Post-painterly abstraction is a broad term that encompasses a variety of styles which evolved in reaction to the painterly, gestural approaches of some Abstract Expressionists. Coined by Clement Greenberg, in 1964, it originally served as the title of an exhibition which included a large number of artists who were associated with various tendencies, including color field painting, hard-edge abstraction, and the Washington Color School.
Greenberg had perceived that there was a new movement in painting that derived from the abstract expressionism of the 1940s and 1950s but "favored openness or clarity" as opposed to the dense painterly surfaces of that painting style.
As painting continued to move in different directions, initially away from abstract expressionism, powered by the spirit of innovation of the time, the term "post-painterly abstraction", which had obtained some currency in the 1960s, was gradually supplanted by minimalism, hard-edge painting, lyrical abstraction, and color field painting.
Greenberg characterized post-painterly abstraction as linear in design, bright in color, lacking in detail and incident, and open in composition (inclined to lead the eye beyond the limits of the canvas). Most importantly, however, it was anonymous in execution: this reflected the artists' desire to leave behind the grandiose drama and spirituality of Abstract Expressionism.
Artist => Frank Stella
Frank Stella (born May 12, 1936) is an American painter and printmaker, significant in the art movements of minimalism and post-painterly abstraction.
"According to Greenberg, in contrast to the Parisian painters,
'The American version of Abstract expressionism is usually characterized, in failure as well as in success, by a fresher; more open, more immediate surface. Whether it is enamel paint reflecting light, or thinned paint soaked into unsized and unprimed canvas, the surface manages somehow to breathe. There is no insulating finish, nor is pictorial space created "pictorially" by deep or veiled color; it is a question rather of blunt and corporeal contrasts and of optical illusions difficult to specify. Nor is the picture "packaged", wrapped up and sealed in, to declare it as easel painting; the shape of the picture itself is treated less as a receptacle given in advance than as an open field whose unity must be permitted emerge instead of being imposed or forced upon it'
The critic contended that while the "new spontaneity and directness" of American abstract artworks may be difficult for audiences to accept, the best American painting successfully offer their viewers nothing other than "a plentitude of presence." "(pg 39 & 40)
"In 1964, Greenberg expanded on this theme, nothing in particular the ways in which "Helen Frankenthaler's soaking and blottings of paint... open rather than close the picture, and would do so even without the openness of her layout. Emphasizing the qualities of "lucidity" and "optical clarity", Greenberg wrote that the post-painterly abstractionists "shun thick paint and tactile effects. Some of them dilute their paint to an extreme and soak it into unsized and unprimed canvas (following Pollock's lead in his black and white paintings of 1951). In their reaction against the 'hand-writing' and 'gestures' of Painterly Abstraction, these artists also favor a relatively anonymous execution." By working through the formative influences of Pollock and Frankenthaler, Louis and Noland were characterized as having arrived at a type of painting that "conveys a sense not only of color as somehow disembodied, and therefore more purely optical, but also of color as a thing that opens ans expands the picture plane." Thus, in a reaction against the qualities of personalized gestural touch that distinguish later abstract expressionism (now renamed "Painterly Abstraction"), post painterly abstraction was seen instead as characterized by a liquefying anonymity of touch, a physical openness and clarity of design, and a lucid opticality that issued from the paintings' "disembodied color." (pg 126)
Frank Stella (born May 12, 1936) is an American painter and printmaker, significant in the art movements of minimalism and post-painterly abstraction.
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"Modernism's Masculine Subjects-Matisse, the New York School and Post-Painterly Abstraction" /Marcia Brennan
"According to Greenberg, in contrast to the Parisian painters,
'The American version of Abstract expressionism is usually characterized, in failure as well as in success, by a fresher; more open, more immediate surface. Whether it is enamel paint reflecting light, or thinned paint soaked into unsized and unprimed canvas, the surface manages somehow to breathe. There is no insulating finish, nor is pictorial space created "pictorially" by deep or veiled color; it is a question rather of blunt and corporeal contrasts and of optical illusions difficult to specify. Nor is the picture "packaged", wrapped up and sealed in, to declare it as easel painting; the shape of the picture itself is treated less as a receptacle given in advance than as an open field whose unity must be permitted emerge instead of being imposed or forced upon it'
The critic contended that while the "new spontaneity and directness" of American abstract artworks may be difficult for audiences to accept, the best American painting successfully offer their viewers nothing other than "a plentitude of presence." "(pg 39 & 40)
"In 1964, Greenberg expanded on this theme, nothing in particular the ways in which "Helen Frankenthaler's soaking and blottings of paint... open rather than close the picture, and would do so even without the openness of her layout. Emphasizing the qualities of "lucidity" and "optical clarity", Greenberg wrote that the post-painterly abstractionists "shun thick paint and tactile effects. Some of them dilute their paint to an extreme and soak it into unsized and unprimed canvas (following Pollock's lead in his black and white paintings of 1951). In their reaction against the 'hand-writing' and 'gestures' of Painterly Abstraction, these artists also favor a relatively anonymous execution." By working through the formative influences of Pollock and Frankenthaler, Louis and Noland were characterized as having arrived at a type of painting that "conveys a sense not only of color as somehow disembodied, and therefore more purely optical, but also of color as a thing that opens ans expands the picture plane." Thus, in a reaction against the qualities of personalized gestural touch that distinguish later abstract expressionism (now renamed "Painterly Abstraction"), post painterly abstraction was seen instead as characterized by a liquefying anonymity of touch, a physical openness and clarity of design, and a lucid opticality that issued from the paintings' "disembodied color." (pg 126)
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