While his work reflects the cultural development of twentieth - century modern art in its evolution from realism to abstraction, his own personal search went beyond the ease or angst or graphic
quality of abstract expressionism to arrive at what must be called Luminist Abstraction.
Rauschenberg would subsequently explain his detachment from what he called «a whole language used in discussions
of abstract expressionism that I could never make function for myself; it revolved around words like «tortured,» «struggle,» «pain»»; whereas he himself «could never see those
qualities in paint.»
McNeil speaks
of why he became interested in art; his early influences; becoming interested in modern art after attending lectures by Vaclav Vytlacil; meeting Arshile Gorky; the leading figures in modern art during the 1930s; his interest in Cézanne; studying with Jan Matulka and Hans Hofmann; his experiences with the WPA; the modern artists within the WPA; the American
Abstract Artists (A.A.A.); a group
of painters oriented to Paris called The Ten; how there was an anti-surrealism attitude, and a surrealist would not have been permitted in A.A.A; what the A.A.A. constituted as
abstract art; a grouping within the A.A.A. called the Concretionists; his memories
of Léger; how he assesses the period
of the 1930s; the importance
of Cubism; what he thinks caused the decline
of A.A.A.; how he assesses the period
of the 1940s; his stance on form and the plastic values in art; his thoughts on various artists; the importance
of The Club; the antipathy to the School
of Paris after the war; how Impressionism was considered in the 40s and 50s; slides
of his paintings from 1937 to 1962, and shows how he developed as an artist; the problems
of abstract expressionism; organic and geometric form; the schisms in different art groups due to politics; his teaching techniques; why he feels modern painting declined after 1912; the
quality of A.A.A. works; stretching his canvases, and the sizes he uses; his recent works, and his approaches to painting.