1950 - nowadays
Post-painterly abstraction
description
Post-painterly abstraction
Post-painting abstraction is a modern art movement within Abstractionism that appeared in America in the 1950s.
The term was invented by critic Clement Greenberg to refer to the 1964 Los Angeles exhibition.
Similar art movements: Abstract expressionism, Geometric painting, Painting of rigid contours, Graphics. Its painting features resemble Fauvism and Post-impressionism.
Techniques: acrylic, oil, canvas, paper, board, fabric, panel, watercolour, gouache, aquatint, tempera, mixed media. Genres: abstraction. It is widely used in light industry design, ceramics, web design, etc. It exists in the form of sculptures and illustrations.
Key ideas:
The composition may consist of the following elements:
– the variety of randomly interwoven lines, ribbons and strokes that fill the entire space, absorbing the background. They resemble Abstract Expressionism;
– geometric shapes of the correct form, both small in size and competing with the background, forming lattice or stepped forms, strict straight lines, which is common with geometric abstraction;
– “broken”, blurry, crumbled geometric shapes that create all kinds of ensembles. (Painting of hard contours);
– pointillist dots and small strokes;
– intentional drips and splashes on a prepared background;
– blurry picturesque elements of different colours, randomly adjacent to each other;
– minimalist paintings of the same colours, sometimes with careless edging.
Characteristic features: the simplicity of forms and elementary configurations, sharpness and deformation of planes, lack of associations.
description
Kenneth Noland was an American artist, a bright representative of Colour field painting. He created an alternative to abstract expressionism and action painting, practising strict abstraction, the absence of an object and a subject in art, bright colours evenly applied to the surface of the canvas. Following American artist Helen Frankenthaler, Kenneth Noland began to use acrylic paints, which made it possible to create a thin and saturated coating, eliminating the appearance of random spots and smudges on the canvas surface.
April 10, 1924, Asheville, North Carolina (the USA) - January 5, 2010, Port Clyde, Maine (the USA)
description
An American artist and theorist, the central figure of the avant-garde of the 60s, the discoverer of the happening - a form of art in which the primary attention is paid to the process of creation. Allan Kaprow appreciated the moment of action in painting, putting it above the result.The fleeting, often quick and spontaneous actions of Kaprow erase the line between art and everyday life and immerse participants in the work, involving them in the creative process and destroying the notorious “fourth wall” between the work and the audience.In his theoretical writings, Allan Kaprow said that after the discoveries of Jackson Pollock and other Abstract Expressionists, painting could no longer exist in its original form. It must go beyond the canvas and move into everyday life.The master called himself “non-artist” and his works “anti-paintings”. “Life is much more interesting than art”, said Kaprow and created events outside galleries and museums: in courtyards, apartments, streets, squares and parking lots. Sometimes his works are even absurd - such as building houses from ice under the scorching California sun; they change the very perception of art and turn everyday life processes into creative acts.The principles of the creation of happening, which Allan Kaprow outlined in his work “How to Make a Happening”, were enthusiastically accepted by many post-war artists who tried to take a fresh look at modern creative methods. Thanks to the discoveries of the American innovator, such styles as installation, performance and conceptual art were further developed.
1927 - 2006