Abstract Expressionism

Artists in the early 1900s commonly utilized techniques of distortion and exaggeration, characteristics of expressionism, to establish the element of emotion. According to Wolf (2017), expressionist artists often incorporate “swirling, swaying, and exaggeratedly executed brushstrokes to convey the turgid emotional state of the artist reacting to the anxieties of the modern world” (p. 1). Amplification of the human figure often evokes strong emotions for audiences of many different cultures. Additionally, the style reflects the consequences of urbanization, such as the alienation of individuals in society (Wolf, 2017). Expressionism allows artists to surpass realism and reflect the tribulations of living in a modern society.

Though, throughout this time period, “the great majority of Americans disliked or even despised modern art,” it was an essential art movement in the 1950s and 1960s, and the “CIA fostered and promoted American Abstract Expressionist painting around the world for more than 20 years,” creating a meaningful impact on the outcome of the Cold War (Saunders). “Abstract Expressionism stood for, above all else,

In Abstract Expressionism - a certain construction of the world we call “individuality” is revealed in its true, that is to say, contingent, vulgarity. And so is painting; or rather, so are paintings like Hofmann’s “The Garden” and Adolph Gottlieb’s “Black, Blue Red” - done as they were under the sign or spell of such a construction, by “individuals” believing utterly (innocently, idiotically) in its power.

While the painters after the Impressionism period were collectively called the “Post-Impressionists,” the label is quite reductive. Each artist had their own unique style, from Seurat’s pointillism to Signac’s mosaic-like divisionism, Cezanne, Émile Bernard, and others. These artists were all connected in that they were reacting to the aesthetics of Impressionism. Two of the more influential painters from this movement were Vincent van Gogh and Paul Gauguin, who aimed to connect with viewers on a deeper level by access Nature’s mystery and meaning beyond its superficial, observable level. However, each artist’s approach to achieving this goal was different. In close examination of Vincent van Gogh’s Self-Portrait (Dedicated to Paul Gauguin) and Paul Gauguin’s Self-Portrait with Portrait of Émile Bernard (Les misérables), one may clearly see the two artists’ contrasting styles on display.

German Expressionism is a kind of art that is supposed to make you feel something. When you look at a painting such as “The Scream” by Edvard Munch (1863-1944), you ask yourself what kind of emotions does this painting give you. A group of early 20th century German artists used the term “expressionism” to desribe the way they produced art. The title later turned into “German Expressionism”. This art movement was prominent during 1905-1925. In German it is known as “Die Brucke” and “Der Blaue Reiter”. Unlike Impressionism, its goals were not to reproduce the impression by the surrounding world, but to express the artists feelings on the surrounding world. Expressionism comes from the route word “expression” which

Art by its nature is a subject of the philosophical, social, economic, political or religious context surrounding its creator. More often than not, a work of art addresses a specific topic or somewhat revolves around a particular person. Therefore, it is impossible to separate the context of a piece of painting, either historical or cultural, to its intrinsic value or the artwork's meaning. On the other hand, different cultures and time utilized specific conventions that govern the representation of objects of creativity. This essay highlights various pieces of art and their relationship to particular cultural, political, economic, or social settings. Moreover, it pinpoints how different times influence art presentation.

Every painter has a certain style of painting, whether it's intentional to paint abstract or unintentional to paint as a modernist. I analyzed Abigail Kuchar’s artwork. She is an artist at Western Washington University. Currently, she is enrolled as a student and working on her Bachelor of Fine Arts. Recently, she exhibited her work in a Symbiotic Qualia, Western Gallery (group BFA Thesis Exhibition). Her ideas on visuals are very unique as compare to another artist. Her work is heavily influenced by reoccurring natural forms and patterns, representing, the specific shapes that have been successful in a variety of different applications. For example, the formation of bubbles, lichen, barnacles, anemones, spores, pollen, and seed pods, all have similar compositions. By creating work that includes these forms, the viewer is presented with something unusual, but vaguely familiar. Her material used in the artwork is environment-friendly.

The primary focus of this section is to explain the “act of painting.” Flack begins her book with notes on the creative process and what it means to be an artist. Everything from the perception of color to confronting a blank canvas is addressed in this section. Audrey Flack briefly touches on the spiritual

Abstract Expressionism began in the 1940s and the 1950s in New York after World War II from the ideas of Surrealism about art that looks to examining the unconscious mind, and the feelings people hold that makes us all humans. Through the discussion of Autumn Rhythm (Number 30) by Jackson Pollock, I will define Abstract Expression and why this work is part of this movement. Then, through the discussion of Canyon by Robert Rauschenberg, Target with Plaster Casts by Jasper Johns, and Marilyn Diptych by Andy Warhol, I will explain Assemblage and Pop Art and why each of these works belong to those movements.

Art has evolved and regenerated itself many times during our human existence. These differences are defined through changes in styles under various theories. During the nineteenth and early twentieth century, a style known as Expressionism became popular. During this movement the artists were trying to use their artwork as a tool of expression toward life. It was mainly dominant in the nonrepresentational arts, such as abstract visual arts and music. It also was probably one of the most difficult movements to understand because the whole point of the piece lay within the artist. Not only was it a movement, it defined the act of art as a whole. From the beginning of time, each work of art, excluding replicas, show a way of expressing

The artists Jean-Honore Fragonard and Jaques-Louis David both successfully embody their respective stylistic differences. Fragonard’s style of painting is Rococo, which is characterized by its softness, asymmetry and curviness. Contrasting these ideals is David’s style of painting, Neo-Classicism. Neo-Classicism is synonymous with strong gestures, symmetry, and solidness. Two works that best exemplify the ideals of each style of painting are Fragonard’s The Swing, 1767 and David’s The Death of Socrates, 1787. Although at first glance, it is easier to focus on how each work is different to the other, one can argue that they are similar in theme. Both

Often times misunderstood and, at times, even complex to understand, Abstract is a category of artwork that challenges the viewer’s intellect through its array of bold color schemes, extracted ideas, and conceptual viewpoints. Expressionism is a sub-category of Abstract artwork, which encapsulates the philosophical, intellectual, and emotional stimulation it hopes to create in the observer, which frequently, is the objective of the artist who created the conceptual piece. Three artists who embody the abstract principles are Joan Mitchell, who was one of the first women expressionist painters who focused on landscape-type portraits, and a successive artist to similar abstract painters such as Mark Tobey, and also preceded by modern sculptor Lynda Benglis who literally “cements” abstract painting concepts into unique dimensional sculptures. Yet, Mitchell’s artwork is “special” to me

The people back in the 19th century really didn’t accept Van Gaogh’s truthful and emotionally morbid way of expressing the way of art is to himself. It finally was seen as art through the people’s eyes. This set a stage of art that is now known as Expressionism. It is best characterized by the use of symbols and a style that expresses the artist’s inner feelings about his subject. His style of painting is exemplified by a projection of the painter’s inner experience onto the canvas he paints on. Van Gogh’s paintings are done with his feelings that goes on in his life. (Mark Harden’s Artchive)

A great artist once wrote, “If you hear a voice within you say 'you cannot paint,' then by all means paint, and that voice will be silenced”. This artist was Vincent van Gogh, soon to be an appraised artist known all around the world for his works, such as Starry Night. He is one of the very first artists of the post-impressionist style than is now adored in every continent. However, there is much more to the man than one painting. Creating a full timeline that stretches beyond Gogh’s life, this paper will discuss the life of Vincent van Gogh and the impression he made on the world.

The use of geometric shapes in this painting allows the subject to be viewed in both a recognizable and unrecognizable state at the same time. Overall, geometric shapes and patterns play an essential role in what the viewer sees, which is further supported by a powerful color palate.