Post-painting abstraction
Post-painterly abstraction also New Abstraction ( English Post-Painterly Abstraction ) denotes a not exactly defined tendency in American painting . The term was first used in 1964 by art critic Clement Greenberg for an exhibition he curated at the Los Angeles County Museum of Art . Greenberg thus described the turning away from gestural abstract expressionism towards new forms of expression in painting, which began in the late 1950s , and used this synonym to summarize the different painting styles of the 31 artists representing this group exhibition. Participating artists included Walter Darby Bannard , Jack Bush , Gene Davis , Thomas Downing , Friedel Dzubas , Sam Francis , Helen Frankenthaler , Al Held , Ellsworth Kelly , Nicholas Krushenick , Alexander Liberman , Morris Louis , Howard Mehring , Kenneth Noland , Jules Olitski and Frank Stella .
Characteristic of nichtfigürlichen Nachmalerischen abstraction was the flatness (flatness, flatness): In a narrower sense, the arrangement ungebrocher, mutually delimited, pure color areas on a dominant painting surface, or the white space in itself, and finally the exceeding of the preset from the screen space. This finally led to a reduced color-analytical-geometric painting as it can be found in Hard Edge or in Minimalism . Post-painting abstraction was a typical feature of American painting after 1945. As a definition of a brief transition phase between abstract expressionism and color field painting , the term ultimately has little meaning in art-historical etymology .
literature
- Marcia Brennan: Modernism's Masculine Subjects: Matisse, the New York School, and Post-Painterly Abstraction. The MIT Press, 2006, ISBN 978-0-262-52468-1 .
- Clement Greenberg (Ed.): Post-Painterly Abstraction. Exhibition catalog, Los Angeles County Museum of Art, Los Angeles, 1964.