2.  Prominent between 1940’s to the mid 1950’s
 Post world war II American art movement
 New York at center
 Rebellious, anarchic, and Idiosyncratic

3.  Arshile Gorky (1904-1948)
 Surrealist
 The Father of Abstract Expressionism
 A bridge

4. PORTRAIT OF MASTER BILL THE LIVER IS THE COCK’S COMB
(1929-1936) (1944)

5.  Kandinsky's Abstraction
 The Dadaist’s reliance on chance
 Surrealist’s endorsement of Freudian theory

6.  Usually on large canvas
 Emotional Intensity
 The Act of painting
 Careful planning
 Energetic application of paint

7.  Action Painting  Color Field
 Jackson Pollock  Mark Rothko
 Willem De Kooning  Clyfford Still
 Franz Kline  Barnett Newman
 Kenneth Noland

8.  Brush strokes and large planes of color.
 Create tension between the shapes and hues
 More emphasis on overall consistency of
form and process

9.  color, shape, balance, depth, composition, an
d scale
 Inspired by mythology and philosophy
 Basic human emotions
 Color = “merely an instrument”
 Nebulous rectangles

12.  Shift from representational to abstraction
 One layer of painting seems “torn” off.
 Thick impasto,
unlike Rothko.

15.  Used lines on vast fields of color
 Rejected the expressive brushwork
 Unappreciated, and overlooked.
 Signature mark was the “Zip”
 Named his works with Jewish themes.

18.  4 groups:
 Circles/Targets
 Chevrons
 Stripes
 Shaped Canvases
 Emphasized spatial relationships

21.  Paint is
dripped, slashed, smea
red or even splashed.
 Emphasize the
physical act of
painting.

22.  Born in Cody, Wyoming
 Jack the Ripper
 Drip-and-splatter
 Helped begin this
movement

23.  Created the drip method
 Used sticks, harden brushes and basting
syringes
 With unbounded canvases on the floor or wall

27.  Born in Rotterdam, The Netherlands
 garish colors
 Background figures overlap other figures
 Woman series
 The New York School

30.  Didn’t care about figure and imagery
 Instead, focused on actual brush strokes
 Black and white
 “The final test of a painting, theirs, mine, any
other, is: does the painter's emotion come
across?"