Post-painterly Abstraction
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Post-Painterly Abstraction
Term devised as an exhibition title in 1964 by the critic Clement Greenberg to describe a new trend in American abstract painting that emerged in reaction to Abstract Expressionism. Extending to contemporary art the distinction made by Heinrich W?lfflin between painterly and linear art, Greenberg postulated that the most recent painting, although still owing something to its immediate forebears, was in contrast moving towards a greater linear clarity and/or a physical openness of design.
See the Abbreviations for further details.
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Post-painterly Abstraction
Post-painterly abstraction is a term created by art critic Clement Greenberg as the title for an exhibit he curated for the Los Angeles County Museum of Art in 1964, which subsequently travelled to the Walker Art Center and the Art Gallery of Toronto.
Greenberg had perceived that there was a new movement in painting that derived from the abstract expressionism of the 1940s and 1950s but "favored openness or clarity" as opposed to the dense painterly surfaces of that painting style. The 31 artists in the exhibition included Walter Darby Bannard, Jack Bush, Gene Davis, Thomas Downing, Friedel Dzubas, Paul Feeley, Sam Francis, Helen Frankenthaler, Al Held, Ellsworth Kelly, Nicholas Krushenick, Alexander Liberman, Morris Louis, Arthur Fortescue McKay, Howard Mehring, Kenneth Noland, Jules Olitski, Ray Parker, David Simpson, Albert Stadler, Frank Stella, Mason Wells, Emerson Woelffer, and a number of other American and Canadian artists who were becoming well known in the 1960s.[1]
Among the prior generation of contemporary artists, Barnett Newman has been singled out as one who anticipated "some of the characteristics of post-painterly abstraction."[2]
As painting continued to move in different directions, initially away from abstract expressionism, powered by the spirit of innovation of the time, the term "post-painterly abstraction", which had obtained some currency in the 1960s, was gradually supplanted by minimalism, hard-edge painting, lyrical abstraction, and color field painting.[3]
| Hard-edge painting | color field painting | Washington Color School | Abstract expressionism | Shaped canvas | ||
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| Ellsworth Kelly, 1951 | Kenneth Noland, 1964 | Jack Bush, 1968 | Gene Davis, 1964 | Sam Francis, 1950–1953 | Frank Stella, 1967 | |
| Greenberg's innovative exhibition of post-painterly abstraction, was both influential and timely. The exhibition ushered in a new era in American abstract painting that signalled a new direction, following the triumph of the New York School and eventually leading to the developments of minimal art, primary structures, postminimalism, lyrical abstraction, and various new directions in abstract art. The innovations in abstract painting of the 1960s along with the pop art movement led the way to the contemporary art of the 21st century. | ||||||
See also
- Clement Greenberg
- Abstract expressionism
- Color field painting
- Lyrical abstraction
- Shaped canvas
- Washington Color School
References
- ^ list of artists in the exhibition Retrieved August 17, 2010
- ^ Edward Lucie-Smith, Lives of the Great Twentieth Century Artists, New York, Rizzoli, 1986; p. 257.
- ^ "SBMA: exhibitions > current > Colorscope: Abstract Painting 1960-1979". Sbmuseart.org. http://www.sbmuseart.org/exhibitions/colorscope.web. Retrieved 2010-08-17.
External links
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Oxford Grove Art
The Concise Grove Dictionary of Art. Copyright © 2002 by Oxford University Press, Inc.. All rights reserved.
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Clement Greenberg
(American artist & critic)
Antonio Alvarado
(art)
John Walker
(art)
Ellsworth Kelly
(art)
Patrick Heron
(art)
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