In post-World War II America, however, the primacy of abstract art was clearly acknowledged, and by 1961, when Norman Rockwell painted The Connoisseur — his visual treatise on the subject juxtaposing Jackson Pollock's
nonrepresentational art with his own illusionistic imagery — Abstract Expressionism had been covered in the popular press for nearly fifteen years.
Not exact matches
Here's where the confusion
with abstract and
nonrepresentational art really comes into play.
The work in About Abstraction suggests a kinship
with the Abstract Expressionist movement of 1940s SoHo and San Francisco, and illustrates the enduring vitality and power of
nonrepresentational art for well over a century.
A pugnacious
art world fugitive who had studied
with and then taught under Josef Albers at Yale in the 1950s, yet defiantly rejected his era's vogue for
nonrepresentational painting, out in his element he'd be squinting at the fish, the birds and the far - off horizon, spitting tobacco, chewing his mustache, cursing us all — a roll of Tums in his shirt pocket and his eye zeroing - in on the flat, all - over screen of his life's obsession....
Via the gentle sheen and fractured architecture of Untitled (Nearest Window) and the waxy consistency of Untitled (Departed Blue Relief), Lee tweaks
nonrepresentational art's most rigid parameters
with loving attention.