Overview In This First Short Writing Assignment To Choose

Overviewin This First Short Writing Assignment Need To Choose Two Art

In this first short writing assignment, you are required to select two artists from the provided list and write a brief analysis of one artwork by each artist. Your analysis should include a description of each artwork and how it aligns with the current learning unit, which focuses on Modernism. Additionally, you should examine the commonalities or influences among the artworks and artists you choose. It is important to note that you cannot select the same artist twice. Your submission must reference at least three artists from the course reading materials, including Virginia Spivey's "Abstract Expressionism, an introduction" and Clement Greenberg's "Modernist Painting." You may also incorporate optional sources such as interviews or articles about the artists provided in the links.

Paper For Above instruction

Modernism in art emerged as a radical departure from traditional forms and techniques, emphasizing innovation, abstraction, and the expression of subjective experience. The selected artworks from the artists—Jackson Pollock’s “Number 1,” Barnett Newman’s “Vir Heroicus Sublimis,” and Willem de Kooning’s “Woman I”—exemplify this shift toward experimentation and new perspectives in art. This essay explores how these works embody the principles of Modernism, their influence from earlier artistic practices, and their reflection of their historical contexts.

Jackson Pollock’s “Number 1” (1948) epitomizes Abstract Expressionism, a dominant movement within Modernism characterized by spontaneous, gestural brushwork and an emphasis on the physical act of painting. Drawing from earlier Surrealist techniques such as automatism—where the subconscious guides artistic creation—Pollock’s drip paintings exemplify a move away from figuration toward pure abstraction. The act of pouring and dripping paint directly onto canvases signifies a break from traditional composition, focusing instead on the process and emotional expression. Created in the post-World War II era, “Number 1” reflects the artist's response to a traumatized yet optimistic American society, emphasizing individual freedom and the subconscious influences that define human experience (Karmel, 1998). This work departs from earlier representational practices by emphasizing the act of painting itself as the main subject and by eschewing narrative in favor of expressive gesture, aligning with Greenberg’s notion of dialectical progress within modern art—where formal innovation is central (Greenberg, 1960).

Barnett Newman’s “Vir Heroicus Sublimis” (1950-51) advances the Modernist exploration of scale, color, and the sublime. Newman’s style, often called Color Field painting, emphasizes large expanses of vibrant color designed to evoke emotional and spiritual responses. Unlike traditional landscape or figurative art, Newman’s work lacks representational imagery, instead focusing on the power of pure color and measurement to evoke “sublimity”—a concept linked to the awe inspired by nature and the divine. This work reflects influence from early abstraction and minimalism, yet departs by emphasizing the emotional resonance of color and the spiritual in its vastness and simplicity. Created in the early Cold War period, its scale and intensity can be read as a response to the political tensions of the time, expressing an urge for transcendence amidst societal anxiety (Danto, 2002).

Willem de Kooning’s “Woman I” (1950-52) exemplifies the tension within Modernism between abstraction and figuration. Blending aggressive brushwork with distorted figures, de Kooning’s work confronts traditional notions of beauty and form. Inspired by Surrealist automatism and Abstract Expressionism, “Woman I” challenges the conventions of portraiture by emphasizing visceral emotion and violence, reflecting societal anxieties of the post-war era. The work departs from classical representations of the female form by deconstructing it, using thick paint and aggressive lines to create a chaos of distortion. This approach embodies the Modernist rejection of academic standards and his experimentation with form and meaning—pushing the boundaries of artistic representation and emphasizing the process over the object (Karmel, 2004). Created amidst a society rebuilding from trauma, “Woman I” embodies both the chaos and resilience characteristic of Modernist innovation.

Overall, these artworks demonstrate a shared interest among Modernist artists in breaking away from traditional objectivity and representation, emphasizing emotion, process, and abstraction. They are influenced by earlier avant-garde techniques such as Surrealism’s automatism and Impressionist color exploration, yet they depart significantly through formal experimentation and the exploration of new meaning and perception. Each work reflects its unique historical context—post-war optimism and anxiety—while collectively shaping the trajectory of contemporary art toward abstraction and expressionism. These paintings exemplify how Modernism sought to explore the depths of human consciousness and the possibilities of artistic expression, leaving a transformative legacy for future generations.

References

• Greenberg, C. (1960). Modernist Painting. In The New Art: A Critical Anthology.
• Karmel, P. (1998). Jackson Pollock: An American Saga. Abrams.
• Karmel, P. (2004). Willem de Kooning. Yale University Press.
• Danto, A. (2002). Barnett Newman and the Heroic Sublime. The Nation.
• Spivey, Virginia. (2017). Abstract Expressionism: An Introduction. SmartHistory.
• Harris, Beth, & Zucker, Steven. (n.d.). Onement I, 1948. SmartHistory.
• Mogul, Fred. (2002). Barnett Newman. NPR.
• Hansen, Liane. (2004). De Kooning: An American Master. NPR.
• Pollock, Jackson. (1943). Guardians of the Secret. SFMOMA.
• Willem de Kooning. (1950-52). Woman I. Museum of Modern Art.