Introduction to Abstract
Abstract Expressionism emerged in America following World War II, placing New York as the focal point of the art world. The term was coined in 1946 by art critic Robert Coates to describe a new American art movement. Its roots can be traced back to Surrealism, which used spontaneous and subconscious creations. The movement draws inspiration from the emotional intensity and self-expression of German Expressionists, as well as the anti-figurative aesthetics of abstract schools such as Futurism, Bauhaus, and Synthetic Cubism.
The artists in New York who were classified as Abstract Expressionists had different styles. For example, Pollock’s action paintings had a busy feel, while de Kooning’s grotesque womens series was violent and not very abstract. On the other hand, Rothko’s block work was not very expressionistic. Despite their differences, all three artists were classified as Abstract Expressionists.
Despite their differences, these artworks still have many similarities. For example, they both use large canvases and treat the entire canvas equally. Additionally, they both emphasize the importance of every part of the canvas, value quality brushstrokes and textures, incorporate accidents that contribute to the overall work, and aim to express pure emotion directly onto the canvas.
The early Abstract Expressionists sought a timeless and powerful subject matter by drawing inspiration from primitive myth and archaic art. Many of them looked to ancient and primitive cultures for ideas. Their early works featured pictographic and biomorphic elements that were transformed into personal symbols. In June 1943, Gottlieb, Rothko, and Newman wrote a famous letter published in the New York Times, stating that art is an adventurous exploration of the imagination, free from constraints and in opposition to common sense.
The importance of subject matter in a painting is emphasized, as there is no such thing as a good painting without a deeper meaning. The subject matter adds meaning and significance to the artwork and is vital for it to be considered successful. Additionally, it highlights how art is influenced by the specific period it was created in and what inspires or drives it. This reaction can be against or in favor of events happening at that time. Notably, Mark Rothko, born on September 25, 1903, and passed away on February 25, 1970, is an example of an artist who acknowledged the significance of subject matter in his paintings.
He was an Abstract Expressionist but denies that his work is abstract. He was born as Marcus Rothkowitz in Russia and emigrated to the United States in 1916. His work was based on basic emotions and mainly filled his canvases with few but intense colors using little detail. He also combined mythical themes with primordial imagery to express universal experiences. During this time, his paintings showcased biomorphic shapes that floated within an atmospheric haze. Although other artists found inspiration in his work, it was frowned upon by those who did not understand it, leading him to support himself by teaching art. Rothko gained recognition for his large murals painted for various buildings and public places, such as The Rothko Chapel, a church in Houston, Texas. His work was secretly supported by The CIA, which deemed it free enterprise painting. Rothko tragically took his own life in 1970 due to depression in his New York studio.
Untitled (Violet, Black, Orange, Yellow on White and Red) is a painting by Mark Rothko. Created in 1949, it is an oil on canvas artwork measuring 81 1/2 x 66 inches. Currently housed at the Solomon R. Guggenheim Museum, it was gifted by Elaine and Werner Dannheisser and The Dannheisser Foundation, with the acquisition number being 78.2461. The painting is credited to Kate Rothko Prizel and Christopher Rothko/Artists Rights Society (ARS), New York.
Rothko believed that breaking away from familiar associations with everyday objects was essential to challenge societal norms. He accomplished this by implementing a distinct composition consisting of two or three horizontal sections separated by a predominantly vertical canvas. This unconventional format became a trademark in his work from 1950 until his death in 1970.
In his works, the artist focused on the strength of communicating complex ideas through simple expressions. By utilizing a reduced format, the colors in his work gained an otherworldly quality. The edges and boundaries of his shapes were intentionally softened and frayed, creating a seamless blending of color into the background. To achieve this effect, he opted for using rags and sponges instead of brushes.
For two decades, Mark Rothko delved into the expressive possibilities of arranging rectangular fields of bright colors. Similar to other Abstract Expressionists, he conveyed human emotions in his paintings, aiming to evoke a profound intensity. Several believe that his later works draw inspiration from religious imagery, which is clearly evident. Metaphorically, this painting encapsulates the journey of human existence from birth to death.
The rectangles in Rothko’s works can be interpreted as an abstracted Virgin split by horizontal divisions representing Christ, alluding to religion. His pieces, often larger in size than a human, frequently reference religious or landscape paintings. Rothko’s use of pure color earned him praise as a colorist and sensualist. His work was influenced by the dichotomies of World War II, where he witnessed the contrast between hot and cold colors, as well as vertical and horizontal elements. The simplification of his art is not an exercise in formality but a means to evoke powerful emotions and revelations. Rothko believed that viewers could have a religious experience through his work, similar to the experience he had while painting them. He aimed to express fundamental human emotions like tragedy, ecstasy, and doom, and the fact that many people weep upon encountering his paintings demonstrates his ability to convey these emotions.
Willem de Kooning, born April 24, 1904 and died March 19, 1997 in Rotterdam, The Netherlands, was a renowned painter. He attended The Rotterdam Academy of Fine Arts before moving to New York in 1926. Initially working as a house painter, de Kooning later became an art teacher. Drawing inspiration from the school of Paris and Mexican art, he began creating still life and figure compositions around 1928. In the early 1930s, de Kooning started exploring the use of biomorphic shapes and geometric compositions, which became prominent in all his works. He found inspiration in Pablo Picasso and several surrealists like Joan Miro.
In 1938, the artist began creating paintings of male figures such as Two Men Standing and Man and Seated Figure. As his artistic exploration continued, his abstract works started to display vibrant colors and graceful lines. Throughout the 1940s, he focused on figurative art, but in 1948 he turned to creating large black and white abstract works using household enamels because he couldn’t afford traditional art supplies. These pieces exemplified the use of positive and negative spaces harmoniously, without any representation of specific objects or scenes. Instead of allowing the white canvas to show through, he covered it with black and white paint, creating a landscape-like effect. The dark black background was adorned with sweeping white paint that formed intertwined shapes resembling figures in a landscape, although they lacked distinct characteristics. In the 1940s, he began exploring female figures but didn’t exclusively focus on them until 1950. In 1953, his work was exhibited at the Sidney Janis Gallery and caused a sensation due to the inclusion of fellow abstractionists’ figures depicted with bold technique and imagery. The artist applied his medium in a way that may appear haphazard, yet it unearths some men’s most deeply-rooted sexual fears when deciphering the image of a woman.
The later works of Willem de Kooning, created around the 1980s, have sparked debates due to the fact that he was diagnosed with Alzheimer’s Disease during this time. As a result, his paintings became clean, sparse, and almost graphic in nature. Many argue that the effects of his attempts to recover from alcoholism can be seen in his works during this stage. One such painting is Black Untitled created in 1948. This piece, measuring 29 7/8 x 40 1/4 inches (75.9 x 102.2 cm), is made of oil and enamel on paper, mounted on wood. It is part of the Collection of Thomas B. Hess and was gifted by the heirs of Thomas B. Hess in 1984 (1984.613.7).
