Abstract Impressionism & US Nationalism.

3/5/2012
(week 12)




This morning's class consisted of another day at the National Gallery of Australia - always nice to get out i say.


Here are my notes from today:


Following on from the explosion of POP-ART, abstract impressionism returned to more of the traditional paint on canvas, but with a new twist (of course).


It was America's turn to take the title of 'the home of art' from europe.


No more traditional suitably sized paintings in a fancy frame, oh no, abstract impressionism was all about making big, bold paintings - often at mural-size. Quite fitting when you think of american culture - BIG, BOLD, BETTER THAN THE REST kind of mentality. This had quite an impact on Europe and the rest of the world.


Many European artists flocked to America in order to immerse themselves in the movement and with them came all their strengths, studies and skills from previous movements. Which of course then mixed together with this new sensation.


New York is the playground for artists, not Paris for now.


Hans Hoffman once quoted "A picture should be made with feeling, not knowing". This is how artists of the abstract impressionism movement approached their work, they would almost get lost in a subconscious state during a painting's creation - focusing more on just going with it rather than thinking and planning it.


Many artists like Mark Rothko aimed to let his work communicate with people's emotions.


Guggenheim / Jackson Pollock were big names of this era.


Pollock was somewhat of an idealistic figure for american art and this helped to boost the popularity of this new movement with celebrity-like status around the world. His radicalism invited artists to break down the constraints of being an artist working on a canvas sitting on an easel. He would often roll out a long sheet of canvas along the floor of his studio and just throw paint around, without fear of keeping it within the edges etc


Throughout 1947-1950 Pollock introduced the drip technique, which allowed paint to to freely end up where it ended up by way of various techniques that eliminated the brush (for example) ever making contact with the canvas itself. This new technique allowed a painter to focus more on the motion, the feeling flowing out from them-self and onto the canvas in a totally free and pure way without the distraction of perfect positioning and pressure etc. Imperfections were encouraged and embraced.


Barnett Newman was another strong figure during this period. As was Helen Frankenthaler. 


I would like to do further research into this movement, because before now i was under the impression that it was all just a bunch of drugged-up people throwing paint around and coming up with stories to support why it is considered art - if i may be so blunt :] Thankfully this course and Tess's detailed breakdowns are helping to open my mind up to all this and see it in a more positive way.






D.