artists of the new york school of abstract expressionism produced paintings that are abstract but
Abstract expressionism 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.[5] In practice, the term is applied to any number of artists working (mostly) in New York who had quite different styles, and even to work that is neither especially abstract nor expressionist. California Abstract Expressionist Jay Meuser, who typically painted in the non-objective style, wrote about his painting Mare Nostrum, "It is far better to capture the glorious spirit of the sea than to paint all of its tiny ripples." Pollock's energetic "action paintings", with their "busy" feel, are different, both technically and aesthetically, from the violent and grotesque Women series of Willem de Kooning's figurative paintings and the rectangles of color in Mark Rothko's Color Field paintings (which are not what would usually be called expressionist, and which Rothko denied were abstract). Yet all four artists are classified as abstract expressionists.
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1 + 2 + 3 + 4 + ⋯ which increases without bound as n goes to infinity. Because the sequence of partial sums fails to converge to a finite limit, the series does not have a sum.
Abstract expressionism Technically, an important predecessor is surrealism, with its emphasis on spontaneous, automatic, or subconscious creation. Jackson Pollock's dripping paint onto a canvas laid on the floor is a technique that has its roots in the work of André Masson, Max Ernst, and David Alfaro Siqueiros. The newer research tends to put the exile-surrealist Wolfgang Paalen in the position of the artist and theoretician who fostered the theory of the viewer-dependent possibility space through his paintings and his magazine DYN. Paalen considered ideas of quantum mechanics, as well as idiosyncratic interpretations of the totemic vision and the spatial structure of native-Indian painting from British Columbia and prepared the ground for the new spatial vision of the young American abstracts. His long essay Totem Art (1943) had considerable influence on such artists as Martha Graham, Isamu Noguchi, Jackson Pollock, Mark Rothko and Barnett Newman.[3] Around 1944 Barnett Newman tried to explain America's newest art movement and included a list of "the men in the new movement." Paalen is mentioned twice; other artists mentioned are Gottlieb, Rothko, Pollock, Hofmann, Baziotes, Gorky and others. Motherwell is mentioned with a question mark.[4] Another important early manifestation of what came to be abstract expressionism is the work of American Northwest artist Mark Tobey, especially his "white writing" canvases, which, though generally not large in scale, anticipate the "all-over" look of Pollock's drip paintings.