionism movement the designation abstract impressionists is justified.
American abstract impressionists
According to the painter Elaine de Kooning:[2]abstract impressionists were retaining the quiet uniform pattern of strokes that spread over the canvas without climax or emphasis, these followers keep the Impressionist manner of looking at the scene but leave out the scene. The painterly factor and luminosity of abstract impressionism necessitated its distinction from the more aggressive abstract expressionism.[3] According to H. H. Arnason: [4]Abstract Impressionism may appear in the textures of Guston, Resnick and Vicente—although the intents of these artists are quite different from those of the Impressionists. The critic Clement Grennberg by 1955, was writing about a purely chromatic field abstraction, which he believed was the revival of Impressionism.[5]
'America abstract impressionist artists:
- Giorgio Cavallon
- Friedel Dzubas
- Helen Frankenthaler
- Philip Guston
- Albert Kotin
- Joan Mitchell
- Kyle Morris
- Milton Resnick
- Esteban Vicente
References
- ↑ New Tendencies in Art
- ↑ Abstract Impressionism, (Oxford University Press, 1998.) ISBN 0192116452
- ↑ Louis Finkelstein, New Look: Abstract-Impressionism, Art News, LV, No.1 (March 1956). 36-37, 66
- ↑ Introduction to Abstract Expressionists Imagists, Exhibition october - december 1961, The Solomon R. Guggenheim Museum, New York (Published in New York, 1961.) p.23
- ↑ The Triumph of American Painting,