Editing Abstract expressionism (section)

==== Color field ====
[[Clyfford Still]], [[Barnett Newman]], [[Adolph Gottlieb]] and the serenely shimmering blocks of color in [[Mark Rothko]]'s work (which is not what would usually be called expressionist and which Rothko denied was abstract), are classified as abstract expressionists, albeit from what [[Clement Greenberg]] termed the [[Color field]] direction of abstract expressionism. Both Hans Hofmann and [[Robert Motherwell]] can be comfortably described as practitioners of [[Action painting]] and Color field painting. In the 1940s [[Richard Pousette-Dart]]'s tightly constructed imagery often depended upon themes of mythology and mysticism; as did the paintings of Gottlieb, and Pollock in that decade as well.

Color Field painting initially referred to a particular type of abstract expressionism, especially the work of Rothko, Still, Newman, Motherwell, Gottlieb, [[Ad Reinhardt]] and several series of paintings by [[Joan Miró]]. Greenberg perceived Color Field painting as related to but different from Action painting. The Color Field painters sought to rid their art of superfluous rhetoric. Artists like Motherwell, Still, Rothko, Gottlieb, [[Hans Hofmann]], [[Helen Frankenthaler]], [[Sam Francis]], [[Mark Tobey]], and especially Ad Reinhardt and Barnett Newman, whose masterpiece ''[[Vir heroicus sublimis]]'' is in the collection of [[MoMA]], used greatly reduced references to nature, and they painted with a highly articulated and psychological use of color. In general, these artists eliminated recognizable imagery, in the case of Rothko and Gottlieb sometimes using symbols and signs as a replacement of imagery.<ref>{{cite web|last=MoMA Learning|title=What is Abstract Expressionism: Mark Rothko|url=https://education.moma.org/moma/learningresources/cms_page/view/366521|access-date=February 28, 2014}}</ref> Certain artists quoted references to past or present art, but in general color field painting presents abstraction as an end in itself. In pursuing this direction of [[modern art]], artists wanted to present each painting as one unified, cohesive, monolithic image.

In distinction to the emotional energy and gestural surface marks of abstract expressionists such as Pollock and de Kooning, the Color Field painters initially appeared to be cool and austere, effacing the individual mark in favor of large, flat areas of color, which these artists considered to be the essential nature of visual abstraction, along with the actual shape of the canvas, which later in the 1960s [[Frank Stella]] in particular achieved in unusual ways with combinations of curved and straight edges. However, Color Field painting has proven to be both sensual and deeply expressive albeit in a different way from gestural abstract expressionism.

Although abstract expressionism spread quickly throughout the United States, the major centers of this style were New York City and California, especially in the [[New York School (art)|New York School]], and the [[San Francisco Bay area]]. Abstract expressionist paintings share certain characteristics, including the use of large canvases, an "all-over" approach, in which the whole canvas is treated with equal importance (as opposed to the center being of more interest than the edges). The canvas as the ''arena'' became a credo of Action painting, while the [[Picture plane#Integrity of the picture plane|''integrity of the picture plane'']] became a credo of the Color field painters. Younger artists began exhibiting their abstract expressionist related paintings during the 1950s as well including [[Alfred Leslie]], [[Sam Francis]], [[Joan Mitchell]], [[Helen Frankenthaler]], [[Cy Twombly]], [[Milton Resnick]], [[Michael Goldberg (painter)|Michael Goldberg]], [[Norman Bluhm]], [[Grace Hartigan]], [[Friedel Dzubas]], and [[Robert Goodnough]] among others.

[[File:Cyclops, 1947, William Baziotes.JPG|thumb|upright|[[William Baziotes]], ''Cyclops,'' 1947, oil on canvas, [[Chicago Art Institute]]. Baziotes' abstract expressionist works show the influence of [[Surrealism]]]]
Although Pollock is closely associated with Action Painting because of his style, technique, and his painterly ''touch'' and his physical application of paint, art critics have likened Pollock to both Action painting and color field painting. Another critical view advanced by Greenberg connects Pollock's allover canvasses to the large-scale ''[[Water Lilies]]'' of [[Claude Monet]] done during the 1920s. Art critics such as [[Michael Fried]], Greenberg and others have observed that the overall feeling in Pollock's most famous works – his ''drip'' paintings – read as vast fields of built-up linear elements. They note that these works often read as vast complexes of similarly-valued paint skeins and all-over fields of color and drawing, and are related to the mural-sized Monets which are similarly constructed of close-valued brushed and scumbled marks that also read as fields of color and drawing. Pollock's use of all-over composition lend a philosophical and a physical connection to the way the color field painters like Newman, Rothko and Still construct their unbroken and in Still's case broken surfaces. In several paintings that Pollock painted after his classic ''drip'' painting period of 1947–1950, he used the technique of staining fluid oil paint and house paint into raw canvas. During 1951 he produced a series of semi-figurative black stain paintings, and in 1952 he produced stain paintings using color. In his November 1952 exhibition at the [[Sidney Janis]] Gallery in New York City Pollock showed ''Number 12, 1952'', a large, masterful stain painting that resembles a brightly colored stained landscape (with an overlay of broadly dripped dark paint); the painting was acquired from the exhibition by [[Nelson Rockefeller]] for his personal collection.<ref>[http://ogs.ny.gov/esp/CT/History.asp Pollock #12 1952 at NY State Mall project] {{Webarchive|url=https://web.archive.org/web/20140313223525/http://ogs.ny.gov/esp/CT/History.asp |date=March 13, 2014 }} Retrieved May 6, 2011</ref>

While [[Arshile Gorky]] is considered to be one of the founding fathers of abstract expressionism and a [[surrealist]], he was also one of the first painters of the [[New York School (art)|New York School]] who used the technique of ''staining.'' Gorky created broad fields of vivid, open, unbroken color that he used in many of his paintings as ''grounds.'' In Gorky's most effective and accomplished paintings between the years 1941–1948, he consistently used intense stained fields of color, often letting the paint run and drip, under and around his familiar lexicon of organic and biomorphic shapes and delicate lines. Another abstract expressionist whose works in the 1940s call to mind the stain paintings of the 1960s and the 1970s is [[James Brooks (painter)|James Brooks]]. Brooks regularly used stain as a technique in his paintings from the late 1940s. Brooks began diluting his [[oil paint]] in order to have fluid colors with which to pour and drip and stain into the mostly raw canvas that he used. These works often combined [[calligraphy]] and abstract shapes. During the final three decades of his career, [[Sam Francis]]' style of large-scale bright abstract expressionism was closely associated with Color field painting. His paintings straddled both camps within the abstract expressionist rubric, Action painting and Color Field painting.

Having seen Pollock's 1951 paintings of thinned black oil paint stained into raw canvas, Frankenthaler began to produce ''stain paintings'' in varied oil colors on raw canvas in 1952. Her most famous painting from that period is ''[[Mountains and Sea]]''. She is one of the originators of the Color Field movement that emerged in the late 1950s.<ref>[https://www.npr.org/templates/story/story.php?storyId=87871332 'Color Field' Artists Found a Different Way] Retrieved August 3, 2010</ref> Frankenthaler also studied with [[Hans Hofmann]].

Hofmann's paintings are a symphony of color as seen in ''The Gate,'' 1959–1960. He was renowned not only as an artist but also as a teacher of art, both in his native Germany and later in the US. Hofmann, who came to the United States from Germany in the early 1930s, brought with him the legacy of [[Modernism]]. As a young artist in pre-First World War Paris, Hofmann worked with [[Robert Delaunay]], and he knew firsthand the innovative work of both Picasso and Matisse. Matisse's work had an enormous influence on him, and on his understanding of the expressive language of color and the potentiality of abstraction. Hofmann was one of the first theorists of color field painting, and his theories were influential to artists and to critics, particularly to Clement Greenberg, as well as to others during the 1930s and 1940s. In 1953 [[Morris Louis]] and [[Kenneth Noland]] were both profoundly influenced by [[Helen Frankenthaler]]'s stain paintings after visiting her studio in New York City. Returning to Washington, DC., they began to produce the major works that created the ''color field movement'' in the late 1950s.<ref name="Fenton1">Fenton, Terry. "[http://www.sharecom.ca/fenton/louis.html Morris Louis]". sharecom.ca. Retrieved December 8, 2008</ref>

In 1972 then [[Metropolitan Museum of Art]] [[curator]] [[Henry Geldzahler]] said:
{{blockquote|Clement Greenberg included the work of both Morris Louis and Kenneth Noland in a show that he did at the Kootz Gallery in the early 1950s. Clem was the first to see their potential. He invited them up to New York in 1953, I think it was, to Helen's studio to see a painting that she had just done called Mountains and Sea, a very, very beautiful painting, which was in a sense, out of Pollock and out of Gorky. It also was one of the first stain pictures, one of the first large field pictures in which the stain technique was used, perhaps the first one. Louis and Noland saw the picture unrolled on the floor of her studio and went back to Washington, DC., and worked together for a while, working at the implications of this kind of painting.<ref>{{citation |last=De Antonio |first=Emile |title=Painters Painting, a Candid History of The Modern Art Scene 1940–1970 |page=[https://archive.org/details/painterspainting0000unse_27/page/79 79] |publisher=Abbeville Press |year=1984 |isbn=0-89659-418-1 |url-access=registration |url=https://archive.org/details/painterspainting0000unse_27/page/79 }}</ref><ref>{{citation |last=Carmean |first=E. A. |title=Helen Frankenthaler: A Paintings Retrospective |type=Exhibition Catalog |pages=[https://archive.org/details/helenfrankenthal0000carm/page/12 12–20] |publisher=Harry N. Abrams |others=in conjunction with The Museum of Modern Art, Fort Worth |isbn=0-8109-1179-5 |url=https://archive.org/details/helenfrankenthal0000carm/page/12 |year=1989 }}</ref>}}