New York figurative expressionism is a movement of fine arts and a branch of American figurative expressionism . Although the movement originated in the 1930s, it was not formally classified as “figurative expressionism” until this term appeared as a contrast to the New York post-war movement known as abstract expressionism [1] .
Curator Klaus Curtess of the Detroit Museum of Modern Art (MOCAD), noted that “on the eve of purifying abstraction from figurative art and its rise to all-encompassing fame, the figure began to acquire new and powerful strength”, [2] and that “in the late forties and early fifties »Figurativeism was associated with conservatism, which the abstract artists sought to avoid. Their response was defensive and “inclined to blur the differences between figurative artists and exaggerate the difference between figurative and non-figurative. Only in the late sixties and early seventies was the figure allowed to return from exile and even to claim a central place [3] . ” But this was not true for all abstract expressionists. For example, Willem de Kooning (1904–1997) and Jackson Pollock (1912–1956) began to include figurative elements much earlier [4] . They, along with the abstract expressionist Conrad Marc-Relly (1913–2000), among others, relied on the figure as the basis for expanding their overall abstract paintings. [2]
Among the early New York figurative expressionists were Max Weber (1881–1961) and Marsden Hartley (1877–1943), known for their work with myths and spirituality. Other early adherents were Milton Avery (1885–1965) and Edwin Dickinson (1891–1978).
Figurative Art in the Times of Abstract Expressionism: 1950s
Some New York expressionists used the figure, influenced by the art of the “ old masters” and historical painting, in particular Larry Rivers (1923–2002) and Grace Hartigan (1922–). For many others, the figure served as the subject of representative portraiture: Helene de Kooning (1918–1989); Balkomb Green (1904–1990); Robert De Niro Sr. (1920–1993); Firefield Porter (1907–1975); Gregorio Prestopino (1907–1984); Lester Johnson, (1919–2010); George McNeill (1909–1995); Henry Gorsky (1918–2010); Robert Gudno (1917–); and Earl M. Pilgrim (1923–1976).
Finally, there were those who used the figure in their own versions of allegorical or mythical painting. In these cases, the figure served as a stylistic element resembling German expressionists , but with a heroic scale of abstract expressionists : [28] Among the artists of this category were: Jan Müller (1922–1958); Robert Boscham (1923–1995), Nicholas Marsicano (1914–1991), Bob Thompson (1937–1966), Ezio Martinelli (1913–1980), Irving Chrisberg (1919–2009) [5]
Guerilla Figurative Partisans: 1950–1964
“In the war years and in the 1950s,” writes Judith E. Stein, “the general public was extremely suspicious of abstraction, which many considered" non-American. " Critic Clement Greenberg has successfully challenged the public's negative reaction to abstraction. His attempt to communicate with the New York figurativists of the fifties was less successful ” [6] . In 1960, Thomas B. Hess wrote: “A“ new figurative painting ”, which some have been waiting for as an answer against abstract expressionism, but it was laid in it from the very beginning and it is one of its continuation [7] .”
In 1953, Reality magazine was founded [8] "to protect the right of any artist to paint in any way he wants." This mission was supported by the editorial staff of the magazine, which included Isabelle Bishop (1902–1988), Edward Hopper (1882–1967), Jack Levine (1915–2010), Rafael Sawyer (1899–1987) and Henry Warnum Pur (1888–1970).
The sculptor Philippe Pavia became the "partisan publisher" It is. Magazine for Abstract Art (This. Magazine for abstract art), which he founded in 1958. In an open letter to Leslie Katsu, the new publisher of Arts Arts magazine, [9] he wrote: “I beg you to help a representative of the fine arts. Artists, almost abstractionists, and not abstractionists, need a champion these days. ”
Although none of these figurative supporters had such a level of influence as Clement Greenberg or Harold Rosenberg, they were recognized by critics as radicals “representing the [new] generation, for whom figurative art was in some ways more revolutionary than abstraction” [10] .
The literary historian Marjorie Perloff made a convincing argument that Frank O'Har’s poems about the works of Garasi Hartigan and Larry Rivers proved that “he really wrote better works that retain at least some form than with pure abstractions” [11] . Grace Hartigan, Larry Rivers , Helen de Kooning , Jane Freelisher, Robert De Niro Sr. , Felix Pasilis, Wolf Kahn and Marcia Marcus - artists who responded to “siren-like songs, the call of nature” [12] O'Hara he explained himself in "Nature and New Painting", 1954. New York figurative expressionists belong to abstract expressionism, he argued, pointing out that they have always held a strong position against the implied protocol, "whether in the Metropolitan Museum of Art or in the club of artists" [13] .
Literature
- Paul Schimmel and Judith E Stein, The Figurative fifties: New York figurative expressionism, (Newport Beach, Calif.: Newport Harbor Art Museum: New York: Rizzoli, 1988.) ISBN 978-0-8478-0942-4 ISBN 978-0 -8478-0942-4
- Bram Dijkstra, American expressionism: art and social change, 1920–1950, (New York: HN Abrams, in association with the Columbus Museum of Art, 2003.) ISBN 978-0-8109-4231-8
- Marika Herskovic, American Abstract and Figurative Expressionism Style Is Timely Art Is Timeless (New York School Press, 2009.) ISBN 978-0-9677994-2-1
- Marika Herskovic, ed. New York School Abstract Expressionists Artists Choice by Artists, (New York School Press, 2000.) ISBN 0-9677994-0-6
- Dore Ashton, The New York school; a cultural reckoning. (New York, Viking Press 1973, © 1972.) ISBN 978-0-670-50912-6
- Gregory Battock, ed. The new art; a critical anthology, (New York: Frederick A. Prager, 1957or 3rd ed. New York, EP Dutton, 1973.) OCLC 788661
Notes
- ↑ Painting in Boston, 1950-2000 .. - Amherst, MA: University of Massachusetts Press, 2002. - P. 171. - ISBN 1558493646 .
- ↑ 1 2 Paul Schimmel and Judith E Stein, The Figurative fifties: New York figurative expressionism, Introduction (Newport Beach, Calif .: Newport Harbor Art Museum: New York: Rizzoli, 1988.) ISBN 978-0-8478-0942-4
- ↑ Paul Schimmel and Judith E Stein, The Figurative fifties: New York figurative expressionism, The Other Tradition (Newport Beach, Calif.: Newport Harbor Art Museum: New York: Rizzoli, 1988.) ISBN 978-0-8478-0942-4 p.17
- ↑ Dubin . Expressionism's Zigzag in '50s New York: It Figured , Los Angeles Times (Jul 17, 1988).
- ↑ Paul Schimmel and Judith E Stein, The Figurative fifties: New York figurative expressionism (Newport Beach, Calif.: Newport Harbor Art Museum: New York: Rizzoli, 1988.) ISBN 978-0-8478-0942-4 p.15
- ↑ Paul Schimmel and Judith E Stein, The Figurative fifties: New York figurative expressionism (Newport Beach, Calif.: Newport Harbor Art Museum: New York: Rizzoli, 1988.) ISBN 978-0-8478-0942-4 pp. 37-51
- ↑ Thomas B. Hess, "The Many Deaths of American Art," Art News 59 (October 1960), p.25
- ↑ "Editorial," Reality, A Journal of Artists' Opinions (Spring 1954), p.2 and p.8
- ↑ Philip Pavia, "An Open Letter to Leslie Katz, Publisher of Arts Magazine, New York City," It is. A Magazine for Abstract Art. (Autumn 1959), p.79
- ↑ Martica Sawin , "Jan Müller: 1922–1958," Arts Magazine 33 (February 1959), p. 39
- ↑ Marjorie Perloff, Frank O'Hara, poet among painters, (New York: G. Braziller, 1977.) ISBN 978-0-8076-0835-7 p.85
- ↑ Frank O'Hara, Nature and new painting, (New York: Tiber Press, 1954.) OCLC 6890031
- ↑ Thomas B. Hess, “The Many Death of American Art,” Art News 59 (October 1960), p.25