abstract expressionist person
A large painting applied to a wall or ceiling, especially in a public space.
VIDEO: The Painting Techniques of Jackson Pollock: One: Number 31, 1950
Although it is the accepted designation, Abstract Expressionism is not an accurate description of the body of work created by these artists. Indeed, the movement comprised many different painterly styles varying in both technique and quality of expression. Despite this variety, Abstract Expressionist paintings share several broad characteristics. They are basically abstract—i.e., they depict forms not drawn from the visible world. They emphasize free, spontaneous, and personal emotional expression, and they exercise considerable freedom of technique and execution to attain this goal, with a particular emphasis laid on the exploitation of the variable physical character of paint to evoke expressive qualities (e.g., sensuousness, dynamism, violence, mystery, lyricism). They show similar emphasis on the unstudied and intuitive application of that paint in a form of psychic improvisation akin to the automatism of the Surrealists, with a similar intent of expressing the force of the creative unconscious in art. They display the abandonment of conventionally structured composition built up out of discrete and segregable elements and their replacement with a single unified, undifferentiated field, network, or other image that exists in unstructured space. And finally, the paintings fill large canvases to give these aforementioned visual effects both monumentality and engrossing power.
The middle ground within Abstract Expressionism is represented by several varied styles, ranging from the more lyrical, delicate imagery and fluid shapes in paintings by Guston and Frankenthaler to the more clearly structured, forceful, almost calligraphic pictures of Motherwell and Gottlieb.
Within abstract expressionism were two broad groupings: the so-called action painters, who attacked their canvases with expressive brush strokes; and the colour field painters who filled their canvases with large areas of a single colour.
Abstract expressionism is the term applied to new forms of abstract art developed by American painters such as Jackson Pollock, Mark Rothko and Willem de Kooning in the 1940s and 1950s. It is often characterised by gestural brush-strokes or mark-making, and the impression of spontaneity
Hofmann’s paintings are a symphony of color as seen in The Gate, 1959–1960. Hofmann was renowned not only as an artist but also as a teacher of art, both in his native Germany and later in the U.S. Hans Hofmann, who came to the United States from Germany in the early 1930s, brought with him the legacy of Modernism. Hofmann was a young artist working in Paris who painted there before World War I. Hofmann worked in Paris with Robert Delaunay, and he knew firsthand the innovative work of both Pablo Picasso and Henri Matisse. Matisse’s work had an enormous influence on him, and on his understanding of the expressive language of color and the potentiality of abstraction. Hofmann was one of the first theorists of color field painting, and his theories were influential to artists and to critics, particularly to Clement Greenberg, as well as to others during the 1930s and 1940s. In 1953 Morris Louis and Kenneth Noland were both profoundly influenced by Helen Frankenthaler’s stain paintings after visiting her studio in New York City. Returning to Washington, DC., they began to produce the major works that created the color field movement in the late 1950s. 
However, many painters, such as Jules Olitski, Joan Mitchell and Antoni Tàpies continued to work in the abstract expressionist style for many years, extending and expanding its visual and philosophical implications, as many abstract artists continue to do today, in styles described as Lyrical Abstraction, Neo-expressionist and others.
In 1943, Rothko and fellow artist Adolph Gottlieb wrote a manifesto of their artistic beliefs, such as “Art is an adventure into an unknown world” and “We favor the simple expression of the complex thought.” Rothko and Gottlieb, along with Jackson Pollock, Clyfford Still, Willem de Kooning, Helen Frankenthaler, Barnett Newman and others, became known as the Abstract Expressionists. Their art was abstract, meaning that it had made no reference to the material world, yet it was highly expressive, conveying strong emotional content.
In the 1940s, Rothko’s artistic subjects and style began to change. Earlier, he had been painting scenes of urban life with a sense of isolation and mystery; after World War II, he turned to timeless themes of death and survival, and to concepts drawn from ancient myths and religions. Rather than depicting the everyday world, he began to paint “biomorphic” forms that suggested otherworldly plants and creatures. He was also influenced by the art and ideas of Surrealists like Max Ernst and Joan Miró.