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Abstract art work, despite its long history, no longer has the inscrutability it began with. When The New York School renounced representation in the late 1940s, all hell broke loose. Over time abstraction in art has been assimilated. It has lost its shock value though not its mystery.
Hans Hoffman, fresh from Europe, opened a school in New York to advance the ideas set forth by Picasso and Matisse. But he took it further; to complete abstraction. He believed, like many other artists, that with the invention of the camera, the exact replication of objects or locales was no longer relevant. He proffered the ideals of an inner reality, subjective and transcendental.
Color, shape and line triumphed. The use of space, what was there, as well as what was not there, became the blueprint. A landscape no longer was made up of clouds, trees, land or water but nebulous forms defining a space. By the beginning of the 1950s Hoffman had a following. Notoriety for his art theories took the art world by storm.
Abstract Expressionism, the term decided on for the new movement, soon came to dominate the art world. America had taken off, no longer subservient to European art and art movements. Other labels were used to describe this new trend: non representational, nonobjective and non-figurative art. Whatever the term used, image making was dead.
Today the names of Jackson Pollock, Willem de Kooning and Mark Rothko are the giants under the banner of Abstract Expressionism. Taken for granted today, nonobjective art was a radical idea. While its practitioners became household names, they had a hard time making a living in the early days, often ridiculed in the media.
Eventually abstract art work became the fashion and other styles were marginalized. Representational art had become outdated. Total abstraction was heralded by purists, nothing recognizable was the formula. By the 1960s, the theories of abstraction gave way to a new philosophy that was called Pop Art. Abstraction had a short reign has the ruling form but it has never subsided. It may not bewilder as it once did, but its transcendent qualities still please.
Hans Hoffman, fresh from Europe, opened a school in New York to advance the ideas set forth by Picasso and Matisse. But he took it further; to complete abstraction. He believed, like many other artists, that with the invention of the camera, the exact replication of objects or locales was no longer relevant. He proffered the ideals of an inner reality, subjective and transcendental.
Color, shape and line triumphed. The use of space, what was there, as well as what was not there, became the blueprint. A landscape no longer was made up of clouds, trees, land or water but nebulous forms defining a space. By the beginning of the 1950s Hoffman had a following. Notoriety for his art theories took the art world by storm.
Abstract Expressionism, the term decided on for the new movement, soon came to dominate the art world. America had taken off, no longer subservient to European art and art movements. Other labels were used to describe this new trend: non representational, nonobjective and non-figurative art. Whatever the term used, image making was dead.
Today the names of Jackson Pollock, Willem de Kooning and Mark Rothko are the giants under the banner of Abstract Expressionism. Taken for granted today, nonobjective art was a radical idea. While its practitioners became household names, they had a hard time making a living in the early days, often ridiculed in the media.
Eventually abstract art work became the fashion and other styles were marginalized. Representational art had become outdated. Total abstraction was heralded by purists, nothing recognizable was the formula. By the 1960s, the theories of abstraction gave way to a new philosophy that was called Pop Art. Abstraction had a short reign has the ruling form but it has never subsided. It may not bewilder as it once did, but its transcendent qualities still please.
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