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Lyrical Abstraction

Lyrical Abstraction is either of two related but distinctly separate trends in Post-war Modernist painting, and a third definition is the usage as a descriptive term It is a descriptive term characterizing a type of abstract painting related to Abstract Expressionism; in use since the 1940s Many well known abstract expressionist painters like Arshile Gorky seen in context have been characterized as doing a type of painting described as Lyrical Abstraction[1][2]The second common use refers to the tendency attributed to paintings in Europe during the post-1945 period and as a way of describing several artists (mostly in France) whose works related to characteristics of American abstract expressionism At the time (late 1940s) Paul Jenkins, Norman Bluhm, Sam Francis, Jules Olitski, Joan Mitchell, Ellsworth Kelly and numerous other American artists were living and working in Paris and other European cities With the exception of Kelly all of those artists developed their versions of painterly abstraction that has been characterized at times as Lyrical Abstraction, tachisme, color field, and abstract expressionismFinally in the late 1960s (partially as a response to minimal art, and the dogmatic interpretations by some to Greenbergian and Juddian formalism) many painters re-introduced painterly options into their works and the Whitney Museum and several other museums and institutions at the time formally named and identified the movement and uncompromising return to painterly abstraction as Lyrical AbstractionEuropean Abstraction Lyrique (Tachisme) born in Paris in 1945, and the French critics Pierre Guiguen and Charles Estienne the author of L'Art i Paris 19451966 are credited with coining its name in 1946, and American Lyrical Abstraction a movement described by Larry Aldrich (the founder of the Aldrich Contemporary Art Museum, Ridgefield Connecticut) in 1969 [3][4]European Lyrical Abstraction is an art movement born in Paris after World War II At that time, France was trying to reconstruct its identity devastated by the Occupation and Collaboration Some art critics looked at the new abstraction as an attempt to try to restore the image of artistic Paris, which had held the rank of capital of the arts until the war It is possible that Lyrical Abstraction also represented a competition between Paris and the new American school of painting, Abstract Expressionism, based in New York and represented by Jackson Pollock, Willem de Kooning and many others It could thus be seen as the School of Paris versus the New York SchoolLyrical Abstraction was opposed not only to Cubist and Surrealist movements that preceded it, but also to geometric abstraction (or "cold abstraction") Lyrical Abstraction was in some ways the first to apply the lessons of Kandinsky, considered one of the fathers of abstraction For the artists in France, Lyrical Abstraction represented an opening to personal expressionPost World War II France was trying to reconstruct her identity devastated by the Occupation and Collaboration

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Some art critics have looked at the new abstraction as an attempt to try to restore the image of artistic Paris, who had held the rank of capital of the arts until the warJust after World War II, many artists old and young were back in Paris where they worked and exhibited160;: Nicolas de Stail, Serge Poliakoff, Andri Lanskoy and Zaks from Russia; Hans Hartung and Wols from Germany; irptd Szenes and Simon Hantai from Hungary; Alexandre Istrati from Romania; Jean-Paul Riopelle from Canada; Vieira da Silva from Portugal; Girard Ernest Schneider from Switzerland; Feito from Spain; Bram van Velde from Holland; Albert Bitran from Turkey; Zao Wou Ki from China; Sugai from Japan; Sam Francis, John Koenig, Jack Youngerman and Paul Jenkins from the US


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Lyrical Abstraction - Oil Paintings Art Gallery Maria D'Adam