Abstract ExpressionismThe first truly American visual art form that helped put New York as a cultural capital (perhaps even above Paris).

Drawing from Surrealism, they developed the NEW YORK SCHOOL, which comprised action painting, Jazz, abstract expressionism and improvisational theatre.

This period of art was special because it was the first to recognize art with NO identifiable subject matter!

Jackson Pollock,No. 5, 1948, 1948.

Two Categories for Abstract Expressionism:

Action Painting Color-Field Painting

Affected by surrealism and also by Picasso, he moved toward a highly abstract art in order to express, rather than illustrate, feeling.

His experimentations led to the development of his famous "drip" technique, in which he energetically drew or "dripped" complicated linear rhythms onto big canvases, which were often placed flat on the floor.

He sometimes applied paint directly from the tube, and at times

also used aluminum paint to achieve a glittery effect. His

vigorous attack on the canvas and intense devotion to the very act of

painting led to the term "action painting."

On the floor I am more at ease, I feel nearer, more a part of the

painting, since this way I can walk around in it, work from the

four sides and be literally `in' the painting.

Jackson Pollock, 1947.

Died in a drunk driving accident in 1956

Jackson Pollock, Blue Poles: Number 11, 1952.

Jackson Pollock, Lavender Mist: Number 1, 1950.

Jackson Pollock, Autumn Rhythm: Number 30, 1950.

Willem de Kooning(1904-1997)

Dutch-born American Action painter

Attempted to combine the expressiveness of Abstract Expressionism with recognizeable objects

Willem de Kooning, Asheville, 1948.

Willem de Kooning,Woman V, 1952-53.

Willem de Kooning,Woman I, 1952.

Mark Rothko(1903-1997)

Emigrated to the United States fromRussia in 1913

Part of the New York School

Used bands of color as the only truemeans of capturing feeling

Rothko paintings on display

Mark Rothko, No.10, 1950.

By 1950 Rothko had reduced the number of floating rectangles to two, three, or four and aligned them vertically against a colored ground, arriving at his signature style.

Mark Rothko, White Center, 1950.

From that time on he would work almost invariably within this format, suggesting in numerous variations of color and tone an astonishing range of atmospheres and moods.

In 1954 he asked that his largest pictures be installed "so that they must be first encountered at close quarters, so that the first experience is to be within the picture."

Rothko after completing his painting, Black Square.