Abstract Expressionism
Product ID: 32542974
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Hailed as the first American-born art movement to have a worldwide influence, Abstract Expressionism denotes the non-representational use of paint as a means of personal expression. It emerged in America in the 1940s, with lead protagonists including Jackson Pollock, Philip Guston, Robert Motherwell, Mark Rothko, and Willem de Kooning. Abstract Expressionism spawned many different stylistic tendencies but two particularly prominent sub-categories: action painting, exemplified by de Kooning and Pollock, and color field painting, made most famous by Rothko. Throughout, Abstract Expressionists strove to convey emotions and ideas through the making of marks , through forms, textures, shades, and the particular quality of brushstrokes. The movement favored large-scale canvases, and embraced the role of accident or chance. With featured works from 20 key Abstract Expressionist artists, this book introduces the movement which shifted the center of art gravity from Paris to New York and remains for many the golden moment of American art. Review: Here is "a fast-food, high-energy fix on the topic at hand." The New York Times - This is one of several dozen volumes in the Basic Art series published by Taschen. Barbara Hess focuses on 23 of those now known as "Abstract Expressionists" and/or "the first generation of the New York School." Many referred to themselves as "the Erascibles." Opinions are divided about the nature and extent of impact that abstract expressionism has had. Indeed, disagreements continue even now as to what the term means. Hess points out that the expression first turned up (in German) in an issue of Der Sturm magazine in 1919. I tend to agree with Willem de Kooning's response, when Albert Barr (former director of New York's Museum of Modern Art) demanded one: "It is disastrous to name ourselves." Be that as it may, I praise everyone involved with the creation of this book on the high quality of its text, sources, organization, and production values. The mini-bios are remarkably substantial and the selection of individual works to complement them is superb. I also appreciate the observations provided by individual artists. For example: o "It is a widely accepted notion among painters that it does not matter what one paints as long as it is well painted. This is the essence of academicism. There is no such thing as good painting about nothing." Mark Rothko (1903-1970) o "The stuff of thought is the seed of the artist. Dreams form the bristle of the artist's brush." Arshile Gorky (1904-1948) o "The ability to simplify means to eliminate the unnecessary so that the necessary may speak." Hans Hofmann (1880-1966) o "I have no fears about making changes, destroying the image, etc., because the painting has a life of its own." Jackson Pollock (1922-1956) o "There are as many images as there are eyes to see." Sam Francis (1923-1994) o "Aesthetics is for the artists like ornithology is for the birds." Barnett Newman (1905-1970) o "My favorite symbols were those which I did not understand." Adolph Gottlieb (1903-1974) o "The thing is that a person who wants to explore painting naturally reflects: 'how can I in my work be most expressive?' Then the form develops." Franz Kline (1910-1962) o "My painting is not an allegory, it is not a story. It is more like a poem." Joan Mitchell (1926-1992) o "I take an elegy to be a funeral song for something one cared about. The [200+] Spanish Elegies are not 'political', but are my private insistence that that a terrible death happened that should not be forgot. They are as eloquent as I could make them. But the pictures are also general metaphors of the contrast between life and death and their interrelation." Robert Motherwell (1915-1991) I commend Barbara Hess on her brilliant introduction. Its title, "A Constant Searching of Onerself," is certainly true of the artists she discusses in this volume and I am among those who, when interacting with their works, also feel challenged and inspired to sustain our own journey for self-discovery. Review: Terrific book. - Great selection of artists and their works, with excellent commentary and beautiful reproductions. Taschen is still the gold standard when it comes to art books. Also, the book was extremely well-packed and arrived in perfect condition.
| Best Sellers Rank | #57,844 in Books ( See Top 100 in Books ) #31 in European Art History #55 in Art Movements (Books) #93 in Arts & Photography Criticism |
| Customer Reviews | 4.7 out of 5 stars 353 Reviews |
R**S
Here is "a fast-food, high-energy fix on the topic at hand." The New York Times
This is one of several dozen volumes in the Basic Art series published by Taschen. Barbara Hess focuses on 23 of those now known as "Abstract Expressionists" and/or "the first generation of the New York School." Many referred to themselves as "the Erascibles." Opinions are divided about the nature and extent of impact that abstract expressionism has had. Indeed, disagreements continue even now as to what the term means. Hess points out that the expression first turned up (in German) in an issue of Der Sturm magazine in 1919. I tend to agree with Willem de Kooning's response, when Albert Barr (former director of New York's Museum of Modern Art) demanded one: "It is disastrous to name ourselves." Be that as it may, I praise everyone involved with the creation of this book on the high quality of its text, sources, organization, and production values. The mini-bios are remarkably substantial and the selection of individual works to complement them is superb. I also appreciate the observations provided by individual artists. For example: o "It is a widely accepted notion among painters that it does not matter what one paints as long as it is well painted. This is the essence of academicism. There is no such thing as good painting about nothing." Mark Rothko (1903-1970) o "The stuff of thought is the seed of the artist. Dreams form the bristle of the artist's brush." Arshile Gorky (1904-1948) o "The ability to simplify means to eliminate the unnecessary so that the necessary may speak." Hans Hofmann (1880-1966) o "I have no fears about making changes, destroying the image, etc., because the painting has a life of its own." Jackson Pollock (1922-1956) o "There are as many images as there are eyes to see." Sam Francis (1923-1994) o "Aesthetics is for the artists like ornithology is for the birds." Barnett Newman (1905-1970) o "My favorite symbols were those which I did not understand." Adolph Gottlieb (1903-1974) o "The thing is that a person who wants to explore painting naturally reflects: 'how can I in my work be most expressive?' Then the form develops." Franz Kline (1910-1962) o "My painting is not an allegory, it is not a story. It is more like a poem." Joan Mitchell (1926-1992) o "I take an elegy to be a funeral song for something one cared about. The [200+] Spanish Elegies are not 'political', but are my private insistence that that a terrible death happened that should not be forgot. They are as eloquent as I could make them. But the pictures are also general metaphors of the contrast between life and death and their interrelation." Robert Motherwell (1915-1991) I commend Barbara Hess on her brilliant introduction. Its title, "A Constant Searching of Onerself," is certainly true of the artists she discusses in this volume and I am among those who, when interacting with their works, also feel challenged and inspired to sustain our own journey for self-discovery.
C**C
Terrific book.
Great selection of artists and their works, with excellent commentary and beautiful reproductions. Taschen is still the gold standard when it comes to art books. Also, the book was extremely well-packed and arrived in perfect condition.
P**N
Excellent book! I love this series!
I have been slowly purchasing each book in this series .. a very condensed easy to read overview of the various topics. TONS of great pictures. 5-stars
K**L
Great coffee table book
Great coffee table/display bookshelf book. Has all the popular names in it. Nice photos nice quality and good price
C**8
Time to learn
Great photos, and simple text. Not a college text book price.
S**G
A helpful book about abstract expressionism!
This 96-page hardcover book addresses many artists of abstract expressionism with large colorful photos of their work and stories about each artist. It is concise, knowledgeable, and is a great addition to my art book collection.
A**R
I love the book!
Bought this to help my young kids learn more about this movement by trying to replicate and observe some of these paintings! The full-size page images along with a full page of explanation side-by-side make this book idea as a coffee table book as well as a very educational resource! High quality prints are very important and I felt that this book did a good job with that. I'm very happy with this purchase.
G**N
-An Impossible Topic Barely Covered-
Another thin Taschen book at only 95 pages that manages to convey the essence of Abstract Expressionism without going too deep. But you could also spend years just learning this much so it's a bargain...! Terrific color pictures accompany each artist's explanation of their art and the creation of a new method, technique or style. One method for finding your own path is to collect those things you really like until your vision is what you want to see. Then fill your notebooks with work until your expressions are individual. What is beautiful to you?
C**K
Very good!
Very good!
D**W
You wanna see little art buy it. I mean the book.
Book is with colourful prints of works of art. I enjoyed it. Little to thin. Not enough photos.
E**I
Perfeito
Perfeito
C**N
Muy por debajo de la calidad de TASCHEN
La impresión es de muy mala calidad. Si ya tienes otros libros de Expresionismo Abstracto este no te va a aportar nada ni en calidad de reproducciones ni en información. No gasten en este libro aunque sea muy económico.
C**N
Very interesting
Excelent!!!
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