 The World of Abstract
Abstract by Country
Abstract Masters
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To return to abstract expressionism as a whole, can we say where its tendency to give new leads? Of course not, since the artist alone to determine that. But there are straws in the wind, and one of them is the attitude of young painters and sculptors to abstraction. The word is no longer a challenge or a banner of the revolution. The first training of some of these artists was under leading abstract painters: Hans Hofmann, Mark Rothko, Clyfford Still, Robert Motherwell and others. Their students have accepted abstraction as naturally as a generaiion students accepted early American scene painting.
This does not mean they will necessarily abandon the search for the formation of a new avant-garde in representational art (although some have done just that). But abstract expressionism has a vitality that is not likely to be extinguished, even by the assurance with which it is now practiced. Its younger members are to find their own challenges, and they lie so much in the development of an abstract vocabulary, largely developed already, but in the transformation. art once again from one end to the means, and use of the oblique approach of the movement to explore a wider field of truth and human experience than has yet been attempted in such conditions.
This gradual transformation preserves much of the expressionist abstract method - highly addictive incentives subconscious and spontaneous expression, technically a continued insistence on this surfaceness Schapiro calls. The essential difference is in the character of "subject" and the more control it exerts on the work of art. Consciously designed "ideas" are back to painting, and to exert their influence in a kind of counterpoint with the intuitive and subconscious. His most recent work, Theodoros Stamos said, "The combined series evolved from thoughts of the solstice. As I worked, things that knows a painter of the portrait-making began to take place automatically in the control the abstract arrangement, the distribution of shape and color on the canvas, but always retaining one thing above all, the "idea". "
So we return almost complete circle of the original character of abstract expressionism in search of species, not as those of the individual personality that conventional forces of nature and man that have concerned artists for centuries . "Many of my paintings," says Ethel Schwabacher, "involve themes of love and death, man dominated by fate, the state transitions to be. I try to face the expression of these themes by creating a quality of mood and feeling, especially I try to invoke the internal responses that are entered by species rather than pure ideas, he was my constant concern to arrive at the essence, the exact quality of the thing in itself "..
If it is a traditional goal of art - its timeless search for understanding and communication - it is also one that each generation must discover for herself and pursue her way. The abstract approach confronts the challenges of contemporary artist with a series of agonizing and almost impossible choice: between image and gesture, order and chaos, expression and communication, private and universal truths. Yet it gave him a tool of extraordinary sensitivity with which to probe beneath the surface of things at the very heart of human experience.
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