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Baigell did not convince me that the Holocaust was a major subtext for abstract expressionist painting of the New York School, but his book is valuable for its coverage of visual responses to the Shoah that were more obviously related to documenting the genocide.
New York became the center of Abstract Expressionist art after World War II.
Abstract Expressionist painter Willem deKooning echoed the dismay of many Modernists and Modern art connoisseurs when he said that Warhol was "a killer of art, a killer of beauty" The Modernist moment was passing and a new mode was evolving.
The abstract expressionists began one of the most important art movements in the last century, placing New York and American art at the very center of the art world for the first time," noted Louis Grachos, director of the Albright-Knox Art Gallery in Buffalo, NY, home of four of the works featured on the stamps.
While the art critics hailed the Abstract Expressionists as artists pursuing the 'pure' act of painting, the general public were less than enthusiastic at the time.
Even today, Pollock's abstract expressionist masterpieces suggest a dynamic interplay between randomness and precision, anarchic impulse and painstaking process.
Her paintings are fourth-, fifth-, sixth- (I've lost count) generation samples of Abstract Expressionist painting.
One reason for this neglect may be the difficulty in categorizing Jenkins's work, which has much in common with both the Color Field painters and the Abstract Expressionists of his generation yet finally seems truly allied with neither group.
Harold Rosenberg observed that a good many Abstract Expressionists were Jewish and argued that their manner of abstraction involves a specifically Jewish sense of dynamic revelation, as well as a Jewish iconoclasm.
Among the scrappiest and most ambitious members of the second-generation Abstract Expressionists, Held was also the first to move decisively beyond AbEx's attenuating conventions toward a bold, sharply contoured approach that harnessed the muscular gestures of the New York School to space-expanding graphic imagery.
Despite a "late" start, which meant that her work matured at the beginning of the '60s along with hard-edge abstraction and Minimalism, Martin associated herself with her own generation, with the Abstract Expressionists whom she greatly revered.
However, it is precisely the taste for lengthy accounts of the careers of such Abstract Expressionists that has set the wheels of publishing in motion for the present tome.