12/19/2023 0 Comments Lyrical abstraction defineIn March 1951 was held the larger exhibition Véhémences confrontées in the gallery Nina Dausset where for the first time were presented side to side French and American abstract artists. A wind blew over the capital when Georges Mathieu decided to hold two exhibitions: L'Imaginaire in 1947 at the Palais du Luxembourg which he would have prefer to call abstraction lyrique to impose the name and then HWPSMTB with ( Hans Hartung, Wols, Francis Picabia, François Stahly sculptor, Georges Mathieu, Michel Tapié, and Camille Bryen) in 1948. At the Drouin gallery one could see Jean Le Moal, Gustave Singier, Alfred Manessier, Roger Bissière, Wols and others. Many exhibitions were held in Paris for example in the galleries Arnaud, Drouin, Jeanne Bucher, Louis Carré, Galerie de France, and every year at the "Salon des Réalités Nouvelles" and "Salon de Mai" where the paintings of all these artists could be seen. In Belgium, Louis Van Lint figured a remarkable example of an artist who, after a short period of geometric abstraction, has moved to a lyrical abstraction in which he excelled. For the artists in France, Lyrical Abstraction represented an opening to personal expression. Lyrical Abstraction was opposed not only to "l'Ecole de Paris" remains of pre-war style but to Cubist and Surrealist movements that had preceded it, and also to geometric abstraction (or "Cold Abstraction"). Just after World War II, many artists old and young were back in Paris where they worked and exhibited: Nicolas de Staël, Serge Poliakoff, André Lanskoy and Zaks from Russia Hans Hartung and Wols from Germany Árpád Szenes, Endre Rozsda and Simon Hantaï from Hungary Alexandre Istrati from Romania Jean-Paul Riopelle from Canada Vieira da Silva from Portugal Gérard Ernest Schneider from Switzerland Feito from Spain Bram van Velde from the Netherlands Albert Bitran from Turkey Zao Wou-Ki from China Sugai from Japan Sam Francis, John Franklin Koenig, Jack Youngerman and Paul Jenkins from the U.S.A.Īll these artists and many others were at that time among the "Lyrical Abstractionists" with the French: Pierre Soulages, Jean-Michel Coulon, Jean René Bazaine, Jean Le Moal, Gustave Singier, Alfred Manessier, Roger Bissière, Pierre Tal-Coat, Jean Messagier, Jean Miotte, and others. For the artists, lyrical abstraction represented an opening to personal expression.įinally, 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 abstraction'. Lyrical abstraction was, in some ways, the first to apply the lessons of Wassily Kandinsky, considered one of the fathers of abstraction. Lyrical abstraction was opposed not only to the Cubist and Surrealist movements that preceded it, but also to geometric abstraction (or "cold abstraction"). Lyrical abstraction also represented a competition between the School of Paris and the new New York School of Abstract Expressionism painting represented above all since 1946 by Jackson Pollock, then Willem de Kooning or Mark Rothko, which were also promoted by the American authorities from the early 1950s. Some art critics also looked at this movement as an attempt to restore the image of artistic Paris, which had held the rank of capital of the arts until the war. According to the new abstraction forms that characterised some artists, the movement was named by the art critic, Jean José Marchand, and the painter, Georges Mathieu, in 1947. At that time, the artistic life in Paris, which had been devastated by the Occupation and Collaboration, resumed with numerous artists exhibited again as soon as the Liberation of Paris in mid-1944. The art movement Abstraction lyrique was born in Paris after the war. 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, Nuagisme and 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, as well, living and working in Paris and other European cities. The original 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) with painters like Wols, Gérard Schneider and Hans Hartung from Germany or Georges Mathieu, etc., whose works related to characteristics of contemporary American abstract expressionism.
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