This presentation will let you know about the famous paintings during the time of Abstract Expressionism in brief with their details

1. PAINTINGS OF
ABSTRACT
EXPRESSIONISM

2. THE DEEP(1953)
• The Deep evokes a chasm - an abyss either
to be avoided or to get lost inside. White
paint was built up with layered brush
strokes, showing a return of Pollock's direct
involvement with the canvas. Drips are still
evident, now creating a web that floats
above the chasm. Pollock was clearly
looking for a new approach, an image to
create, desperate to break away from his
signature style, yet his last paintings
represent neither a new beginning nor a
conclusion.

3. Seated Woman (1940)
• Seated Woman was de Kooning's first major painting
of a woman, and it evolved, curiously, out of a
commission for a slightly earlier picture, Portrait of a
Woman (c.1940). The artist seems to have held on to
the commissioned portrait and started to use it to
develop new pictures. The earlier work was shaped
in part by contemporary images of women in
magazines and by de Kooning's wife Elaine who had
even stood in as a model when the portrait's subject
was not available. These factors surely encouraged
de Kooning to see the possibilities of using a
'portrait' to represent womankind in general, rather
than a specific individual. Seated Woman was also
undoubtedly influenced by Arshile Gorky, in
particular the figurative The Artist and his Mother,
which Gorky worked on for almost fifteen years after
1926.

4. Hemlock (1956)
• Mitchell's paintings are striking in their
sheer physicality. She used bold and
active strokes of paint on large canvases.
In Hemlock, her use of cool whites
interplays with the horizontal lines of
green and black and gives the sense of
an evergreen in the winter.

5. Meryon (1960)
• Meryon has a strong architectonic sense in
its composition. The inspiration was possibly
an engraving of a clock tower by the
nineteenth-century French artist Charles
Meryon. Again, Kline represents not the
object itself, but his vision of it. Seemingly
spontaneous in its arrangement, this
composition was conceived through a
number of preliminary studies, shedding a
new light on the nature of his gestural
technique.

6. Mysteries (1972)
• Here, Lee Krasner's use of rich unsaturated
colors, hard-edged organic forms, and palette
of white, red, and black displays the influence
of Northwest coast art, especially wood
carving by such peoples as the Haida, the
Tlingit, and the Kwakiutl. In 1941, MoMA
exhibited a major show of Native American
art, which greatly excited several abstract
painters including Lee Krasner and Barnett
Newman. Inspired by Carl Jung's theories of a
collective unconscious, Native art was seen as
especially relevant to modern art and life
through its formal complexity and
mythological basis.

7. IN LOVELY BLUENESS
• In the mid 1950s, Sam Francis inaugurated a
succession of monumentally scaled paintings
informed by a variety of artistic sources, including
Abstract Expressionism and French Impressionism.
With their spontaneous brushwork and lyrical
interplay of primary hues, these paintings established
Francis as one of the foremost colorists of the
postwar era. The artist often found inspiration in
literary works and kept a notebook containing titles of
books and verses. He named this and a related
painting (In Lovely Blueness No. 1, 1955–57) after a
poem by the German Romantic writer Friedrich
Hölderlin, hoping to capture the poem’s sublime
imagery and prophetic vision.

8. Hip, Hip, Hoorah!
• The title of Hip, Hip, Hoorah! was intended
to celebrate the artistic freedom from
tradition achieved by the CoBrA group. The
figures are hybrid creatures, combining
human attributes with animal or bird-like
features. Appel thought of them as ‘people
of the night’, and so gave them a dark
background. The bright colours and child-
like imagery are typical of CoBrA. Appel
often took inspiration from children's
drawings, believing that ‘the child in man is
all that's strongest, most receptive, most
open and unpredictable’.

9. Entrance to Subway (1938)
• This early figurative work demonstrates
Rothko's interest in contemporary urban
life. The architectural features of the
station are sketchily recreated, including
the turnstiles and the "N" on the wall.
Although the mood of the pictures is
softened somewhat by the influence of
Impressionism, it reflects many of the
artist's feelings towards the modern city.
New York City was thought to be soulless
and inhuman, and something of that is
conveyed here in the anonymous, barely
rendered features of the figures.

10. Burst (1973)
• The picture's elongated form echoes the
vertical composition of his earlier paintings,
emphasizing the empty space between the
lower and upper portions of the picture. A
warm beige and compressed horizontal zone at
the very bottom of the composition serves as a
ground for the more delicate and complaisant
black, gestural marks pushed against the lower
edge. An achingly long distance separates this
lower area from the hovering, red orb at the
top of the composition, which casts an
increasingly pink glow.

11. Desert Pass (1976)
• With its minimally defined forms and
earthy palette, Desert Pass is an
excellent example of the ways
Frankenthaler responded to the natural
landscape. Inspired by a trip to the
American Southwest, the painting
captures the colors and forms as well as
the climate of the region. Among them:
yellow-gold, evoking sand as well as the
desert's aridity and intense light and
greenish-blue, suggesting the form and
color of cacti.

12. Tiger Lilies (1953)
• This early oil painting dates close to
Noland's first visit to Helen
Frankenthaler's studio, when the artist
was clearly still working under Abstract
Expressionism's influence and trying to
find his own painterly voice. Noland's
early style is exemplified by visible
brushwork, monochromatic palette, and
calligraphic markings; the painting's title
indicates that he had not yet ceased
making references to the material world
in his art.

13. Third Station (1960)
• Third Station is part of Newman's major
fourteen-piece series, The Stations of the
Cross: Lema Sabachthani (1958-66). The
title refers to Christ's cry on the cross, yet
he also intended to evoke the cries of
humanity throughout history. The series is
characterized by a stark palette of black,
white, and raw canvas - Newman wanted
the unpainted canvas to become its own
color - and the picture expands the artist's
use of the zip, with some appearing starkly
straight and others seeming feathered and
about to explode.

14. Michapol I (1971)
• The shaped canvas recurs in the works of Stella's
Polish Village series, to which Michapol I
belongs. Each composition is developed from
color variations and interlocking geometric forms
influenced in part by Russian Constructivism.
Also inspired by Polish synagogues of the
seventeenth through nineteenth centuries, the
works of the Polish Village series are large-scale
collages, in which the artist pasted felt, paper,
and wood onto the stretched canvas. Despite
their sculptural qualities, Stella described the
impulse behind Michapol I and the other works
of the series as "pictorial."

15. • Point of Tranquility is an example
of Louis's series of Florals, a later
phase of his Veil paintings. In a
technical innovation, Louis created
each Floral by rotating the canvas
as he poured the paint, rather
than working from a single
vantage point. The layers of acrylic
then ran and dried in a form
suggesting a flower, with the
bleeding pigment creating a
muddled, denser area at its core.
Point of Tranquility (1959-60)

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