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2.2 abex new4

  1. 1. More  Abstract  Expressionists  
  2. 2. Franz  Kline  (1910-­‐1962)   Born  in  Willkes  Barre  PA   Heavily  industrialized  coal  mining   district   Fritz  Goro,  Franz  Kline,  1954   Life.com  
  3. 3. Franz  Kline  (1910-­‐1962)   1930s  painKng  “American  Scene”   pictures   Franz  Kline,  Palmerton  Pennsylvania,  1941   Smithsonian  American  Art  Museum  
  4. 4. Franz  Kline  (1910-­‐1962)   Arrived  at  abstracKon  by  using   an  enlarger  to  project  drawings   on  the  wall   Franz  Kline,  The  Chair,  1950   Walker  Art  Center  
  5. 5. Franz  Kline,  Chief,  1950   Museum  of  Modern  Art   Franz  Kline,  New  York,  New  York,  1950   Albright  Knox  Gallery  
  6. 6. Franz  Kline  (1910-­‐1962)   Influenced  by  Japanese   calligraphy   Franz  Kline,  Un9tled  II,  1952   Museum  of  Modern  Art  
  7. 7. Franz  Kline  (1910-­‐1962)   Large  scale   Fritz  Goro,  Franz  Kline  in  his  studio  with  his  black  and  white  painKngs,  1954   Life.com  
  8. 8. Franz  Kline,  Pain9ng  Number  2,  1954   Museum  of  Modern  Art  
  9. 9. Franz  Kline,  Delaware  Gap,  1958   Hirshhorn  Museum  
  10. 10. Franz  Kline,  Un9tled,  1957    Hirshhorn  Museum  
  11. 11. Robert  Motherwell   (1915-­‐1991)   Studied  philosophy  and  art   history   Robert  Motherwell  in  his  14th  Street  Studio,  1943   Image  source:    h[p://www.flickr.com/photos/51035595873@N01/168675291  
  12. 12. Robert  Motherwell   (1915-­‐1991)   1949  began  series  of  “Elegies  to   the  Spanish  Republic”  in   response  to  the  Spanish  Civil  War   “For  those  of  my  generaKon  (I  was   26  in  1936),  this  war  was  an  event   which  emoKonally  engaged  each   of  us.    It  was  a  test  of  all   humanisKc  values,  whether  Spain   was  to  enter  the  twenKeth   century  or  to  be  supressed.”   Robert  Motherwell   Robert  Motherwell,  Elegy  to  the  Spanish  Republic,  1953   Albright  Knox  Museum  
  13. 13. Robert  Motherwell   (1915-­‐1991)   Scale  and  color  scheme  recall   Picasso’s  Guernica   Pablo  Picasso,  Guernica,  1936   Robert  Motherwell,  Elegy  to  the  Spanish  Republic,   1957-­‐61   In  the  Museum  of  Modern  Art  
  14. 14. Robert  Motherwell   (1915-­‐1991)   Universal  language:   Black  and  white  =  “being  and   non-­‐being,  life  and  death"   “I  discovered  Black  as  one  of  my   subjects  -­‐  and  with  black,  the   contrasKng  white,  a  sense  of  life   and  death”   Robert  Motherwell   Robert  Motherwell,  Elegy  to  the  Spanish  Republic,  1957-­‐61   Museum  of  Modern  Art  
  15. 15. Robert  Motherwell   (1915-­‐1991)   “I  take  an  elegy  to  be  a  funeral   lamentaKon  or  funeral  song  for   something  one  cared  about  .  .  .  But  the   pictures  are  also  general  metaphors  of   the  contrast  between  life  and  death,   and  their  interrelaKon.”   Robert  Motherwell   “I  think  of  my  pictures  as  dramas;  the   shape  of  the  pictures  are  the   performers”   Mark  Rothko   Robert  Motherwell,  Elegy  to  the  Spanish  Republic,  108,  1965-­‐67   Museum  of  Modern  Art  
  16. 16. Robert  Motherwell   (1915-­‐1991)   “The  ‘Elegies’  correspond  to   something  deep  in  my  character  .  .  .   I  seem  to  have  found  in  them  a   certain  archetypal  form,  in  the   Jungian  sense.    A  lot  of  people  who   know  nothing  about  modern  art   have  been  touched  by  the  ‘Elegies,’   as  one  can  be  touched  by   Stonehenge  or  any  other  symbolic   manifestaKon  of  the  depths  of  the   human  spirit,  without  being  an  art   criKc.     Robert  Motherwell   Robert  Motherwell,  Elegy  to  the  Spanish  Republic,  70,  1961   Metropolitan  Museum  
  17. 17. Clyfford  S@ll   (1904-­‐1980)   Born  in  North  Dakota;  spent   most  of  his  career  in   Washington  State   “These  are  not  painKngs  in  the   usual  sense.    They  are  life  and   death  merging  in  a  fearful  union”   Clyfford  SKll   Image  source:    h[p://www.rogue.ph/blogs/entry/sKll_amazing/  
  18. 18. Clyfford  S@ll   (1904-­‐1980)   Large  scale  painKngs  evoke   geological  phenomenon   Lava  flows,  the  beginning  or  end   of  Kme  
  19. 19. Clyfford  SKll,  Un9tled,  1958   Art  InsKtute  of  Chicago  
  20. 20. Clyfford  SKll   1948-­‐C,  1948   Hirshhorn  Museum  
  21. 21. Clyfford  SKll   1950-­‐A  No.  2,  1950   Hirshhorn  Museum  
  22. 22. Clyfford  S@ll   (1904-­‐1980)   SKll’s  work  is  omen  likened  to  the   romanKc  vision  of  the  Hudson   River  School   Their  pictures  expressed  awe   before  the  sublime  landscape  of   the  American  west   Albert  Bierstadt,  Among  the  Sierra  Nevada  Mountains,  California,  1868   NaKonal  Museum  of  American  Art  
  23. 23. Clyfford  S@ll   (1904-­‐1980)   “The  tradiKon  to  which  SKll's  work  is  related  is   heroic  landscape  .  .  .  But  to  read  it  directly  as   landscape  violates  its  meaning.  The  cliffs  and   ravines  of  color,  the  jagged  rims  of  blue  or   vermilion  breaking  through  a  matrix  of  dense   enveloping  black,  are  no  metaphors  of  the   Grand  Canyon  or  the  Rockies  .  .  .  They  are   meant  to  convey  a  sense  of  pantheisKc  energy,   of  intense  mood  and  vigorously  arKculated   feeling—to  subsKtute,  in  fact,  for  nature  it  self.”   Robert  Hughes,  “ The  Tempest  in  the  Paint  Pot,”   Time  Magazine,  Nov  26,  1979   h[p://www.Kme.com/Kme/magazine/arKcle/ 0,9171,946425-­‐2,00.html   Clyfford  SKll   1960   Hirshhorn  Museum  
  24. 24. David  Smith   (1906-­‐1965)   Born  and  raised  in  the  midwest   Worked  as  a  welder  in  an  Indiana   car  factory   Irving  Penn,  David  Smith,  Bolton  Landing,  Lake  George,  New  York,  1964   NaKonal  Gallery  of  Art   Image  source:    h[p://oseculoprodigioso.blogspot.com/2006/01/penn-­‐irving-­‐fotografia.html  
  25. 25. David  Smith   (1906-­‐1965)   Early  work  influenced  by  Miro,   Calder,  Picasso,  and  Julio   Gonazalez   David  Smith,  Home  of  the  Welder,  1945   Tate  Gallery  
  26. 26. David  Smith   (1906-­‐1965)   Spectre  series  visualized  evil  as  a   primordial  bird  of  prey  wreaking   havoc  and  destrucKon   David  Smith,  Study  for  Spectre  Riding  a  Headless  Horse,  1951-­‐52   Hirshorn  
  27. 27. David  Smith,  Jurassic  Bird,  1945   David  Smith,  False  Peace  Spectre,  1945  
  28. 28. David  Smith,  Jurassic  Bird.  1945   h[p://www.davidsmithestate.org/bio_files/jurassic_bird.html  
  29. 29. David  Smith   (1906-­‐1965)   1945  moved  to  Bolton  Landing   with  Dorothy  Dehner   Dan  Budnick,  David  Smith  at  Bolton  Landing,  1962   Image  source:    h[p://www.davidsmithestate.org/index.html  
  30. 30. David  Smith   (1906-­‐1965)   Hudson  River  Landscape  is  first   experiment  with  “automaKsm”   David  Smith,  Hudson  River  Landscape,  1951   Whitney  Museum  
  31. 31. “Smith  said  that  it  was  inspired  by  a  train  journey  from  Albany  to  Poughkeepsie.  It   was  a  route  he  must  have  travelled  hundreds  of  Kmes,  as  it  leads  from  his  home  and   studio  at  Bolton  Landing  along  the  220  miles  south  to  New  York  City.  “Is  Hudson  River   Landscape  the  Hudson  River,”  he  wrote,  “or  is  it  the  travel,  the  vision;  or  does  it   ma[er?  The  sculpture  exists  on  its  own,  it  is  an  enKty…  I  want  you  to  travel,  by   percepKon,  the  path  I  travelled  in  creaKng  it.””   h[p://www.aworldtowin.net/reviews/DavidSmith.html   David  Smith,  Hudson  River  Landscape,  1951   Whitney  Museum  
  32. 32. David  Smith   (1906-­‐1965)   Tanktotem  and  SenKnel  series  –   primiKve  personages   David  Smith,  Tanktotem  III,  1953  
  33. 33. David  Smith   (1906-­‐1965)   Smith’s  totemic  figures  are  like   personages,  asserKng  their   presence  in  the  void   Photograph  of  sculptures  at  Bolton  Landing   Image  source:    h[p://www.davidsmithestate.org/bio_files/sculpture_group1955.html  
  34. 34. David  Smith   (1906-­‐1965)   “It  was  the  soar  of  the  human   figure  that  held  him,  the   uncompromising  thrust  it  makes,   the  fight  it  carries  on  with  the   force  of  gravity”   Clement  Greenberg   Photograph  of  sculptures  at  Bolton  Landing   Image  source:    h[p://www.davidsmithestate.org/bio_files/sculpture_group1955.html  
  35. 35. David  Smith  (1906-­‐1965)   The  Cubi  series  consists  of  28   monumental  stainless  steel  sculptures   that  Smith  worked  on  from  1961  unKl   his  death  in  a  car  accident  in  1965       David  Smith,  Cubi  XVII,  1963   Dallas  Museum  
  36. 36. David  Smith  (1906-­‐1965)   Like  the  Tanktotems  and  Sen9nels,   they  suggest  human  personages   But  they  have  become  more   geometric,  architectural,  and   heroic       David  Smith,  Cubi  XIX,  1964   Tate  Gallery