Abstract
This paper discusses the life of Jackson Pollock, (1912-1956) who is one of the central figures in the development of the strictly American art movement called Abstract Expressionism. Included are biographical information, description of major works, quotes from Pollock and his critics describing his innovative drip painting style, a brief description of the major motion picture made of his life, and an "art inventory," or comprehensive analysis of the 1953 painting called "Easter and the Totem".

From the Paper
"American painter, Jackson Pollock, born in Cody, Wyoming in 1912, was a troubled genius who became known as a quintessential abstract expressionist in the art world of the twentieth century. Pollock, a freedom seeking rebel, was instrumental is the development of the distinctly American abstract expressionist movement in the United States. He became notorious for his drip painting methods and his huge canvases layered with paint and embedded objects. Pollock, known for his emotional volatility and heavy drinking, seen as a phony by some, and a hero by others, used his innovative, individualistic and uninhibited style to birth a new artistic genre in post World War II America."

Tags:abstract, art, easter, expressionsim, totem

Abstract
A look at the impact of world wars on abstract expressionism, a genre of art. The author examines what paintings under this genre represent and how they come to play significant roles in the expression of historical events.
Table of Contents

I. Introduction

A. Brief definition of abstract expressionism

B. Examples of other relationships between artistic movements and political happenings

1. Romantic movement

2. Vietnam

C. Brief description of the effects of World War

1. effects on the U.S. economy/politics

2. effects on the people

D. Thesis as to the relationship of World War II and the rise of Abstract Expressionism

1. Three major influences

a. immigration of European artists, writers, intellectuals, scientists

b. the Surrealist movement

c. ancient influences (art)

II. Body

A. Before World War II

1. Depression

2. Thirty Years War

3. World War I

B. Historical Roots

1. the 1930s

a. political happenings/economy

b. art & the relationship between the two

2. late 1930s early 1940s

a. political happenings/economy

b. art & the relationship between the two

C. Intellectual Roots

1. Themes of Abstract Expressionism

a. the return to origins

b. the human continuum

c. conflict and the dualistic pattern of human life

d. opportunities/new beginnings

2. Heritage (Ancient influences)

3. Nature

4. the subconscious

D. Artists

1. Gesture

a. style

b. specific artists

2. Color Field

a. style

b. specific artists

3. In-between

a. style

b. specific artists

III. Conclusion

A. The evolution of art starting from the period of the 1930s (WWI, Depression, etc.) to

after World War II

1. Content

2. Purpose

3. Style

B. How World War II molded Abstract Expressionism and how the artists drew from World War II

1. the people's responses to the war

2. united aspects of the art that showed a general feeling towards WWII

C. How, by the rising of Abstract Expressionism, modern art was affected, and how it

changed the way that people expressed their sentiments

From the Paper
"At first, there was an initial resistance to Abstract Expressionism, but by the 1950s it was recognized as the dominant force in American painting, encouraged by the government while being considered a symbol of American cultural freedom.For the first time ever, American art received widespread and serious attention in Europe. Abstract Expressionism can hardly be characterized as a single movement due to the diversity of the art it encompasses. Despite this variety, Abstract Expressionist paintings share several broad characteristics they are basically abstract, emphasizing free, spontaneous, and personal emotional expression, and they exercise considerable freedom of technique in order to attain this goal. The artists of this period manipulate the physical variables of the paint in order to convey expressive qualities, often on large canvases to give the visual effects an engrossing power. Abstract Expressionist artists can be divided into three categories based on style - gesture painting, such as done by Jackson Pollock, color field painting as done by Mark Rothko, or an in-between style as done by Robert Motherwell."

Tags:art, history, movements, paper, term

Abstract
The paper explains how abstract expressionism emphasized the basic character of a person or object while having little visual reference to the real world or to nature. The paper discusses some of the artists associated with abstract expressionism that include Jackson Pollack, Willem de Kooning, Franz Kline and Mark Rothko.

From the Paper
"According to Paul Stella of the Metropolitan Museum of Art, abstract expressionism was created in the early 1940's in New York City by a small group of artists who devised "a stylistically diverse body of work that introduced radical new directions in art. Some of the artists associated with abstract expressionism include Jackson Pollack (1912-1956), Willem de Kooning (1904-1997), Franz Kline (1910-1962) and Mark Rothko (1903-1970), all of whom advanced "audacious formal inventions in a search for content" via new techniques and subject matter. Overall, the works of art that currently define abstract expressionism stand as reflections of these artist's individual psyches and their attempts to "tap into universal inner sources," meaning that abstract expressionists relied heavily on the collective unconscious in the form of archetypes that express man's most primitive and at times violent emotions ("Abstract Expressionism," Internet)."

Tags:human, figure, reality, modern, paintings, materials, canvas

Abstract
This six-page paper presents a comparative study of expressionism and abstract expressionism and the impact it has on modern art. Definitions and descriptions of each type of art are explained as well as examples of each style.

Abstract
The paper explains that an abstract artist expresses his/her own viewpoint or perspective through re-shaping the natural world until it reflects a specific ideal or principle. The paper discusses the artwork of Hans Hofmann, Jackson Pollack, Franz Kline, Willem de Kooning, Mark Rothko and Stuart Davis who all stand as American masters of abstract expressionism. The paper then shows how these artists created a new and sometimes shocking artistic style that went completely against traditional forms of expression.

From the Paper
"After World War II in 1945, expressionist artists in the United States began to assert their own individual personalities through their artwork, such as personal identities and even their own psychological makeup. Although expressionism can be traced back to artists like Gauguin and Van Gogh in the late 19th century, American expressionists in the 1950's and 1960's "set themselves apart from the earlier artists by deciding to do away with the human figure" (de la Croix & Tansey, 769) as the one true representative of natural beauty. Some of these artists fall into a category known as figural expressionism, while others have been designated as purely abstract artists."

Tags:Hans, Hofmann, Jackson, Pollack, Franz, Kline, Willem, de, Kooning, Mark, Rothko, Stuart, Davis

Abstract
This paper explains that Frank Stella, born in 1936, influenced by the flag paintings of Jasper Johns, emerged in the 1960s as a leading example of Post-Painterly Abstraction, a reaction against Abstract Expressionism. The author relates that Andy Warhol's Pop Art applied a commercial art style to painting, as he appropriated subject matter from the pulp media. Warhol creating a style out of his own non-involvement with the material and his attempt to produce works that were machine-like, thus separated from the artist. The paper recounts that Roy Lichtenstein (1923-1997) is known for his series of paintings as a comic strip working with stencils to make rows of over-sized dots, forming his paintings of prints and making them look like a huge mass publication product.

Table of Contents
Frank Stella
Andy Warhol
Roy Lichtenstein

From the Paper
"Lichtenstein similarly imitated objects of popular culture, as in his comic-strip paintings taken from comic books and the like, or from his series of advertisements recreated on canvas, such as "Girl with Ball" (1961). Warhol's "Marilyn" images were mechanically reproduced and celebrated the machine element both in the way they were created and in the way they imitated a strip of motion-picture film, which is a mechanical means for reproducing movement. Lichtenstein in "Girl with Ball" and similar images recreated the mechanical look such newspaper print ads have in their original state, as if created by an off-set process that leaves the image flat, with texture showing through from the paper, or the canvas, and with a limited palette in keeping with the tri-color off-set process."

Tags:reproduction, newspaper, post-painterly, comics, marilyn

From the Paper
"Proto-Abstract Expressionism was a transitional stage in the 1940s in which the developing Abstract Expressionists produced the works that led directly to the later movement. On the question of influences and development various art historians and critics hold differing views. A comparison of the views of several writers will clarify the manner in which various sources influenced Proto-Abstract Expressionists such as Mark Rothko, Arshile Gorky and Jackson Pollock and how their works, in turn, led to the development of Abstract Expressionism.

Proto-Abstract Expressionism was developmental in nature and critics and historians do not assign a role in this stage to works that did not take in influences that were later manifested in Abstract Expressionism. Thus, for example, a historian might judge that early Regionalist-influenced works by Pollock and ..."

Abstract
The paper attempts to illustrate how ideas and conceptions of abstract art have changed and developed since the early years of the twentieth century. The paper compares two modern abstract artists, Frank Stella and Robert Pepperell, with more traditional views of abstract art, such as those of Wassily Kandinsky. The paper shows how contemporary abstract artists still adhere to the formal and stylistic tenets of early abstraction but without the idealism that had initiated the abstract art movement.

Outline:
Introduction
Brief Overview of Abstract Art
Modern Abstract Artists: Frank Stella and Robert Pepperell
Conclusion

From the Paper
"Abstract art is commonly defined as, "art that does not depict objects in the natural world, but instead uses color and form in a non representational way." (NationMaster Encyclopedia: Abstract art). This definition does not deal with all the issues surrounding the meaning and understanding of abstract art and there is a great deal of dissension and argument among critics and art theorists about the nature and meaning of the term 'abstract'. However, the general view is that abstract art is essentially non-representational and non-objective. It is also seen from an artistic viewpoint as an attempt to provide an understanding of the world and reality that cannot be obtained by the methods and techniques of representation."

Tags:style, technique, idealism, expressionism, perception

Abstract
This paper examines, compares and contrasts realism and expressionism in the works of Kathe Kollwitz and Paula Modersohn-Becker. It focuses on Modersohn-Becker's "Self-Portrait with Amber Necklace" and "Self Portrait on Her Sixth Wedding Anniversary" and Kathe Kollwitz's "Praying Girl" and "Small Self-Portrait". The paper shows how both artists comparably use a feminine self-expression, but they use differing variations of drawing and painting in their stylistic methods of art.

From the Paper
"The latest of the works that will be analyzed in this study will be the etched lithograph "Small Self Portrait" (1920) by Kathe Kollwitz. The grim countenance of the artist in this drawing reflects her old age, as well as a tired expression defining her life-long artistic commitment and loyalty to the working classes. This feminine image is not grandiose or tainted as are normative standards of beauty that were common in this period, and reveal the reality of an old woman who has seen a great many difficulties in life. In her life, she often sought out women models that reflected her "interest and sympathy for the hardships of the humble working women" (Prelinger 105). The hard lines of her face are depicted in the drawing, which connotes the hardship that she often wished to see in the working people in her community. In many cases, the dark lines and shadowing reflect the realist manner of clarity and proportion, which depict the essence of a clear-sighted view of the artist's presence. Often, this "reality" of her line and composition often dictated her desire to depict people as they appeared, not as an artist's own selfish distortion or beautification of life."

Tags:feminism, expression, style, abstraction

Abstract
This paper explains that Willem de Kooning was one of the artists who developed the Abstract Expressionism movement of post-World War II in which paintings were generally painted on large canvases with the artists appling paint rapidly with forceful strokes, demonstrating the energy and creativity of the country. The author points out that, in the early 1950s, de Kooning started painting a monumental series of paintings entitled "Woman" on large canvases, painted with slashing marks of the brush, having an overwhelming appearance. The paper relates that Willem de Kooning's career spanned six decades; his art was very controversial, especially his "Woman" series, violent with colors, formed with eloquent brushstrokes appearing savagely applied.

From the Paper
"Willem de Kooning was born on April 24, 1904 in the Netherlands, also known as Holland. In 1916, at the age of twelve, he was accepted into the Rotterdam Academy of Fine Arts and Techniques and trained there for eight years. In 1926, he entered the United States as a stowaway on a boat and eventually settled in Hoboken, New Jersey. De Kooning made his living as a house painter and later, a teacher at Black Mountain College. A year later, he moved to a studio in Manhattan and met artist, connoisseur, and art critic John Graham and painter Arshile Gorky. Gorky became one of de Kooning's closest friends."

Tags:holland, women, color, energy, large