1. History of 20th
Century Art
1940 - 1949
“The familiar identity of things has to be pulverized in order to destroy the finite
associations with which our society increasingly enshrouds every aspect of our
environment” - Mark Rothko
3. 1942 – American artists & critics distance themselves from Marxism and
politically-driven avant-garde aesthetics
• Recreation of destroyed mural in Rockefeller Center, New York
• Demonstrates Rivera’s Marxist beliefs and aversion to U.S. capitalism
• Juxtaposes opposing ideologies (militaristic U.S. & Communist Russia) with man, the
worker, at center
• Among recognizable portraits (Lenin, Marx), Leon Trotsky is included
• Rivera and wife Frida Kahlo provided refuge for Trotsky while living in Mexico in exile
Diego Rivera, Man, Controller of the Universe, 1934, fresco, Museu del Palacio de Bellas Artes, Mexico City
4. Towards a Free Revolutionary Art
• Breton met Trotsky in Mexico
• Together they wrote a manifesto entitled
“Toward a Free Revolutionary Art” in 1938
(though it was signed by Breton and Rivera)
• It called for an International Federation of
Independent Revolutionary Art
• Influential on Greenberg’s ideas, which aligns
emerging American abstraction with the mural
movement and surrealism
Man Ray, Andre Breton, 1930
“the struggle for revolutionary ideas in art must begin with
the struggle for artistic truth, not in terms of any single
school, but in terms of the immutable faith of the artist in
his own inner self.” -Leon Trotsky
Hans Namuth
Clement Greenberg
outside Jackson
Pollock’s studio, 1951
6. Surrealism and Abstraction
• Breton, (the “Pope of surrealism”),
championed artists who continued in
the surrealist tradition
• Breton prefaced an exhibition of
Paalen’s “fumages” (touching a
smoking candle to primed surface)
• Akin to surrealist automatism and Max
Ernst’s techniques: frottage (rubbing,
usu. on wood grain) and grattage
(scraping paint off canvas laid over
objects)
• Discovery of latent images like
surrealist “objective chance”
Wolfgang Paalen ,Ciel de Pieuvre
(Octopus Sky), 1939
fumage and oil on canvas
Max Ernst, Forest, 1927-28, grattage and oil on canvas
7. 1942 – The Anxiety of Influence: Modernism Moves
Stateside
• Group portrait from Artists in Exile show
at Pierre Matisse Gallery, NYC
• Includes Breton, Ernst, Chagall,
Mondrian, Tanguy, Leger, Matta, etc
• Many had fled Europe following
persecution by Nazi regime
• Many given retrospectives and one-man
shows in American museums around this
time
• The New York School of American
modernist painters indebted to these
artists
Artists in Exile, March 1942, New York
Andre Masson, Battle of Fishes, 1926, sand,
gesso, oil, etc
8.
9. I was interested in other spaces to do with forms
drawn from non-Euclidean geometry and the idea
of entering these spaces. These structures do not
rely on the sense of space, as we know it. It is a
space without limits and which transforms itself in
time – a mutant space.”
-Roberto Matta
11. A Few New Surrealist
Recruits
• A Chilean painter
• Initially studied architecture
• Applied this to his “inscapes” (a
kind of landscape of the mind)
inspired by psychoanalysis
• Also influenced by world politics
and disastrous events of war
• Biomorphic (cosmic and organic) &
mechanomorphic abstraction
• Linear perspective suggested, but
interrupted
• Later expelled from Surrealist
group by Breton
Roberto Matta, Years of Fear, 1941-42, oil
"I am interested only in the unknown”
-Matta
Yves Tanguy
Suffering Softens Stones
1948
oil
12. “Abstraction allows man to see with his mind what he
cannot physically see with his eyes. Abstract art
enables the artist to perceive beyond the tangible, to
extract the infinite out of the finite. It is the emancipation
of the mind. It is an explosion into unknown areas.”
-Arshile Gorky
14. A Few New Surrealist Recruits
• Gorky fled Armenian Genocide in 1915 with mother and
sisters
• Mother later died of starvation
• Arrived in U.S. in 1920
• Changed name to reinvent identity
• Endured series of tragedies and ultimately committed
suicide
Arshile Gorky, Artist and his Mother
1926-36
• Style influenced by Matta
(e.g. thinning paint)
• Also influenced by Miro,
Picasso, Kandinsky
• Allowed Breton to title his
works, but never became
official Surrealist
Gorky,TheLiveristheCock’sComb,1944
16. 1943 – Harlem Renaissance
• James A. Porter’s Modern Negro Art is
published
• Presented a history of African-American
art from its beginning
• Lawrence represents in serial form Great
Migration from South to North between
WWI & WWII for those seeking economic
opportunities and escape from racist Jim
Crow laws
• When published in Fortune mag,
solidified his reputation
• Renaissance also nurtured by nationalist
and separatist ideas of Booker T.
Washington and Marcus Garvey (“return
to origin” beliefs)
• W.E.B du Bois’s beliefs in unity, racial
pride, and parity with white Americans
most influential
• Art should express this vision
Jacob Lawrence, from The Migration of the Negro, 1940
Jacob
Lawrence
Pool Parlor
1942
18. 1943 – The “New Negro”
• Identity of “New Negro” (Alain
Locke) shaped by African heritage
as seen through lens of European
modernism
• To re-envision “primitive” aesthetics
as sources of national pride &
identity
• A reconsideration of the
aestheticized and fetishized mask
• Painted while artist was in Paris
LoisMalliou-Jones,LesFetiches,1938
Detail from Picasso’s
Les Demoiselles d’Avignon
1907
19. Imaging the “New Negro”
• Van der Zee
was the
premier
photographer
of Harlem Ren.
• Styled and
retouched own
portraits
(painted
backdrops, etc)
• To show
positive
portraits of
prosperous
African-
Americans in
NYC during the
Harlem Ren.
James Van Der Zee, Family Portrait, 1926
Lorna Simpson, 9 Props
1995, photo on felt
• Had vases in van
Der Zee’s photos
recreated
• Photographed them
isolated with text on
felt
• Modernist
examination of the
construction of Black
identity
21. A “Visual Vocabulary for Black America”?
• Considered “official” artist of
Harlem Ren.
• Work shows hybrid aesthetic
• Teacher Winold Reiss (Art Deco
artist) encouraged his interest in
tribal art forms and European
modernism (cubism)
• Shared Precisionist interest in
clean lines and American
landscape?
• Most acclaimed project was his
mural series Aspects of Negro
Life, painted for WPA in 1934
Aaron Douglas, The Creation, 1935, oil on masonite
Our problem is to conceive, develop, establish an art era.
Let’s bare our arms and plunge them deep through the
laughter, through pain, through sorrow, through hope,
through disappointment, into the very depths of the souls
of our people and drag forth material crude, rough
neglected. Then let’s sing it, dance it, write it, paint it…
Let’s create something transcendentally material,
mystically objective, Earthy. Spiritually earthy. Dynamic.
22. Aaron Douglas, From Slavery through Reconstruction, from Aspects of Negro Life, 1934
23. 1945 - The Aftermath of World War II
Shogo Yamahata, Nagasaki, 1945
24. Abstraction & The Sublime
Mark Rothko, Untitled, 1969
Caspar David Friedrich, Monk by the Sea, 1809
25. 1947 – The Irascibles
• Now known as Abstract
Expressionists, this group didn’t
receive its name until 1952
• They banded together in reaction to a
juried exhibition at the Metropolitan
Museum of Art in 1950 due to what
they call the Met’s “hostility to
advanced art”
• This photo published in Life
magazine in Jan 1951 and joint letter
of protest published on front page of
the New York Times in May 1950
• Includes Smith, Baziotes, Gottlieb, de
Kooning, Motherwell, Newman,
Pollock, Rothko and Still, and Hedda
Sterne (only female artist present)
• Though grouped together stylistically,
not a cohesive movement; each had
own idiosyncratic mark
• 1947 watershed year (Pollock’s first
drips, de Kooning solo show, etc) Nina Leen, The Irascibles, 1950
26. In 1940, some of us woke up to find ourselves without
hope—to find that painting did not really exist…The
awakening had the exaltation of a revolution. It was that
awakening that inspired the aspiration…to start from
scratch, to paint as if painting never existed before. It
was that naked revolutionary moment that made painters
out of painters.
-Barnett Newman
Pablo Picasso, Guernica, 1937
• Many worked for Works Progress
Administration under FDR during
1930s
• Most aligned with radical politics,
including the Communist party
• Debated the relationship between
art and politics (having had been
aware of and inspired by Picasso’s
Guernica)
• Some influenced by the Mexican
muralists & American regionalists
• An enthusiasm for and rejection of
surrealism (rejection of the surrealist
emphasis on narrative and retaining
the surrealist interest in primitivism
and psychoanalysis)
• A collective feeling of inferiority in
the face of European modernism
• Exposure to European modernism
in NYC
1947 – The Irascibles
28. From the Automatic to the Autographic
How do we make sense of “American-type” painting?
De Kooning, Untitled, 1948-49, oil
“Individual plight
against American
consumerism”?
-Schapiro
“freedom
and
engagement
of the
self” ?
A record of
the artist’s
performance
or
presence?
29. Mark Rothko, No.
3/No.13
(Magenta, Black,
Green and
Orange), 1949
“The familiar identity
of things has to be
pulverized in order to
destroy the finite
associations with
which our society
increasingly
enshrouds every
aspect of our
environment” - Mark
Rothko
30. Most painting in the European tradition was painting the m
-Robert Motherwell
31. The New York School
Robert Motherwell, At Five in the Afternoon, 1949
Mark Rothko, No. 3/No.13
(Magenta, Black, Green and Orange), 1949
• Title taken from a refrain in a poem by Federico
Garcia Lorca, lamenting the death of a bullfighter
• From his Elegy to the Spanish Republic Series,
140 paintings begun in 1948
32. • Pollock received one-
man show at Betty
Parsons Gallery in
1949
• With Pollock’s
ascent, AbEx
became mainstream
• Exported as
American cultural
policy under Marshall
Plan (post-War
European Recovery
Program)
• Synonymous with
new American
“freedom” during
Cold-War
• An American art?
1949 – Jackson Pollock: “Is he the greatest living painter in
the US?”
Life magazine , 1949
33. Abstract painting is abstract. It confronts you.
There was a reviewer a while back who wrote
that my pictures didn't have any beginning or
any end. He didn't mean it as a compliment, but
it was. -Jackson Pollock
34. 1949 – A Melting Pot Aesthetic?
Pollock, Autumn Rhythm (No. 30), 1950, oil and enamel
35. 1949 – A Melting Pot Aesthetic?
• Hybrid style influenced by
Surrealism (automatism),
Regionalism (the American
heartland, the frontier), Native
American art, Mexican muralism (in
scale – Siquieros), etc.
• Pollock studied briefly with the
American regionalist Thomas Hart
Benton
• Studied Jungian psychoanalysis (the
collective unconscious) beginning in
1939
• Rejected European refinement or
“French cooking” (“F*@k Picasso!”)
Jackson Pollock, Going West, 1934-35
Thomas Hart Benton, Arts of the West, 1932
Pollock, Moon Woman
Cuts the Circle, 1943
36. “A Mass of Tangled Hair”?: Understanding Pollock
Hans Namuth
Clement Greenberg
outside Jackson
Pollock’s studio, 1951
to render substance entirely optical and forms as
an integral part of ambient space—this brings
anti-illusionism full circle. Instead of the illusion of
things, we are now offered the illusion of
modalities; namely, that matter is incorporeal,
weightless, and exists only optically like a
mirage.
-Greenberg on modernist painting
massive
crypto-landscapes
-TJ Clark
anti-form
-Robert
Morris
37. Action! Painting
• Began to drip house paint on
unstretched canvas on his barn
floor in 1946-47 (in rural Long
Island, NY)
• Relinquished authorship? Gravity
and viscosity determine the works
to a large degree
• By abandoning brush to canvas,
he broke with traditional
painting
• By 1953, broke with
drip process & figures
returned
• Died in car crash in 1956
When I am in my painting, I am not aware of what I am doing. It is only after a sort of ‘get
acquainted’ period that I see what I have been about…painting has a life of its own. I try to let it
come through’ - Pollock, from Possibilities, 1947
Hans Namuth, Photograph of
Jackson Pollock painting, 1950
http://www.youtube.com/watch?v=6cgBvpjwOGo
Notas del editor
Today, we’re going to return to painting, specifically large-scale painting, largely expressionist in form and content, which dominated the art world in the mid-20 th century. We’ve seen expressionist painting before, specifically in the work of artists like the Russian painter, Kandinksy, the German Expressionists, Kirchner, and to a degree, in the Fauvist painters, Matisse, etc. However, we haven’t yet seen anything like this, monumental pure abstractions, in some cases, almost devoid of form, as in the case of the painter Mark Rothko’s late works for the Rothko Chapel at the Menil Collection in Houston, Texas, which opened in 1971. What allows for this, what the early expressionist painter Franz Marc would call “a sheer will to abstraction”? And to borrow from the late curator Kurt Varnedoe’s book title on the same subject, how can we best understand these “pictures of nothing” both apart from and intimately tied to the time and place in which they were made? Beginning with this work, not introduced in your text, here we see several large scale monochromatic paintings made specifically for a non-denominational chapel. While it’s difficult to get a feel for the octagonal structure and the experience of viewing these in person, I can tell you that there are 14 paintings here, displayed in the round, some of them triptychs and the others single paintings, which, while painted in black, contain within them subtle modulations in color and light when seen up close. Here above is a quote by Rothko. How can we use it to best understand the work and the motivation for making it? How can we use it to understand the time and place in which Rothko was working? So, since these artists are working in what has largely been described as an expressionist vein and because of that, their work is seen in the context of their life story and own opinions of their craft, we’re going to begin today with a little exercise. Like before, you will be divided into groups and this time, assigned a statement by an artist whose work we’ll study today. I’d like you to read it and discuss how it can, or if it can, be used to better understand that artists work (as shown in your textbook and elsewhere) and in general, the art of this era.
We can briefly return to Mexican muralism. Diego Rivera’s political leanings become more apparent as we look at the recreation of this RCA mural in Mexico City and the presence of a portrait of one of the most important politcal leaders of that day, Leon Trotsky. By beginning today’s conversation with this almost hidden reference to Trotsky, we can begin to discuss the political meanings behind mid-century modernist art, as well as the conditions in which this art was made, much of it by artists in exile. Trotsky was a Ukranian-born Bolshevik revolutionary, Marxist, and leader of the October Revolution in Russia. He was expelled from the Communist party during the rise of Stalin and deported. While living in exile in Mexico, he continued to be outspoken against Stalin and was eventually executed by a Soviet Agent. He also had a brief affair with the artist Frida Kahlo while living in one of hers and Diego’s houses in Mexico. All three figures (Diego, Frida, and Trotsky) believed in the cause of the proletariat to revolt and forge a new democratic state that would share control of the means of production.
This is where we’ll begin today’s discussion of Mexican muralism and Surrealism – two important influences on the American movement, Abstract Expressionism. Its most prominent figure was Pollock, an artist whose work reflects the many artistic styles in practice during mid-century America, especially muralism and surrealism. We’ll come back to Pollock later.
Much of the innovations of mid-century modern art will depend on this mass exile of artists to New York. Their styles and processes of artmaking will be adopted and modified. They ’ll interact at lectures, exhibitions. This will encourage the development of Abstract Expressionism. Masson ’s work created by manipulating a number of materials on surface of canvas, including sand, and delineating the emergence of “irrational” forms. The subject is a savage battle among sharp-toothed fishes, which reflects Masson’s belief that life is savage, a lesson he learned from his service and subsequent injuries in WWI. He joined the Surrealists in 1924.
Atomic bombs dropped on Hiroshima and Nagasaki on August 6 and 9, 1945. WWII lasted from 1939-45.
Perhaps much of mid-century modern art was a response to the devastation of WWII. What kind of world can be envisioned in paint following the Holocaust and the atomic bomb? Can one even go on just making paintings? Although Mark Rothko ’s paintings are often appreciated for their decorative qualities (harmonious color combinations), he stated that they were meant to be anything but decorative. Believing that his work should express enduring themes, such as tragedy and ecstasy, he painted what can be interpreted as vast, desolate landscapes that dwarf man as he stands in front of them. Man may feel small, inconsequential in comparison to the sublimity of the world before him, particularly as its revealed through war or space exploration. This idea of the sublime (the feeling of awe or terror often with respect to nature) is not dissimilar to its manifestation in the early 19 th century, in the aftermath of the French and American revolutions. This is just one way of looking at the work of these American abstract painters, such as Jackson Pollock, Franz Kline, Robert Motherwell, and Rothko.
Willem de Kooning - Dutch artist, began as figurative painter -received important solo show in 1948 -painted with a “tight grip on brish and nervous twists of wrists” (Art Since 1900) -tight control, wiping out and starting over