According to Marilyn Stokstad, the British art historian:
Expressionistic movements before and after 1910 were developed by three artists' groups:
• The Fauves ("wild beasts") • Die Brucke (“The Bridge”) • Der Blaue Reiter (“The Blue Rider”)
pioneered by James Ensor, Edward Munch and Vincent van Gogh. One of the earliest and most famous examples of Expressionism is the Starry Night which Vincent van Gogh painted from the window of his cell in the mental institution.
According to Klaus Kertess, curator of MOCAD:
New York Figurative Expressionism of the 1950s represented a trend where "diverse New York artists countered the prevailing abstract mode to work with the figure."
Categories of figurative expressionist modes:
Willem de Kooning, (1904 - 1997); Jackson Pollock, (1912 - 1956); Conrad Marca-Relli, (1913 - 2000)
Larry Rivers, (1923 - 2002); Grace Hartigan (1922 - )
Elaine de Kooning, (1918 - 1989); Balcomb Greene, (1904 - 1990); Robert de Niro, Sr., (1920 - 1993); Fairfield Porter, (1907 - 1975); Gregorio Prestopino, (1907-1984); Lester Johnson, (1919 - ); George McNeil, (1909 - 1995); and Robert Goodnough, (1917 - )
Jan Müller, (1922 - 1958); Robert Beauchamp, (1923 - 1995) and Bob Thompson, (1937 - 1966)
According to Klaus Kertess, curator of MOCAD:
According to Judith E. Stein, During the war years and into the fifties, the general public was to remain highly suspicious of abstraction, considered by many as un-American. While the art critic Clement Greenberg successfully fought the public’s negative response to abstraction his attempt to intimidate the New York figurative painters of the fifties was less successful. A conversation recollected by Thomas B. Hess emphasized the perceived power of the critic:
In the winter of 1953 a new journal was founded, Reality. The editorial committee included:
The Journal’s intention was “to rise to the defense of any painter’s right to paint any ways he wants.”
In the Autumn of 1959 Philip Pavia, the “partisan publisher” of It is, a magazine of abstract art wrote in an open letter to Leslie Katz, the new publisher of Arts Magazine :
Although the New York Figurative Expressionists lacked advocates of the stature of Clement Greenberg or Harold Rosenberg, they were recognized by critics who perceived them as the new radicals.
The literary historian, Marjorie Perloff has made a convincing argument that Frank O'Hara’s poems on the works of Garace Hartigan and Larry Rivers proved “that he was really more at home with painting that retains at least some figuration than with pure abstraction.” Frank O’Hara wrote an elegant defense in ”Nature and New Painting," 1954. He listed the following artists:
who responded to “the siren-like call of nature.” O’Hara aligned the New York Figurative Expressionists within abstract expressionism, which had always taken a strong position against an implied protocol, “whether at the Metropolitan Museum or the Artists Club.” Thomas B. Hess, wrote:
The well-known art historian Judith Bookbinder established Boston Figurative Expressionism as an integral part of American modernism bracketing the Second World War:
The German Expressionists’ images of Max Beckman, George Grosz and Oskar Kokoschka were the source of Boston Figurative Expressionism.
The early members of the Boston Expressionsit group were immigrants or children’s of immigrants from Central Europe, and many of them were Jewish with Germanic background.
Members of the Boston Figurative Expressionists:
Chicago’s figurative expressionists of the 1950s “shared a deep concern with an existential human image of thwarted but inexorable endurance.” According to the Poet and Art Critic, Carter Ratcliff:
Members of the Chicago figurative expressionists:
In the United States by the end of the 1950s… Abstract Expressionism was no longer, in fact, new... The crisis of Abstract Expressionism now freed many …artists to follow their long-frustrated inclination to paint the figure,” which resulted in the resurgence of the American Figurative Expressionsim. Richard Diebenkorn was among the earliest Abstract Expressionist who returned to the figure before the crisis of Abstract Expressionism.
Early figurative painters of the San Francisco area:
Bay area figurative artists 1950-1965: ,
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