POST-PAINTERLY ABSTRACTION

This movement was coined in 1964 by the critic, Clement Greenberg for a exhibition. Artists are; Al Held, Ellsword Kelly, Frank Stella and Jack Youngerman. It grow out from Abstract Expressionism in late 1950s and early 1960s and in some ways reacted against it. In general, the new abstract artists shunned to overt emotionalism of Abstract Expressionism and rejected the expressicve gestural brushstrokes and tactile surfaces. For Greenberg, the most vocal champion of Post-Painterly Abstraction the history of modern art from Cubism through Abstract Expressionism to Post-Painterly Abstraction was one of purist reduction. He believed that each art form should restrict itself to those qualities essential only to itself to visual or optical experiances, and avoid any associations with sculpture, architecture, theatre, music or literature. Works of this that stressed their formal qualities, exploiting the purely optical qualities of pigment, emphasizing the shape of the canvas and the flatness of the picture plane. represented for Greenberg the superior art form of the 1960s.
Morris Louis, Where






 Shaped Canvas, Frank Stella 1967






Ellsworth Kelly, The Meschers, 1951



*Dempsey Amy, Art in the Modern Era, Harry N. Abrams Inc.,2002

ABSTRACT EXPRESSIONISM

Abstract Expressionism is a landmark in the general history of art and of modern art in particular. It has been used during the 1920s.Like the Cubist epoch it represents a revolutionary event which revises our view of things before and after.

The term was introduced by critic Robert Coates in an article in 1946 about the work of Gorky, Pollock and De Kooning though it was only one of many terms of art which might confront an irrational absurd world.

The movement's name is derived from the combination of the emotional intensity and self-denial of the German Expressionists with the anti-figurative aesthetic of the European abstract schools such as Futurism, the Bauhaus and Synthetic Cubism. Additionally, it has an image of being rebellious, anarchic, highly idiosyncratic and, some feel, nihilistic.

Hans Hoffmann who had gained firsthand experience of the European avant-garde befroe opening his school in 1934, taught his visual experiences to others. hewas joined by other European artists seeking refuge during World War II, notably the Surrealists Andre Breton, Andre Masson, Roberto Matta, Yves Tanguy and Max Ernst. 

Abstract Expressionism received international recognition after the MoMA's 1958-59 travelling exhibition, "The New American Painting" which toured 8 European countries. By this time, however not only wasthe work no longer particularly new.

Jackson Pollock, No. 5, 1948, 

Jane Frank (1918-1986): Crags and Crevices, 1961

Hans Hofmann The Gate,

*Anfom, David, Abstract Expressionism, 1990, Thames and Hudson

*Dempsey Amy, Art in the Modern Era, Harry N. Abrams Inc.,2002

SURREALISM

Surrealism was started in 1924 by the French poet Andre Breton. He defined Surrealism as " Thought expressed in the absebce of any control exerted by reason, outside all moral and aesthetic considerations." Surrealism aimed to break down the barriers between the people's inner and outer worlds, and change the way they percieve reality.

Max Ernst, Man Ray and Jean Arp are some of the original surrealists. The most important intellectual influence on the artists was Freud. The unconsiousnus, dreams and number of key Freudion theories were used by the Surrealists as repertiores of repressed images to exploit at will. In particular they were interested in Freud's ideas about castration anxiety, fetishes and the strange. Man Ray was the first Surrealist photographer.

 Salvador Dali

 Max Ernst, The Elephant Celebes (1921)

A Night at Saint Jean-de- Luz (1929)-Man Ray

*Dempsey Amy, Art in the Modern Era, Harry N. Abrams Inc.,2002

GIORGIO DE CHIRICO

Giorgio de Chirico was born in 1888 in Greece. He went to Polytechnic School in Athens with his brother. He encounters paintings by Arnold Böcklin, Max Klinger and Alfred Kubin in Munich for the first time, which leave a great impression on him. He went to Italy in 1990 and started living there.He mostly tarveled and participated in some exhibitions. The choice of topics and the atmosphere of his paintings show the strong influence of Friedrich Nietzsche's works.Reality and dream worlds mingle, he paints fantastic ideal architecture and city and landscapes views, strictly following the rules of perspectives, in them he places single statues and the "Manichini" - faceless manikins, that seem to be lost in the surroundings. 
The Red Tower (1913)


Carlo Carra decided to join him in 1917. They express the basic theories of the "Pittura Metafisica" after the war, which Chirico will publish in form of articles for the magazine "Valori Plastici".De Chirico is best known for the paintings he produced between 1909 and 1919, his metaphysical period, which are memorable for the haunted, brooding moods evoked by their images. 


 Love Song 1914 
                                                                                                                             1947 replica of The Disquieting Muses




Giorgio de Chirico's compositions became more classical as of the late 1930s. He drew some of his earlier metaphysic works again, some of them he even dates back. Giorgio de Chirico died in Rome on November 11, 1978.


*http://www.giorgio-de-chirico.com/

PITTURA METAFISICA

Metaphysical Painting is developed around 1913 by Giorgio de Chirico. This movement's paintings are still and quiet in contrast to the Futurist works. They has classical trimmings, disorted perspectives and strange dream imagery. Their strategy was to transcend the physcial appearance of reality, to make viewers nervous or surprise them with impossible to read and mysterious images.
Many of Chirico's paintings shows a lonely city square or claustrophobic interior painted in dark colours with theatrical lightning and amnious shadows.
The "metapyhsical" name was given by the French peot and art critic, Guillauma Apollinaire who first call De Chirico's painting with that adjective.
 Mario Sironi "Periferia" 1922


Giorgio De Chirico - Incertezza del poeta 1913


*Dempsey Amy, Art in the Modern Era, Harry N. Abrams Inc.,2002