New York Figurative Expressionism (original) (raw)

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New York Figurative Expressionism is a visual arts movement and a branch of American Figurative Expressionism. Though the movement dates to the 1930s, it was not formally classified as "figurative expressionism" until the term arose as a counter-distinction to the New York-based postwar movement known as Abstract Expressionism.

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dbo:abstract New York Figurative Expressionism is a visual arts movement and a branch of American Figurative Expressionism. Though the movement dates to the 1930s, it was not formally classified as "figurative expressionism" until the term arose as a counter-distinction to the New York-based postwar movement known as Abstract Expressionism. Commenters like Museum of Contemporary Art of Detroit (MOCAD) curator Klaus Kertess observed that "[o]n the eve of the new abstraction's purge of figuration and its rise to all-encompassing prominence, the figure began to acquire a new and forceful vigor," elsewhere explaining that "[d]uring the late forties and early fifties," figurative work was associated with a conservatism abstractionists sought to avoid. Their response was defensive, and "prone to blur the vast distinctions between figurative painters and to exaggerate the difference between the figurative and the nonfigurative. It was not until the late sixties and early seventies that the figure was permitted to return from exile and even to make claims to centrality." But that was not true of all abstract expressionists. Willem de Kooning (1904–1997) and Jackson Pollock (1912–1956), for example, started incorporating figurative elements far sooner. They, along with abstract expressionist Conrad Marca-Relli (1913–2000) among others, built upon the figure as a framework for expanding their otherwise abstract canvases. Early New York figurative expressionists included Max Weber (1881–1961) and Marsden Hartley (1877–1943), known for their work with myth and spirituality. Other early practitioners spanned the lyrical restraint of Milton Avery (1885–1965) and the clear, direct work of Edwin Dickinson (1891–1978). (en) Нью-йоркский фигуративный экспрессионизм — движение изобразительных искусств и ветвь американского фигуративного экспрессионизма. Хотя движение зародилось в 1930-х годах, оно не было формально классифицировано как «фигуративный экспрессионизм», пока этот термин не возник в качестве противопоставления нью-йоркскому послевоенному движению, известному как абстрактный экспрессионизм. Куратор Клаус Кертесс из Музея современного искусства Детройта (MOCAD), заметил, что «накануне очищения абстракции от фигуративизма и его подъема на всеохватывающую известность, фигура стала приобретать новую и мощную силу», и, что «в конце сороковых и начале пятидесятых» фигуративизм ассоциировался с консерватизмом, которого стремились избежать абстракционисты. Их ответ был защитным и «склонным размывать различия между фигуративными художниками и преувеличивать разницу между фигуративным и нефигуративным. Лишь в конце шестидесятых и начале семидесятых годов фигуре было разрешено вернуться из ссылки и даже к претендовать на центральное место». Но это было верно не для всех абстрактных экспрессионистов. Например, Виллем де Кунинг (1904–1997) и Джексон Поллок (1912–1956) начали включать фигуративные элементы гораздо раньше. Они, наряду с абстрактным экспрессионистом Конрадом Марка-Релли (1913–2000), среди прочих, опирались на фигуру как основу для расширения своих в целом абстрактных полотен. Среди ранних нью-йоркских фигуративных экспрессионистов были Макс Вебер (1881–1961) и Марсден Хартли (1877–1943), известные своей работой с мифами и духовностью. Другие ранними приверженцами были Милтон Эвери (1885–1965) и Эдвин Дикинсон (1891–1978). (ru)
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dbp:caption Milton Avery's painting "Equestrian and Acrobats," 1946. (en) Edwin Dickinson's "Portrait of Biala," 1924. (en) Max Weber's sculpture "Aurora," 1937. (en) Marsden Hartley's 1941 painting of "Lobster Fishermen" inspired by fishermen from his home state of Maine. (en) Marsden Hartley's "Adelard the Drowned, Master of the Phantom," 1939. (en)
dbp:country United States (en)
dbp:date April 2020 (en)
dbp:direction vertical (en)
dbp:fixAttempted yes (en)
dbp:image Dickinson Portrait of Biala.jpg (en) Skulptur Aurora, 1937, Kurbrunnenanlage Rheinfelden, Aargau. Von Max Reinhold Weber Bildhauer, Maler, Zeichner .jpg (en) Adelard the Drowned, Master of the 'Phantom' by Marsden Hartley.jpg (en)
dbp:influences German Expressionism is the most direct influence, but representational painting has roots in Old Master and history painting (en)
dbp:majorfigures Artists Max Weber, Marsden Hartley, Milton Avery, Edwin Dickinson (en)
dbp:name New York Figurative Expressionism (en)
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dbp:yearsactive -1960.0 (dbd:second)
dct:subject dbc:American_Figurative_Expressionism dbc:Culture_of_New_York_City dbc:Abstract_expressionism dbc:American_art_movements dbc:Art_in_New_York_City dbc:20th-century_American_artists dbc:20th_century_in_New_York_City dbc:American_Expressionist_painters dbc:1950s_in_New_York_(state)
rdfs:comment New York Figurative Expressionism is a visual arts movement and a branch of American Figurative Expressionism. Though the movement dates to the 1930s, it was not formally classified as "figurative expressionism" until the term arose as a counter-distinction to the New York-based postwar movement known as Abstract Expressionism. (en) Нью-йоркский фигуративный экспрессионизм — движение изобразительных искусств и ветвь американского фигуративного экспрессионизма. Хотя движение зародилось в 1930-х годах, оно не было формально классифицировано как «фигуративный экспрессионизм», пока этот термин не возник в качестве противопоставления нью-йоркскому послевоенному движению, известному как абстрактный экспрессионизм. (ru)
rdfs:label New York Figurative Expressionism (en) Нью-Йоркский фигуративный экспрессионизм (ru)
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