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Painting in the 1950s - Coggle Diagram

- - - - Balla attempts to separate the experience of light from the perception of objects as such
      - depicts the shading of colours in a series of mirrored triangles, as if broken down by passing through a prism
    - - Purely optical experience
      - the flat picture plane
      - Often the edges of these pictures are left unfinished and raw
    - - without any attribute of real life
      - he wanted to completely abandon depicting reality and instead invent a new world of shapes and forms
  - - - Medium-Specific
      - Valid on its own terms
      - Original & Unique
      - High Art
        (e.g. Abstract Painting)
    - - Illusionistic, “Theatrical” Effects
      - Imitation
      - Reproducible
      - Low Class
        (e.g. Hollywood movies)
- - - - It represents his homeland (now Turkey), his immigration into the U.S., his sexual frustration throughout his life and the peace he found in nature.
- - - - What was to go on the canvas was not a
        picture but an event (Rosenberg) Photo% Pollock in his studio
        
        Dance-like activity
      - Jackson Pollock
        
        Jackson Pollock, The Flame, 1938
        
        Jackson Pollock, Untitled, 1943
        
        Jackson Pollock, Mural, 1943
        
        Jackson Pollock, One: Number 31, 1950
        
        one of Pollock’s largest paintings, exemplifies his “drip” technique, in which he dropped or threw paint onto a canvas laid on the floor.
      - Willem de Kooning
        
        Willem de Kooning, Untitled, 1948
        
        Willem de Kooning, Excavation, 1950
        
        Willem de Kooning,
        Woman I, 1950–1952
        merged abstraction and representation
        
        Although it may appear rapidly and intuitively executed, it is the result of many preliminary studies, numerous painting sessions, the scraping down and re-painting of entire sections, and extended consideration by the artist.
    - - Examples
        
        Barnett Newman, vertical band, his band, later dubbed a "zip," became Newman's signature mark.
        
        Moment, 1946
        
        Onement, I, 1948
        
        Barnett Newman, Vir Heroicus Sublimis, 1950–1951
        
        Mark Rothko, communicate the basic
        human emotions
        
        Mark Rothko, No.3/No.13, 1949
        
        Mark Rothko, No. 10, 1950
        
        he divided the canvas horizontally into three dominant planes that softly merge into one another
        
        He also wanted viewers to get close to his paintings and immersed in the emotions they expressed and evoked.
        
        Helen Frankenthaler, Mountains and Sea, 1952 it was her first professionally exhibited work
        
        Thinning down her paint with kerosene, the artist developed a medium that would seep into the unprimed canvas
        
        Morris Louis, Dalet Kaf, 1959 they are poured from top to bottom, aided by gravity: to work within the small confines of his studio, Louis would staple canvas to the walls and pour paint from above.
        
        Morris Louis, Beta Lambda, 1961 vast scale, the brightly colored ribbons of paint cascading down the sides of this canvas invite a close look. the broad expanse of raw canvas Louis left exposed—an emphatic void framed by color
        
        Kenneth Noland,
        Turnsole, 1961
        
        Noland began to paint rings of color, with special attention to the interaction of colors
        
        Frank Stella, The Marriage of Leisure and Squalor, II, 1959
        
        Instead of painting something recognizable, Stella’s painting is about the act of painting, and its result.
        
        The thick black bands are the same width as the paintbrush he used. The thin white lines are not painted; they are gaps between the black bands in which the raw canvas is visible. Stella painted the black bands parallel to each other, and to the canvas’s edges, rejecting expressive brushstrokes
- - - - Saburo Murakami, Laceration of Paper, 1955 The performance involves Saburo Murakami throwing his own body to canvases of paper that created explosive sounds as he burst through them.
      - Kazuo Shiraga, Untitled, 1957 Its suggestion of physical violence recalls the still-fresh horror of World War II, including the bombing of his native country by U.S. forces.
      - Shozo Shimamoto, Painting with a Cannon, 1956 5-meter long cannon to throw the paint onto a huge canvas. The cannon was set in an almost vertical position and the paint described a parabolic trajectory before reaching the canvas.
      - Atsuko Tanaka, Electric Dress, 1956 Composed entirely of light bulbs of all shapes, sizes and colours, and a plethora of connected electrical cords, the Electric Dress resembles a post-modern Christmas tree. Tanaka, by updating the kimono, sought to highlight the leap from traditional Japanese society to one representing the bright lights of the modern world.
        
        Atsuko Tanaka, Golden
        Work A, 1962 a mass of cells pulsing within the limits of the canvas. Joined by a fluid network of lines, they are compelling evocations of the interconnectivity that underpins every aspect of existence, from physiology to cultural life to technological systems.