Abstract impressionism

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Abstract impressionism represented a new tendency of the avant–garde at the end of World War II.^[1] The painters of this tendency transposed nature into its purely plastic values (lines and color). They intended to transmit the essential plastic emotion of the natural phenomenon. These artworks represented a new form of impressionism which are characterized by their search for a vibrant, chromatic atmosphere, which brought their work close to the impressionistic tradition. Therefore for some of the members of the abstract expressionism movement the designation abstract impressionists is justified.

American abstract impressionists[edit]

According to the painter Elaine de Kooning:^[2]abstract impressionists were retaining the quiet uniform pattern of strokes that spread over the canvas without climax or emphasis, these followers keep the Impressionist manner of looking at the scene but leave out the scene. The painterly factor and luminosity of abstract impressionism necessitated its distinction from the more aggressive abstract expressionism.^[3] According to H. H. Arnason: ^[4]Abstract Impressionism may appear in the textures of Guston, Resnick and Vicente—although the intents of these artists are quite different from those of the Impressionists. The critic Clement Grennberg by 1955, was writing about a purely chromatic field abstraction, which he believed was the revival of Impressionism.^[5]

'America abstract impressionist artists:

• Giorgio Cavallon
• Friedel Dzubas
• Helen Frankenthaler
• Philip Guston
• Albert Kotin
• Joan Mitchell
• Kyle Morris
• Milton Resnick
• Esteban Vicente

References[edit]