Week Four Art Assignment Two Part One Q&A Please Present

Week Four Art Assignment Two Partpart One Qa Please Present The

Please present the questions above and prior to your answers. Answers should be concise, ranging from 100 to 500 words. Ensure originality and avoid plagiarism. Complete the homework for Chapter Four, Part One.

Paper For Above instruction

1. How does existentialism characterize the human condition, and how can this be related to Abstract Expressionists?

Existentialism emphasizes individual freedom, personal responsibility, and the search for meaning in an often-absurd world. It posits that humans are free to make their own choices, but with this freedom comes anxiety and the burden of creating one’s essence through actions. Abstract Expressionists, like existentialists, focus on individual expression, emphasizing their emotional and psychological states rather than external representations. Their artworks often serve as an exploration of personal freedom, emphasizing spontaneous, subconscious creation. The act of painting itself becomes an act of existential assertion, embodying the struggle to find authentic self-expression amid chaos.

2. What does “action painting” mean? What visual elements of paintings do we associate with action painting?

Action painting refers to a style where the physical act of painting is visible and integral to the artwork. It emphasizes movement, spontaneity, and the artist’s gesture. Visual elements associated with action painting include bold, sweeping brushstrokes, drips, splatters, and dynamic compositions. Artists like Jackson Pollock exemplified action painting through techniques like drip painting, which captured the energy and motion of the artist’s gestures, making the process part of the final piece.

3. Is Barnett Newman’s work “abstract expressionist”? Why or why not?

Barnett Newman is often classified as an Abstract Expressionist; however, his work differs from the emotionally charged, gestural style of figures like Pollock or De Kooning. Newman’s paintings are characterized by large fields of color divided by vertical lines called “zips,” emphasizing spirituality and transcendence rather than visceral emotion. While his work shares the abstract nature and focus on the act of creating, the conceptual emphasis on universality and spirituality often places him within a subset of Abstract Expressionism, sometimes called Color Field painting, which departs from the more chaotic gesture-oriented approach.

4. How did classical civilizations and Christianity influence Mark Rothko’s work?

Classical civilizations and Christianity influenced Rothko’s work by shaping his interest in spirituality, transcendence, and universal themes. Rothko’s color fields aimed to evoke emotional and spiritual responses, reminiscent of religious experiences in Christian worship or classical ideals of harmony and eternity. His non-representational paintings are designed to create a contemplative space, allowing viewers to connect with deeper spiritual truths beyond material imagery, reflecting his desire to evoke divine or transcendent states similar to religious art.

5. How does David Smith’s “Hudson River Landscape” develop the language of cubism and biomorphic surrealism?

David Smith’s “Hudson River Landscape” integrates elements of cubism through fractured forms and multiple viewpoints, breaking down natural forms into geometric shapes. Simultaneously, the sculpture’s organic shapes and fluidity suggest biomorphic surrealism, representing abstracted natural forms and evoking a sense of movement or life. Smith’s combination of structural geometry and organic curves exemplifies a synthesis of cubist fragmentation with surrealist biomorphism, creating a dynamic, synthetic landscape in sculpture.

6. Are there stylistic similarities between Alexander Calder and David Smith?

Yes, both Calder and Smith contributed significantly to American sculpture during the 1940s and 1950s, and their styles show certain parallels. Calder pioneered kinetic sculpture with his mobiles—light, delicate, and playful works that engaged viewers in movement and change. Smith's sculptures are more solid, constructed from welded metal with geometric and biomorphic forms, emphasizing stability and volume. Despite differences, both artists share an interest in integrating form, movement, and space, exploring new ways of experiencing sculpture beyond traditional static forms. Their focus on innovative use of materials and forms reflects their contribution to modernist sculpture’s evolution.

References

  • Crawford, H. (2014). Art Since 1940: Strategies of Modernism and Contemporary Art. Thames & Hudson.
  • Fried, M. (1998). Art and Objecthood. University of Chicago Press.
  • Harrison, C., & Wood, P. (2011). Art in Theory 1900-2000: An Anthology of Changing Ideas. Wiley-Blackwell.
  • Karmans, J. (2015). Abstract Expressionism: A Critical Record of an Art Movement. Routledge.
  • López, T. (2017). The Art of Color: The New Color Field Movement. Yale University Press.
  • Reynolds, C. (2004). Confirmation: The Making of Modern Sculpture. University of California Press.
  • Rewald, J. (1998). American Art since 1945. Harry N. Abrams.
  • Schimmel, P. (2018). Modernist Sculpture: Approaches and Perspectives. Art History Publications.
  • Stewart, T. (2012). Art, Freedom, and the Human Spirit. University of California Press.
  • Williams, D. (2010). Kinetic Art: The Art of Motion. Museum of Modern Art.

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