color-field painting

color-field painting,

abstract art movement that originated in the 1960s. Coming after the abstract expressionismabstract expressionism,
movement of abstract painting that emerged in New York City during the mid-1940s and attained singular prominence in American art in the following decade; also called action painting and the New York school.
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 of the 1950s, color-field painting represents a sharp change from the earlier movement. The production of the abstract expressionists involved a strong personal emotionalism, a painterly quality, and occasionally, as in the works of Willem de Kooningde Kooning, Willem
, 1904–97, American painter, b. Netherlands; studied Rotterdam Academy of Fine Arts and Techniques. De Kooning immigrated to the United States, arriving as a stowaway in 1926 and settling in New York City, where he worked on the Federal Arts Project
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, elements of cubismcubism,
art movement, primarily in painting, originating in Paris c.1907. Cubist Theory

Cubism began as an intellectual revolt against the artistic expression of previous eras.
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. Color-field artists moved toward a more impersonal and austerely intellectual aesthetic. In their works they dealt with what they considered to be the fundamental formal elements of abstract painting: pure, unmodulated areas of color; flat, two-dimensional space; monumental scale; and the varying shape of the canvas itself. Painters associated with the movement include Ellsworth KellyKelly, Ellsworth,
1923–2015, American painter, b. Newburgh, N.Y. He moved to New York City in 1941, studying at Pratt Institute, and later attended the Boston Museum Arts School.
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, Jules OlitskiOlitski, Jules
, 1922–2006, American painter, b. Russia as Jevel Demikovsky. While considered a color-field painter (see color-field painting), Olitski produced works that are freer and less severe than many of those associated with the movement.
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, Kenneth NolandNoland, Kenneth
, 1924–2010, American painter, b. Asheville, N.C. An outstanding colorist, Noland was one of the best-known exponents of the abstract painting movement known as color-field painting.
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, Frank StellaStella, Frank,
1936–, American artist, b. Malden, Mass. In his early "black paintings" Stella exhibits the precision and rationality that characterized minimalism, employing parallel angular stripes to emphasize the rectangular shape of his large canvases.
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, and Morris LouisLouis, Morris,
1912–62, American painter, b. Baltimore. A practitioner of color-field painting, Louis was noted for soaking poured paint through unsized and often unstretched canvas.
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References in periodicals archive ?
Despite being hailed by the influential critic clement Greenberg as a "founding mother" of color-field painting following the success of her Mountains and Sea in 1952, Frankenthaler "began to look somewhat marginal within this milieu," even though, in Chave's estimation, "she produced during the 1960s the best work of her career ..."
In photographs, the paintings appear to speak the language of Abstract Expressionism, Color-field Painting, and Geometric Abstraction.
Even the color-field painting his father made still hangs in the entry hall.
Fittingly, it is the work of two young California painters, Laura Owens and Monique Prieto, both of whom practice an updated version of color-field painting, which offers the most telling evidence of how much the aims of art have diverged from those of Still's day.
The next step in our color-theory investigation was to apply what we had learned in the creation of our very own monochromatic non-objective, abstract color-field painting. On 6" x 8" tag board, students used either a primary or secondary color, and all of the possible tints and shades they could mix.
It did not help matters that one was forbidden from coming within two yards of certain works (a point from which one could easily mistake the dyed fabric for just another color-field painting of the local Washington kind) or that one piece was in unusually poor condition (tragically faded in the lower half, as evidenced by the more saturated edges and better-preserved fabric in the same color in a nearby cloth picture).
A prototypical work by Lee is a color-field painting that sets dark Prussian blue against the natural beige of unprimed canvas.
One isn't sure if the backgrounds are photographs or color-field painting, or if the dark, cloudy sky reveals a stormy sunset, the smoggy glow of oil fires, or the aftermath of an apocalypse.
(Ironically, Vega initially began fastening lights directly to his color-field paintings in order to keep them evenly lit regardless of the viewer's position; he ultimately removed the paintings altogether and focused on the light bulbs as material for sculpture.)