Order 203468: Art in a historical era and comparing two major works of art

UA_FINALPAPER.rtfLM_FINAL_GRADED AB_FINAL_graded_example
 

• Type of paperResearch Paper
• SubjectArt
• Number of pages4
• Format of citationAPA
• Number of cited resources4
• Type of serviceWriting

Instructions are attached. Please read them, and please only bid if you think you can do a good job.

A written paper of no less than
5
pages in length

which uses

at least
5 sources
.

(no wikipedia).

The
paper shall contain five (5) parts
labeled A-E
. The content of the paper is as follows:

A. Choose
one
subject/historical
era
from chapters 18-22 in the textbook.

(1 page)
A.

Or you may choose other art or craft, based on your interests.

Ch. 18 – ART BEYOND THE WEST
Ch. 19 – MODERN ART
Ch. 20 – THE TWENTIETH CENTURY: The Early Years
Ch. 21 – THE TWENTIETH CENTURY: Post-War to Modern
Ch. 22 – ART IN THE TWENTY-FIRST CENTURY: A Global Perspective
Describe the time, place, and psychological setting.
Describe relevant social, technological or scientific trends.
B. Describe the ROLE of ART in society during this subject/historical era.
(1 page)

For example: What does a work of art mean to the average citizen? Does it have religious, spiritual, secular or commercial value? Who owns the art? Where is it displayed and why? What purpose does the art serve in this context?
C
& D.
Choose two
works of art from this era
.

C. Describe work #1

(1 page)

C1. Describe work #1 in terms of three (3) art elements and two (2) design principles.
C2. Discuss the artist for work #1: (who, what, where, when, how and why…)
D
.
Describe work #2 (1 page)

D1. Describe work #2 in terms of three (3) art elements and two (2) design principles.
D2. Discuss the artist for work #2: (who, what, where, when, how and why…)
E
.
Compare and contrast the two works of art.

(1 page)

1. Contrast the physical/formal properties such as the art elements and design principles.
2. Contrast the reasons for creating that the artists may have chosen (artist’s philosophy).
3. Contrast the ways in which the art might be perceived/received by the public/viewers.

Provide visuals from the textbook.

Cite the visuals in your work using APA style; see sheet on formatting citations
.

Use APA style for references/sources/citations.

See sheet that refers to Purdue and Yale websites for more information.

1

Name FINAL PAPER FEEDBACK

Name,
You have written a detailed paper that addresses more than was required. As you have chosen
2 artworks that depict similar subject matter, you have set up a refined comparison and
contrast, which is quite powerful with your added insights.

Yes, both Caravaggio and Gentileschi dealt with the intense Biblical scene in their own way.
For each artist, we can only assume the anguish they were working out from within their own
souls and experiences.

During the entire class you have written well, with an in-depth alertness that keeps the subject
matter alive. I hope you will continue to find ways to express yourself creatively and that the
material you have learned here will be of help to you in future situations.

Part A (5 pts.) provides accurate, interesting facts about the Baroque period, 1600 – 1750.

Part B (5 pts.) describes how art functions in this context, both as persuasive vehicle for the
Counter-Reformation and as means for veiled self-expression by artists of the time.

Part C (5 pts.) offers 3 art elements and 2 design principles to describe the work, with added
personal perceptions and queries that help the reader to engage in the artist’s experience.

Part D (5 pts.) offers 3 art elements and 2 design principles to describe the work, also with
personal conjecture that springs from factual analysis.

Part E (5 pts.) compares and contrasts these two works using art elements, design principles and
a keen, close look at technique, artists’ circumstance, and volatile subject matter.

Part F (3 pts.) Reference list includes much more than 5 sources in proper APA style.
Part F (2 pts.) In-text citations are present, but seem to appear as MLA style footnotes, rather
than within the text.

Grade: 30 of 30

Best to you in your future projects !

Darele Bisquerra
bisquerd@matc.edu

2

A. Description of one historical era.

The Baroque Period began right around the turn of the seventeenth century and ended

about the middle of the eighteenth century (1600-1750) The Baroque period started in

Rome, Italy and worked its way north through most of Europe.
1
In general, Baroque’s

artistic style of painting involved the use of exaggerated motion with a concentrated light

source through the use of a strong contrast of light and shadow at specific points in a

composition to elicited intense emotions and drama that produced a kind of artistic

sensationalism or grandeur.
2
The Baroque period was also a time in which religious

tensions grew within Western Christianity that resulted in its division into Roman

Catholicism and Protestantism known as the Protestant Reformation. The Baroque period

also reflected the growth of absolutist monarchies also known as “the style of

absolutism”.This time period also brought about advances in the fields of science,

philosophy, math and astronomy. Isaac Newton established the basic laws of physics

pertaining to motion and gravity. Galileo and Kepler increased man’s awareness of the

vast expanses of space. In addition, it was a time period in which the French philosopher,

René Descartes, dubbed the “Father of Modern Philosophy” offered many of his

principles in philosophy that are closely studied to this day. Descartes was also a

mathematician who came up with the concept of the Cartesian coordinate system. In the

eighteen century scientific literature became so abundant, that the period has also been

named the Age of Enlightenment. There was also economic growth in most European

countries during this time period that helped to create a large, prosperous middle class.

The Baroque Period also brought about innovations in music. Many musical forms were

1

2

http://en.wikipedia.org/wiki/Rome

http://en.wikipedia.org/wiki/Italy

http://en.wikipedia.org/wiki/Style_(visual_arts)

http://en.wikipedia.org/wiki/Cartesian_coordinate_system

3

born in this era. The most outstanding achievement in music during the Baroque period

was the innovation of opera.

B. Discussion of the role of art within the historical setting.

3
Baroque style of painting was closely associated with the cultural movement of

Reformation -Counter-Reformation which had a profound effect on art. Catholics,

through the efforts of the Counter-Reformation launched a huge campaign, partly through

the use of art, to reinvigorate the lose loss of faith people had with the doctrines, rituals,

and ecclesiastical structure of the Roman Catholic Church. During the Baroque period the

Catholic Church offered numerous commissions too many artists to create artworks

depicting subject matters relating to religious themes. However, the Catholic Church’s

conception of the function of ecclesiastical art demanded that paintings evolving church

contexts should depict their subjects clearly, powerfully, with decorum, and emotional

stimulus that portrayed reverence, devotion and piety to the church.
4
As a result, the

Reformation and Counter-Reformation played a big part in the selection of subject matter,

and innovation in the artistic style of the artist’s. It is by no means to say that Baroque art

was exclusively associated with religious art. Baroque art is also often identified with

Absolutism. A great demand for art emerged because of the rise of absolute monarchies

who exploited the Baroque style of art as a means of propaganda that would symbolize

their emerging power and authority. The aristocracy also saw the dramatic style of

Baroque art as a means of impressing visitors. Baroque style of art was consequently

used as a way to urge these types of social and political system changes occurring during

this time period. With the emergence of the urban middle class, art began to be produced

3

4

http://en.wikipedia.org/wiki/Cultural_movement

http://en.wikipedia.org/wiki/Roman_Catholic_Church

http://en.wikipedia.org/wiki/Painting

http://en.wikipedia.org/wiki/Political_absolutism

http://en.wikipedia.org/wiki/Nobility

4

in general subjects, such as landscapes and flowers, thus the manifestation of genre

scenes. The middle class use of art as an investment, additionally, resulted in the

development of a free commercial art market that stimulated linked professions, such as

the art dealer, auctioneer, and critic. Accordingly, the main patrons of art during the

Baroque period were the church, monarchies, aristocracy, wealthy merchants, private

citizens and art collectors.

C. Analysis of Art #1 using 3 art elements and 2 design principles

5
Caravaggio an Italian artist who painted in Rome, Naples, Malta, and Sicily caused a lot

of controversy among the public because of his use of intense, dramatic contrasts of light

and dark, tenacious realism, meticulous attention to naturalistic detail and approachable,

life-like models. He handled his success atrociously and led a tumultuous life.
6
He had

many encounters with the law and was imprisoned for several assaults and for killing a

man. Caravaggio’s artistic talents were forgotten upon his death. It wouldn’t be until the

20th century that the importance of Caravaggio’s artistic talents and contribution to the

development of Western art that his paintings were rediscovered. There is much

conjecture and confusion regarding Caravaggio’s death. An analysis of human remains

believed to belong to Caravaggio seems to indicate that Caravaggio might have died of

lead poisoning. Paints used at the time contained high amounts of lead salts and may be

the cause of Caravaggio’s indulgence in erratic and violent behavior.

In the analysis of Art #1, I was immediately drawn to Caravaggio’s painting, Judith

Beheading Holofernes, because of his use of dramatic and selective illumination of

figures out of deep shadow in order to spotlight certain parts of the painting while casting

5

6
Ibid

http://en.wikipedia.org/wiki/Italian_people

http://en.wikipedia.org/wiki/Artist

http://en.wikipedia.org/wiki/Rome

http://en.wikipedia.org/wiki/Naples

http://en.wikipedia.org/wiki/Malta

http://en.wikipedia.org/wiki/Sicily

http://en.wikipedia.org/wiki/Lead_poisoning

5

other parts into the night through the use chiaroscuro also called tenebrism, a hallmark of

Baroque painting. I was intrigued how the use of the figure ground relationship used in

the painting by darkening the background can be utilized in order to intensify the part or

parts of the work the artist wants to depict and intends, me, the viewer to see. The light is

intensified in this way to radiate or illuminate and draw me to the positive shapes or

objects/figures in the painting the artist wants me to focus on, in this case, the center of

the painting. The other element of art that makes this painting particularly unique and so

dramatic is Caravaggio’s use of time. The painting captures the moment when the action

is occurring and as if it were playing out onstage, choosing the most dramatic point. I also

noticed that the principle of unity was applied through the use of the color red. There is a

red draping above Holofernes head and red blood below coming from his neck. The red

added visual interest to the center of the painting to again create emphasis or a focal point

to the sword that Judith was holding while decapitating her captive. There is also the use

of both psychological and directional diagonal lines created in the painting that were also

used to create emphasis or a focal point to the decapitating of Holorfernes head. The

painting provided me with an intense mental or perceptual connection through Judith’s

eyes as well as her maid servant’s, which were filled with a disgusted facial expression

that were directed squarely at Holofernes. Again the positioning of the sword as well as

Judith’s arms which are both placed diagonally are used to emphasis the focal point, the

center of the painting, which always comes back to the dramatic act of Judith

decapitating Holofernes head.

D. Analysis of Art #2 using 3 art elements and 2 design principles

6

Artemisia Gentileschi was the daughter of a painter and was also an Italian painter herself.

7
Her father had a colleague, Agostino Tassi, give Artemisia painting lessons. Tragically,

Tassi, also ended up raping her as well. Tassi was arrested and sentenced to

imprisonment for one year, although he never served the time. Artemisia’s suffering of

rape and subsequent mistreatment at the trial is probably the reason for her chose in

painting historic and biblical subjects that featured a female protagonist who intentionally

lacked the stereotypical feminine traits of sensitivity and weakness and instead were

courageous, rebellious, with powerful personalities.
8
Her best-known image, Judith

Beheading Holofernes, shows the decapitation of Holofernes. Artemisia Gentileschi was

a devoted follower of Caravaggio during the Baroque period whose chiaroscuro style

(contrast of light and shadow) greatly influenced Artemisia Gentileschi’s work. She was

the first female painter to become a member of the Accademia di Arte del Disegno in

Florence. She was both praised and disdained for being a major artist in her own right

while exercising a creative talent thought to be exclusively male.Her success and gender

fueled many rumors about her private life.

The cause of Artemisia’s death is not known, but she most likely died in 1652. It is

rumored that Artemisia may have committed suicide. Although, it is also speculated that

she may have died in the devastating plague that swept Naples in 1656. Today Artemisia

Gentileschi is considered the most important woman painter of Early Modern Europe.

In the analysis of Art #2 I was immediately hypnotized by Artemisia Gentileschi

painting, Judith Beheading Holofernes, because of the strong and intense mental or

perceptual connection created by the psychological line made between Judith and her

7

8
Ibid

http://www.biography.com/people/caravaggio-9237777

7

captive, Holofernes. I was further lured in by the strong directional lines use in the

painting. I was first enticed by the exploitation of diagonal lines utilized to implied

movement and directionality of Judith’s arms holding the sword as a way to express the

intensity of her action while in the middle of decapitating her captive’s head. I was

further entranced by the use of vertical lines to suggest the aggressiveness of both the

maid servant’s arms holding down Judith’s captive as well as the captive’s arms

struggling and fighting to break free. Lastly, I was pulled toward the use of the vertical

line of the sword itself to again imply the aggressiveness of the action actually taking

place in that very moment where Judith is cutting off her captive’s head. The use of the

psychological line and strong directional lines in the painting created an intense central

emphasis or focal point around the center of the painting, the decapitating of the captive’s

neck. There was also a consistent sense of unity through the vibrant use of the color red.

Red is consistently found throughout the painting starting with the blood spilling from the

captive’s neck onto the bed sheets below as well as squirting out from his neck to his arm

above. The color red is also strategically painted in the garment draped around his lower

body and around the bands of both female’s upper arms to express a consistent sense of

unity throughout. One can also argue that a sense of Radial Balance is also used here as

well. The color red, the blood, seems to radiate from a center point, the sword around the

captives neck. Therefore, use of blood seems to provide order to the content of the

painting that directs the gaze of the viewer both outward and inward.

E. Comparison and contrast of Art #1&2.

In comparing Caravaggio’s painting with Artemisia’s with regard to the physical/formal

properties such as the art elements and design principles two things stand out in

8

Caravaggio’s painting over Artemisia’s. Caravaggio’s painting is much more proficient

when it comes to the use of the art elements of light, value, and color. Caravaggio is a

master in the way he can create a vibrant palette rich and deep in color to evoke a

dramatic emotional scene in a painting. Secondly, Caravaggio’s ability and technique in

the use of chiaroscuro is unmatched in the way he can create a concentrated light source

within a painting. It is the reason why I chose his painting.

Nevertheless, I found Artemisia’s painting to be more engaging for a couple of reasons. I

was captivated by Artemisia’s intense use of unity through the use of the color red and

physiological as well as directional lines. These elements and principle of design were

crafted in such perfect harmony with each other that it created a perfect, strong, dramatic

focal point that pulled me to the center of her painting. I was especially mesmerized by

her use of the color red and the way it directed my gaze both outward and inward as a

means to explore the entire painting.

Ultimately what made these almost identical paintings by two different artists completely

different is how the artist’s personal expression of passion and intensity was presented on

the subject matter. Caravaggio’s painting seems to have been painted from the content of

anger, similar to the way he lived his dreadful and turbulent life. His painting reflected

his dark, urgent nature and desperate state of mind. Caravaggio’s stereotype of women

was also evident in his painting in the way he portrayed Judith as having a fragile,

delicate demeanor who seemed incapable of killing the Assyrian general, Holofernes, by

decapitating his head. This in my opinion made the painting lack realism and the

dramatic intensity needed. Ironically, these were some of the things for which he was

renowned and known for as an artist. In contrast, Artemisia’s painting is clearly painted

9

from the perspective of a woman who has suffered underlying feelings associate with a

rape and subsequent discrimination simply because she was a woman. To me Artemisia’s

personal experiences makes her portrayal of Judith’s as a righteous woman with a

determined strong physical and emotional state committed to the task that overpowers

Holofernes and decapitates his head as real and dramatically intense. Artemisia painted

her painting from a viewpoint of a private yearning for equality of women and to express

her fight for the injustice of discrimination of women simply because of their gender.

This seems to be what makes her painting unique apart from the basic elements and

principles of design.

F. In-text citations and Reference page in APA Style

Works Cited

“Artemisia Gentileschi.” Biography.

Web. 03 May 2012.

.

“Baroque – ENotes.com Reference.” Enotes.com. Enotes.com. Web. 03 May 2012.

.

“Baroque 1600 – 1700.” Learn To Paint And Draw, Online Art Classes. 03 Nov. 2007.

Web. 03 May 2012.

istbar.html>.

“Baroque (1600-1750).” Baroque (1600-1750). The New Book of Knowledge, 25 Jan.

2012. Web. 03 May 2012.

.

10

“The Baroque Era.” Art Cyclopedia: The Fine Art Search Engine. Web. 03 May 2012.

.

“Baroque Painting.” Essential Humanities. Web. 03 May 2012.

humanities.net/western-art/western-painting/baroque-painting/>.

“Baroque Period.” – New World Encyclopedia. Creative Commons Attribution/Share-

Alike License, 07 Nov. 2008. Web. 03 May 2012.

.

“Baroque Period (art) : Introduction.” Encyclopedia Britannica Online. Encyclopedia

Britannica, 06 Feb. 2012. Web. 03 May 2012.

.

“Caravaggio – The Complete Works.” Caravaggio. Web. 03 May 2012.

.

Name FINAL PAPER FEEDBACK

Name,
Your writing on the New York School in the post-World War II era is filled with good details that help the
reader understand the context of the time, the role of art as a means of a new and open vehicle for
expression, along with very descriptive areas about each painting’s physical and metaphysical
characteristics.

I can picture the wet, fluid paint strokes in each artist’s work due to your colorful, descriptive language.
Good work.

The content of parts A & B could be switched in some areas, but good information is included nonetheless.

Part A (4 pts.) provides accurate, interesting facts about the post-World War II era in the United States, but
could include just a bit more to inform the reader of the compressed or anarchic context of the world at large.

Part B (5 pts.) describes how art functions in this context, and the quote from the Philadelphia Art Museum is
an important viewpoint within the surrounds of war and conflict.

Part C (5 pts.) offers 3 art elements and 2 design principles to describe the work in full and richly descriptive
ways.

Part D (5 pts.) offers 3 art elements and 2 design principles to describe the work, and makes necessary
connections between the elements/principles and their purpose with the resulting meaning for the artist and
viewer.

Part E (5 pts.) compares and contrasts these two works using a full range of elements and principles that
inform the artist’s intentions, dispositions and the feeling of the resulting paintings and subject matter.

Part F (3 pts.) Reference list does include 5 sources in proper APA style.
Part F (2 pts.) In-text citations are consistently present.

Grade: 29 of 30 (Online Final Paper is worth 30 points)

Best to you in your future projects !

Darele Bisquerra
bisquerd@matc.edu

Abstract Expressionism 2

Abstract Expressionism

Aimee Blood

Understanding Art

April 25
th
, 2012

Abstract Expressionism 3

A: Subject/ Historical Era

When World War II started, the world went through many changes. (One needs to define

what World War II was about, because one can’t assume the reader knows this) Art was not to be

left out of these changes. With the start of World War II and a rise in fascism, many artists

packed up their lives and moved to the United States (from where?). Many of which ended up in

New York City. A movement called Abstract expressionism evolved from the inspiration of

Surrealists. Abstract Expressionism helped to revolutionize the face of art. Another name for

Abstract Expressionism is the New York School. Most of their early inspirations came from

Cubist formalism and Surrealist automatism. Both of these ideas were early roots of modernism,

despite their vast differences. (Moffat, 2008) Many of the Abstract Expressionists believe in the

theories of Carl Jung, a Swiss psychoanalyst. Jung’s most influential theory was “The collective

unconscious holds that beneath one’s private memories lives a storehouse of feelings and

symbolic associations common to all humans.” (Stokstad, 2005)

Abstract expressionism gained instant recognition. It caused confusion and controversy

while simultaneously causing passion and feeling. In addition to the Surrealists, some believe the

roots of Abstract Expressionism can also be traced back to Picasso and Kandinsky. Abstract

expressionism artists applied paint freely to their huge canvas in effort to show feelings and

emotion, rather than realistic subject matter. It was more about the actual physical action of

applying paint to the canvas surface and the resulting effect of that action became the art. Their

methods of action were not comprised of painstaking, delicate brush strokes like is often thought

of when thinking of art; but rather intense and abrupt application through spills, splatter, drips,

slashes, and the like. Their use of color further enhanced the structure of their designs. (Moffat,

2008) (This is a good overview of the trend, but might be better included in Part B)

Abstract Expressionism 4

B: The Role of Art in this Society

The USA was wholly involved with the war during the beginning of the 1940’s. This

caused a hardship on many of the art establishments with so many people away at war. However,

a new wave of inspiration emerged in the late 1940’s after the war was over. Abstract

expressionism was beginning to evolve and two new concepts took hold of artists’ inspiration.

Pieces were now being based on fields of color and others on the active handling of paint.

(Mittler Ph. D, 2000)

In 1952, Harold Rosenberg, a famous art critic coined the term action painting or what

others would call gesturalism. He was quoted as saying, “At a certain moment, the canvas began

to appear to one American painter after another as an arena in which to act, rather than a space in

which to reproduce, redesign, analyze, or express an object, actual or imagined. What was to go

on the canvas was not a picture but an event.” The two painters he was making reference to was

Pollock and de Kooning.

Art was forced to take a backseat during the war. There was so much going on

throughout this time period. Some feel that it was a cause of inspiration for their art. Even with

everything that was happening, there was still a group of people that saw preserving at as their

priority. At a Museum Association meeting in 1942, Curator Horace H. F. Jayne said the

following:

“Even though some of us shall be called upon to carry on more immediate, more

forthright tasks of war, let us never forget to hand on our charge to others so that all may

Abstract Expressionism 5

ever enjoy the privilege of seeing these true proofs of man’s belief in liberty of the spirit

[works of art].” (Philadelphia Museum of Art, 2012)

C: Willem de Kooning (1904-1997)

Willem de Kooning moved to the US in 1926 from Holland. In the late 40’s, he began

painting a series that consisted of portraits of females. However, these were not elegant portraits

that one would find hanging above a parlor mantle, or one similar to those of the Neo Classicism

era. These portraits were said to be “grotesque, insulting, and ugly” by those observing the

works. His purpose was not to degrade the appearance of a woman, but to express her

complexity and empower her through a depiction that was both shocking and intriguing at the

same time. It showed the woman as a catalyst of many emotions ranging from hate to pity, anger

to love, and sadness to elation. De Kooning felt that he could not fully represent these emotions

that when put together form a uniquely beautiful and strong woman by painting a traditional

portrait, as the viewers would not be able to see past her outward appearance.

Color plays an intricate part in de Kooning’s piece. Woman I blocks of color

create a structure of a female form, creating a vibrant and multidimensional

figure without fixating on the materialistic nature of her attire. His colors were

rich and balanced throughout the piece, and his abrupt applications of large,

violent strokes further enhanced the feelings of strength and emotion he was

trying to convey. It appears that a lot of the variation in value comes from de Kooning’s process

of applying and stripping layer after layer right on the canvas.

Kooning’s abrupt use of paint application and sharp colors provide a great sense of

energy, as well as overall structure. The degree of variety in value helps to enhance Kooning’s

WOMAN I

Abstract Expressionism 6

goal to shock his viewer and symbolize the complexity of women. The beauty still shows

through his ability to capture the multidimensional colors, light and dark, pure and combined.

Line in Woman I played an important role in the overall composition and also converged the

theory and concept behind the piece. De Kooning’s lines were sharp and abrupt, varying greatly

in thickness, direction, and density. The lines were created through a series of layering and

stripping the oil paint on the canvas. His strokes do not appear delicate, as many artists are when

depicting a woman or her attire. They are harsh and aggressive, strong in angles and give way to

curves. It is clear that his lines are used to evoke emotions in the viewer.

Willem de Kooning used variety in this piece of art, not only in brush stroke and line, but

also in value and color. De Kooning created high gestural lines that varied in size, shape, and

direction, ultimately creating a complex and active composition. De Kooning utilized horizontal

and vertical lines repeated throughout the piece, allowing for a smooth guide of the viewer’s eye

throughout the canvas. The variety in thick and thin lines helped create the structure that makes

the female figure. The harsh lines depicted the power and strength of the woman, contrary to

many soft and curved lines often found in pieces depicting females. (The Art Story, 2012)

D: Jackson Pollock (1912-1956)

Jackson Pollock evolved a lot throughout this life as an artist. Early on in his career, he

began to replace his symbols with freely applied paint. He set up a studio in a renovated barn

and created countless large scale paintings. He would tack down the edges of his canvas and

walk around all four sides, splattering, throwing, and drizzling paint. What would come of thi s

unique method of application were nature inspired pieces full of rhythmic lines and bold designs.

Pollock took great enjoyment in becoming one with his paintings. He felt free~ blissfully

unaware of his actions. The result of this was a harmonious spatter that existed without any

Abstract Expressionism 7

AUTUMN RHYTHM

beginning or end. (Jackson Pollock, 2003) Pollock married abstract painter Lee Krasner in 1945,

who took a short hiatus from producing until 1956, when Pollock was killed in a car wreck. It

was then that she took over his studio, creating her own series of work with similar themes to her

late husband, but unique in gestural style and brushstroke. (Pioch, 2002)

Pollock uses contrasting color. The black is distinct and the white is

softened with the aid of the browns and teals that intermix throughout

the piece. In reference to the title, the colors chosen further enhance the

tone with its darker values and neutral browns. The usage of cool and

neutral colors help associate the composition to its autumn theme. (Jackson Pollock, 2003)

Pollock loves the use of line. Though line can be difficult to put into words, Pollock was

successful in creating an endless variety of line. Line is defined as “a continuous mark made on

the same surface by a point.” (Fichner-Rathus, 2010) Pollock did just that. He created lines that

overlapped, intertwined, curved and went straight all over his canvases and exceeded the lines

that were created form the edge of the canvas. The lines guide the viewer’s eyes around the

painting in a fluid and continuous motion, provoking the thought that the painting just continues

on and on. Pollock’s use of line allows the viewer to enjoy the overall composition and does not

allow them to become fixated on one particular object or area. (Stokstad, 2005)

Texture is demonstrated in this piece in a variety of ways. Pollock started with a blank,

flat canvas with little texture to the human eye. However, upon paint application, the piece grew

into a highly textural creation that could not only be seen but would also be able to be felt should

one place their hand over the bumpy and smooth layers of paint. The areas that involved a heavy

application of paint produced an almost rough, wrinkly texture.

Abstract Expressionism 8

Pollock covered all the principles of design in this piece, but there are two that allow for

the overall composition to be successful~ movement and rhythm. Movement is created in this

piece because it is an example of “action painting”. The lines, shapes, and overall flow directly

correlate with the movement coming directly from Pollock himself. The movement he created

successfully guides the viewer’s eye throughout the overall canvas, guiding you from side to

side, up and down. It is nearly impossible to become fixated on one particular area with the

harmonious balance of sweeping lines and gentle colors.

Rhythm, which goes hand in hand with movement in design, is an obvious principle and

reoccurring theme in Pollock’s work. So much so, that he even put it in the title of our piece

“Autumn Rhythm.” Rhythm in art occurs when there is a repetition of the elements in a work of

art, creating some sort of tempo or beat that the viewer can follow. Rhythm is the key to setting

the mood of a piece, and providing a continuous guide that takes the viewer’s eyes on an

exploration of the overall composition. The delicate and unique patterns represent what we

experience in nature, uncontrolled variation and beauty. All of these elements and principles of

design combined to create a unified design. Each plays an intricate part in Autumn Rhythm and

demonstrates the ability and talent that Pollock possessed. (Mittler Ph. D, 2000)

E: de Kooning’s Woman I vs. Pollock’s Autumn Effect

De Kooning’s application in stripping away of paint is a metaphor for his attempt to strip

away ones outer beauty to show what truly lies within. He used a variety of violent and abrupt

applications of paint through large, gestural strokes. He, like many abstract painters, left what

happened on his canvas up to chance, though demonstrated a clear skill and understanding of

rules set by the Masters several centuries before. A great deal of interpretation is allowed for the

Abstract Expressionism 9

viewer to determine on his paintings, allowing for a deeper connection and meaning between the

viewer and the piece.

Pollock used a variety of tools to apply paint including brushes, sticks, glass and knives.

He was physically involved with each of his pieces, as if his actions and applications were just as

important as the medium and canvas being used. He did not believe that the artist should know

what his finished product would look like from the conception of the idea of the painting. His

paint application was always at random and though his method of application became a

discipline, there was never a way of knowing how the paint would fall, so to speak. The purpose

of Pollock’s painting was not just to show the viewer his feelings, but the literally EXPRESS

them in his act of putting paint on the canvas. His paintings are a direct reflection of who Pollock

was. His color choice, application, and themes further enhance d the viewer’s ability to connect

with Pollock and his piece. (Stokstad, 2005)

It wasn’t until the 1960’s that abstract expressionism started to truly be given the

recognition that it deserved as being an incredible new movement in art. (Mittler Ph. D, 2000)

Both Pollock and de Kooning utilized oil and enamel on canvas. They both clearly demonstrated

their feelings within their large-scale pieces. They start to show many differences when it

comes to their themes. Pollock’s theme was nature; de Kooning’s is the power within women.

Pollock limited his use of color. De Kooning had variation in blocks of color, mainly primary

and flesh tones. Pollock had long sweeping, fluid lines of harmony; his brush never touches the

canvas. De Kooning had harsh, abrupt, angular lines. Contact is made directly with paint and

canvas. Pollock did not feel anxiety when painting, de Kooning was ravaged with nervous,

agitated doubt. (The Art Story, 2012) These two men are a true representation of how very

different art is to every individual artist, even if they produce the same style of art. Well stated !

Abstract Expressionism

10

References

Fichner-Rathus, L. (2010). Understanding Art. Boston, MA: Wadsworth Cengage Learning .

Jackson Pollock. (2003). Bio. Retrieved from Jackson Pollock:

http://www.jacksonpollock.com/index.php

Mittler Ph. D, G. A. (2000). Art in Focus. New York City: Glencoe/McGraw-Hill.

Moffat, C. (2008, January). Abstract Expressionalism. Retrieved April 5, 2012, from The Art

History Archive: http://www.arthistoryarchive.com/arthistory/abstractexpressionism/

Philadelphia Museum of Art. (2012). 1940-1950. Retrieved from Philadelphia Museum of Art:

http://www.philamuseum.org/information/45-230-26.html

Pioch, N. (2002, July 2). Jackson Pollock. Retrieved from Paris WebMuseum:

http://www.ibiblio.org/wm/paint/auth/pollock/

Stokstad, M. (2005). Art History. Upper Saddle River, New Jersey: Pearson Education.

The Art Story. (2012). Willem de Kooning. Retrieved from The Art Story:

http://www.theartstory.org/artist-de-kooning-willem.htm