POST-PAINTERLY ABSTRACTION

Post-Painterly Abstraction 

        

The Western American Paining takes place in 1950s and it is known as the Post-Painterly Abstraction. The term, Post-Painterly Abstraction becomes popular. The prominent art viewer Green Greenberg provided an appropriate title for an art exposition in the year, 1964. The related painters utilized the physical openness of design in consistency with the un-modulated colors. The Post-Painterly Abstraction accesses the high-edge color field paining figments of the abstract Art.  These works often savor with the Hard Edge paintings, brought sharp contours, stressed the flat colors. These artistic paintings became focused in Abstract Expressionism. It leads the art viewers of the 50s and 60s that made it well-liked.

The Post-Painterly Abstract artworks appeared in the flat surfaces with the thinner thin colors that indicated the scenic drama as these focus on the background landscapes. The artworks were the blending of vague or abstract expressions and the intellectual beauty. The artists would truthfully move into or come out sentimentalism and intellectualism. Basically, Post-painterly abstraction was based on the concept of the art viewer, Clement Greenberg as the title for and exhibition while running it in the Los Angeles Country Museum of Art in 1964.  It travelled to the Walker Art Center and the Art Gallery, Toronto afterwards. Greenberg felt that there was a new movement in painting deriving from the abstract expressionism in 1940s and 1950s; however, it favored honesty or lucidity. It was the opposition of dense painterly surfaces of that painting style. There were 31 artists in the exposition

Barnett Newman belonged to the earlier generation of the existing artists; Newman had guessed some of the characteristics of the Post-painterly abstraction.  The paining continued to move in the different directions and that is primarily absent from the abstract expressionism. It is influenced by the spirit of modernism of the time.  The concept, Post-Painterly Abstraction that gained some currency in the 1960s was steadily displaced by Minimalism, hard-edge painting, lyrical abstraction, and color field painting. The art reviewers tried to codify the concrete features of American Color Field painting. Color Field paining has also known as Post-Painterly Abstraction, new Abstraction or Abstract Imagism. The prominent art critic Clement Greenberg and Greenberg had many painters of Color Field. It is used the term, Post-Painterly Abstraction.

It is the imprecise, broken and loose definition of color and shape. Moreover, Greenberg created the demarcation between the color field painters and the abstract expressionists.  There is a movement of the physical openness of design or towards the linear clarity or both. The artists Helen Frankenthaler, Morris Louis and Kenneth Noland all displayed a candidness of design in many of their works. The major qualitative examples can be available in the Unfolding light of Louis and in The Human Edge of Frankenthaler. Linear clarity is also seen in the works as it is present in all works of Kenneth Noland. In the works of Morris Louis, Linear clarity is concentrated less. The overlapping, collaborating colors are one of the most unique features of his masterful grown-up works. Color Field painting or Post-painterly abstraction is different from Pop art and the other existing movements. The Post-painterly abstraction specially continued the culture of painting in its purist form.