The term Post-painterly abstraction was coined by critic Clement Greenberg in conjunction with an exhibition of the same name at the Los Angeles County Museum of Art in 1964, featuring contemporary American and Canadian artists.
In his essay for the catalogue Greenberg distinguished between Painterly abstraction—his preferred designation for what others have called Abstract Expressionism—and the artistic work that it precipitated by such artists as Gene Davis, Paul Feeley, John Ferren, Sam Francis, Helen Frankenthaler, Alfred Jensen, Morris Louis, Jules Olitski, Frank Stella, and others. Some of these artists continued the painterly, loose facture of color and contour pursued by Jackson Pollock and Willem de Kooning, while others moved toward a more hard-edged style.
What they shared, according to Greenberg, was the kind of linear clarity and physical openness of design that had begun with Painterly abstraction and continued in its wake, as well as a new tendency to stress contrasts of pure hues, and a rejection of the tactile application of paint in favor of staining the canvas with diluted paint. Often they also sought a flat, anonymous style of execution.
Morris Louis
Alpha-Pi
After a visit to New York in April 1953, where they saw the recent paintings of Helen Frankenthaler, Washington-based friends Morris Louis and Kenneth Noland began to similarly stain raw canvases with diluted pigment, rather than apply it with a brush. Experimenting with different painting techniques and media, compositional formats and canvas sizes in the nine remaining years before his untimely death (from lung cancer), Louis produced an astonishingly large body of work. These paintings are divided into three basic series: the Veils (1954–60), the Unfurleds (summer 1960–January/February 1961), and the Stripes (January/February 1961–summer 1962).
Alpha-Pi is one of about 150 Unfurleds he created, generally on mural-size canvases (this one measures over 8 feet by 14 feet). In all of them, irregular rivulets of different colors flow diagonally down toward the lower center of the canvas, but never quite meet; the center of the unprimed canvas remains blank. Heavily diluted, the poured colors soak into the canvas, becoming one with the surface, and maintain the flatness of the modern picture plane. Color retains its optical purity (since it is not used to describe or define something else) and there is no sense of narrative, image, or perspectival space as in traditional painting. Eschewing illusionistic references, the artist forces the viewer to focus solely on the painting's formal elements—color, size, and shape and the vibrant, light-filled space they inhabit.
Alpha-Pi is one of about 150 Unfurleds he created, generally on mural-size canvases (this one measures over 8 feet by 14 feet). In all of them, irregular rivulets of different colors flow diagonally down toward the lower center of the canvas, but never quite meet; the center of the unprimed canvas remains blank. Heavily diluted, the poured colors soak into the canvas, becoming one with the surface, and maintain the flatness of the modern picture plane. Color retains its optical purity (since it is not used to describe or define something else) and there is no sense of narrative, image, or perspectival space as in traditional painting. Eschewing illusionistic references, the artist forces the viewer to focus solely on the painting's formal elements—color, size, and shape and the vibrant, light-filled space they inhabit.
References:
http://www.guggenheim.org/new-york/collections/collection-online/show-full/movement/?search=Post-painterly%20abstraction
http://www.metmuseum.org/toah/works-of-art/67.232
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