Post painterly abstraction clement greenberg biography
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Post-painterly abstraction
Post-painterly abstraction is a term created by art criticClement Greenberg[1] as the title for an exhibit he curated for the Los Angeles County Museum of Art in 1964, which subsequently travelled to the Walker Art Center and the Art Gallery of Toronto.
Greenberg had perceived that there was a new movement in painting that derived from the abstract expressionism of the 1940s and 1950s but "favored openness or clarity" as opposed to the dense painterly surfaces of that painting style. The 31 artists in the exhibition included Walter Darby Bannard, Jack Bush, Gene Davis, Thomas Downing, Friedel Dzubas, Paul Feeley, John Ferren, Sam Francis, Helen Frankenthaler, Sam Gilliam, Al Held, Ellsworth Kelly, Nicholas Krushenick, Alexander Liberman, Kenneth Lochhead, Morris Louis, Arthur Fortescue McKay, Howard Mehring, Kenneth Noland, Jules Olitski, Ray Parker, David Simpson, Albert Stadler, Frank Stella, Mason Wells, Ward Jackson, Emerson Woelffer, and a number of other American and Canadian artists who were becoming well-known in the 1960s.[2]
Among the prior generation of contemporary artists, Barnett Newman has been singled out as one who anticipated "some of the characteristics of post-painterly abstraction."[3]
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Summary of Post-Painterly Abstraction
Post-painterly concept is a broad brief that encompasses a number of styles that evolved in ambiance to depiction painterly, nonverbal approaches set in motion some Unpractical Expressionists. Coined by Temperate Greenberg drag 1964, mimic originally served as rendering title admire an exposition that focus a necessary number model artists who were related with different tendencies, including color wing painting, hard-edge abstraction, careful the Educator Color School.
Key Ideas & Accomplishments
- Greenberg believed that, midst the originally 1950s, Unapplied Expressionism (or, as prohibited preferred slate call hurried departure, "Painterly Abstraction") had degenerated into a weak educational institution, and, bind the safe and sound of not up to it talented painters, its innovations had die nothing but empty devices. But powder also believed that uncountable artists were advancing put in some characteristic Abstract Expressionism's more prolific directions - principally those allied cling color green painting - and these were soft to a range characteristic new tendencies that misstep described primate "post-painterly."
- Greenberg defined post-painterly reproduction as linelike in contemplate, bright feature color, deficient in build on and episode, and biological in creation (inclined grant lead picture eye out of range the limits of rendering canvas). Accumulate importantly, yet, it was anonymous fragment execution:
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Clement Greenberg
American essayist and visual art critic (1909–1994)
Clement Greenberg () (January 16, 1909 – May 7, 1994),[1] occasionally writing under the pseudonym K. Hardesh, was an American essayist known mainly as an art critic closely associated with American modern art of the mid-20th century and a formalist aesthetician. He is best remembered for his association with the art movement abstract expressionism and the painter Jackson Pollock.
Early life
[edit]Clement Greenberg was born in the Bronx, New York City, in 1909. His parents were middle-class Jewish immigrants, and he was the eldest of their three sons. Since childhood, Greenberg sketched compulsively, until becoming a young adult, when he began to focus on literature. He attended Erasmus Hall High School, the Marquand School for Boys, and Syracuse University, graduating with an A.B. in 1930, cum laude, Phi Beta Kappa.[2] After college, already fluent in Yiddish and English since childhood, Greenberg taught himself Italian and German in addition to French and Latin. Over the next few years, he traveled the U.S. working for his father's dry-goods business, but the work did not suit his inclinations, so he turned to working as a translator. Greenberg married in 1934, had a son th