title: History of painting

text: The heritage of painters like Van Gogh, Cézanne, Gauguin, and Seurat was essential for the development of modern art. At the beginning of the 20th century Henri Matisse and several other young artists including the pre-cubist Georges Braque, André Derain, Raoul Dufy and Maurice de Vlaminck revolutionized the Paris art world with "wild", multi-colored, expressive, landscapes and figure paintings that the critics called Fauvism. Henri Matisse's second version of "The Dance" signifies a key point in his career and in the development of modern painting. It reflects Matisse's incipient fascination with primitive art: the intense warm colors against the cool blue-green background and the rhythmical succession of dancing nudes convey the feelings of emotional liberation and hedonism. Pablo Picasso made his first cubist paintings based on Cézanne's idea that all depiction of nature can be reduced to three solids: cube, sphere and cone. With the painting Les Demoiselles d'Avignon 1907, Picasso dramatically created a new and radical picture depicting a raw and primitive brothel scene with five prostitutes, violently painted women, reminiscent of African tribal masks and his own new Cubist inventions. analytic Cubism was jointly developed by Pablo Picasso and Georges Braque, exemplified by "Violin and Candlestick, Paris", from about 1908 through 1912. Analytic cubism, the first clear manifestation of cubism, was followed by synthetic cubism, practised by Braque, Picasso, Fernand Léger, Juan Gris, Albert Gleizes, Marcel Duchamp and countless other artists into the 1920s. Synthetic cubism is characterized by the introduction of different textures, surfaces, collage elements, papier collé and a large variety of merged subject matter.


title: History of painting

text: Les Fauves (French for "The Wild Beasts") were early-20th-century painters, experimenting with freedom of expression through color. The name was given, humorously and not as a compliment, to the group by art critic Louis Vauxcelles. Fauvism was a short-lived and loose grouping of early-20th-century artists whose works emphasized painterly qualities, and the imaginative use of deep color over the representational values. Fauvists made the subject of the painting easy to read, exaggerated perspectives and an interesting prescient prediction of the Fauves was expressed in 1888 by Paul Gauguin to Paul Sérusier,


title: History of painting

text: The leaders of the movement were Henri Matisse and André Derain – friendly rivals of a sort, each with his own followers. Ultimately Matisse became the "yang" to Picasso's "yin" in the 20th century. Fauvist painters included Albert Marquet, Charles Camoin, Maurice de Vlaminck, Raoul Dufy, Othon Friesz, the Dutch painter Kees van Dongen, and Picasso's partner in Cubism, Georges Braque amongst others.


title: History of painting

text: Fauvism, as a movement, had no concrete theories, and was short lived, beginning in 1905 and ending in 1907, they only had three exhibitions. Matisse was seen as the leader of the movement, due to his seniority in age and prior self-establishment in the academic art world. His 1905 portrait of Mme. Matisse "The Green Line", (above), caused a sensation in Paris when it was first exhibited. He said he wanted to create art to delight; art as a decoration was his purpose and it can be said that his use of bright colors tries to maintain serenity of composition. In 1906 at the suggestion of his dealer Ambroise Vollard, André Derain went to London and produced a series of paintings like "Charing Cross Bridge, London" (above) in the Fauvist style, paraphrasing the famous series by the Impressionist painter Claude Monet. Masters like Henri Matisse and Pierre Bonnard continued developing their narrative styles independent of any movement throughout the 20th century.


title: History of painting

text: By 1907 Fauvism no longer was a shocking new movement, soon it was replaced by Cubism on the critics' radar screen as the latest new development in Contemporary Art of the time.


title: History of painting

text: In 1907 Appolinaire, commenting about Matisse in an article published in La Falange, said, "We are not here in the presence of an extravagant or an extremist undertaking: Matisse's art is eminently reasonable."


title: History of painting

text: Analytic cubism was jointly developed by Pablo Picasso and Georges Braque from about 1908 through 1912. Analytic cubism, the first clear manifestation of cubism, was followed by Synthetic cubism, practised by Braque, Picasso, Fernand Léger, Juan Gris, Albert Gleizes, Marcel Duchamp and countless other artists into the 1920s. Synthetic cubism is characterized by the introduction of different textures, surfaces, collage elements, papier collé and a large variety of merged subject matter.


title: History of painting

text: During the years between 1910 and the end of World War I and after the heyday of cubism, several movements emerged in Paris. Giorgio de Chirico moved to Paris in July 1911, where he joined his brother Andrea (the poet and painter known as Alberto Savinio). Through his brother he met Pierre Laprade a member of the jury at the Salon d'Automne, where he exhibited three of his dreamlike works: "Enigma of the Oracle", "Enigma of an Afternoon" and "Self-Portrait". During 1913 he exhibited his work at the Salon des Indépendants and Salon d'Automne, his work was noticed by Pablo Picasso and Guillaume Apollinaire and several others. His compelling and mysterious paintings are considered instrumental to the early beginnings of Surrealism. During the first half of the 20th century in Europe masters like Georges Braque, André Derain, and Giorgio de Chirico continued painting independent of any movement.


title: History of painting

text: In the first two decades of the 20th century and after Cubism, several other important movements emerged; futurism (Balla), abstract art (Kandinsky), Der Blaue Reiter), Bauhaus, (Kandinsky) and (Klee), Orphism, (Robert Delaunay and František Kupka), Synchromism (Morgan Russell), De Stijl (Mondrian), Suprematism (Malevich), Constructivism (Tatlin), Dadaism (Duchamp, Picabia, Arp) and Surrealism (De Chirico, André Breton, Miró, Magritte, Dalí, Ernst). Modern painting influenced all the visual arts, from Modernist architecture and design, to avant-garde film, theatre and modern dance and became an experimental laboratory for the expression of visual experience, from photography and concrete poetry to advertising art and fashion. Van Gogh's painting exerted great influence upon 20th-century Expressionism, as can be seen in the work of the Fauves, Die Brücke (a group led by German painter Ernst Kirchner), and the Expressionism of Edvard Munch, Egon Schiele, Marc Chagall, Amedeo Modigliani, Chaïm Soutine and others..


title: History of painting

text: Wassily Kandinsky a Russian painter, printmaker and art theorist, one of the most famous 20th-century artists is generally considered the first important painter of modern abstract art. As an early Modernist, in search of new modes of visual expression, and spiritual expression, he theorized as did contemporary occultists and theosophists, that pure visual abstraction had corollary vibrations with sound and music. They posited that pure abstraction could express pure spirituality. His earliest abstractions were generally titled as the example in the (above gallery) "Composition VII", making connection to the work of the composers of music. Kandinsky included many of his theories about abstract art in his book "Concerning the Spiritual in Art." Robert Delaunay was a French artist who is associated with Orphism, (reminiscent of a link between pure abstraction and cubism). His later works were more abstract, reminiscent of Paul Klee. His key contributions to abstract painting refer to his bold use of color, and a clear love of experimentation of both depth and tone. At the invitation of Wassily Kandinsky, Delaunay and his wife the artist Sonia Delaunay, joined The Blue Rider (Der Blaue Reiter), a Munich-based group of abstract artists, in 1911, and his art took a turn to the abstract.


title: History of painting

text: Other major pioneers of early abstraction include Russian painter Kasimir Malevich, who after the Russian Revolution in 1917, and after pressure from the Stalinist regime in 1924 returned to painting imagery and "Peasants and Workers in the field", and Swiss painter Paul Klee whose masterful color experiments made him an important pioneer of abstract painting at the Bauhaus. Still other important pioneers of abstract painting include the Swedish artist Hilma af Klint, Czech painter František Kupka as well as American artists Stanton Macdonald-Wright and Morgan Russell who, in 1912, founded Synchromism, an art movement that closely resembles Orphism.


title: History of painting

text: "Expressionism" and "Symbolism" are broad rubrics that involve several important and related movements in 20th-century painting that dominated much of the avant-garde art being made in Western, Eastern and Northern Europe. Expressionist works were painted largely between World War I and World War II, mostly in France, Germany, Norway, Russia, Belgium, and Austria. Expressionist artists are related to both Surrealism and Symbolism and are each uniquely and somewhat eccentrically personal. Fauvism, Die Brücke, and Der Blaue Reiter are three of the best known groups of Expressionist and Symbolist painters.


title: History of painting

text: Artists as interesting and diverse as Marc Chagall, whose painting "I and the Village", (above) tells an autobiographical story that examines the relationship between the artist and his origins, with a lexicon of artistic Symbolism. Gustav Klimt, Egon Schiele, Edvard Munch, Emil Nolde, Chaïm Soutine, James Ensor, Oskar Kokoschka, Ernst Ludwig Kirchner, Max Beckmann, Franz Marc, Käthe Schmidt Kollwitz, Georges Rouault, Amedeo Modigliani and some of the Americans abroad like Marsden Hartley, and Stuart Davis, were considered influential expressionist painters. Although Alberto Giacometti is primarily thought of as an intense Surrealist sculptor, he made intense expressionist paintings as well.


title: History of painting

text: Piet Mondrian's art was also related to his spiritual and philosophical studies. In 1908 he became interested in the theosophical movement launched by Helena Petrovna Blavatsky in the late 19th century. Blavatsky believed that it was possible to attain a knowledge of nature more profound than that provided by empirical means, and much of Mondrian's work for the rest of his life was inspired by his search for that spiritual knowledge.


title: History of painting

text: De Stijl also known as neoplasticism, was a Dutch artistic movement founded in 1917. The term "De Stijl" is used to refer to a body of work from 1917 to 1931 founded in the Netherlands.


title: History of painting

text: "De Stijl" is also the name of a journal that was published by the Dutch painter, designer, writer, and critic Theo van Doesburg propagating the group's theories. Next to van Doesburg, the group's principal members were the painters Piet Mondrian, Vilmos Huszár, and Bart van der Leck, and the architects Gerrit Rietveld, Robert van 't Hoff, and J. J. P. Oud. The artistic philosophy that formed a basis for the group's work is known as "neoplasticism" – the new plastic art (or "Nieuwe Beelding" in Dutch).


title: History of painting

text: Proponents of De Stijl sought to express a new utopian ideal of spiritual harmony and order. They advocated pure abstraction and universality by a reduction to the essentials of form and colour; they simplified visual compositions to the vertical and horizontal directions, and used only primary colors along with black and white. Indeed, according to the Tate Gallery's online article on neoplasticism, Mondrian himself sets forth these delimitations in his essay "Neo-Plasticism in Pictorial Art". He writes, "... this new plastic idea will ignore the particulars of appearance, that is to say, natural form and colour. On the contrary, it should find its expression in the abstraction of form and colour, that is to say, in the straight line and the clearly defined primary colour." The Tate article further summarizes that this art allows "only primary colours and non-colours, only squares and rectangles, only straight and horizontal or vertical line." The Guggenheim Museum's online article on De Stijl summarizes these traits in similar terms: "It [De Stijl] was posited on the fundamental principle of the geometry of the straight line, the square, and the rectangle, combined with a strong asymmetricality; the predominant use of pure primary colors with black and white; and the relationship between positive and negative elements in an arrangement of non-objective forms and lines."


title: History of painting

text: De Stijl movement was influenced by Cubist painting as well as by the mysticism and the ideas about "ideal" geometric forms (such as the "perfect straight line") in the neoplatonic philosophy of mathematician M. H. J. Schoenmaekers. The works of De Stijl would influence the Bauhaus style and the international style of architecture as well as clothing and interior design. However, it did not follow the general guidelines of an "ism" (Cubism, Futurism, Surrealism), nor did it adhere to the principles of art schools like Bauhaus; it was a collective project, a joint enterprise.


title: History of painting

text: Marcel Duchamp, came to international prominence in the wake of his notorious success at the New York City Armory Show in 1913, (soon after he denounced artmaking for chess). After Duchamp's Nude Descending a Staircase became the international cause celebre at the 1913 Armory show in New York he created "The Bride Stripped Bare by Her Bachelors, Even, Large Glass". The "Large Glass" pushed the art of painting to radical new limits being part painting, part collage, part construction. Duchamp became closely associated with the Dada movement that began in neutral Zurich, Switzerland, during World War I and peaked from 1916 to 1920. The movement primarily involved visual arts, literature (poetry, art manifestoes, art theory), theatre, and graphic design, and concentrated its anti war politic through a rejection of the prevailing standards in art through anti-art cultural works. Francis Picabia, Man Ray, Kurt Schwitters, Tristan Tzara, Hans Richter, Jean Arp, Sophie Taeuber-Arp, along with Duchamp and many others are associated with the Dadaist movement. Duchamp and several Dadaists are also associated with Surrealism, the movement that dominated European painting in the 1920s and 1930s.


title: History of painting

text: In 1924 André Breton published the "Surrealist Manifesto." The Surrealist movement in painting became synonymous with the avant-garde and which featured artists whose works varied from the abstract to the super-realist. With works on paper like "Machine Turn Quickly", (above) Francis Picabia continued his involvement in the Dada movement through 1919 in Zurich and Paris, before breaking away from it after developing an interest in Surrealist art. Yves Tanguy, René Magritte and Salvador Dalí are particularly known for their realistic depictions of dream imagery and fantastic manifestations of the imagination. Joan Miró's "The Tilled Field" of 1923–1924 verges on abstraction, this early painting of a complex of objects and figures, and arrangements of sexually active characters; was Miró's first Surrealist masterpiece. Miró's "The Tilled Field" also contains several parallels to Bosch's "Garden of Earthly Delights": similar flocks of birds; pools from which living creatures emerge; and oversize disembodied ears all echo the Dutch master's work that Miró saw as a young painter in The Prado. The more abstract Joan Miró, Jean Arp, André Masson, and Max Ernst were very influential, especially in the United States during the 1940s.


title: History of painting

text: Throughout the 1930s, Surrealism continued to become more visible to the public at large. A Surrealist group developed in Britain and, according to Breton, their 1936 London International Surrealist Exhibition was a high water mark of the period and became the model for international exhibitions. Surrealist groups in Japan, and especially in Latin America, the Caribbean and in Mexico produced innovative and original works.


title: History of painting

text: Dalí and Magritte created some of the most widely recognized images of the movement. The 1928/1929 painting "This Is Not A Pipe", by Magritte is the subject of a Michel Foucault 1973 book, "This is not a Pipe" (English edition, 1991), that discusses the painting and its paradox. Dalí joined the group in 1929, and participated in the rapid establishment of the visual style between 1930 and 1935.


title: History of painting

text: Surrealism as a visual movement had found a method: to expose psychological truth by stripping ordinary objects of their normal significance, in order to create a compelling image that was beyond ordinary formal organization, and perception, sometimes evoking empathy from the viewer, sometimes laughter and sometimes outrage and bewilderment.


title: History of painting

text: 1931 marked a year when several Surrealist painters produced works which marked turning points in their stylistic evolution: in one example, liquid shapes become the trademark of Dalí, particularly in his "The Persistence of Memory", which features the image of watches that sag as if they are melting. Evocations of time and its compelling mystery and absurdity.


title: History of painting

text: The characteristics of this style – a combination of the depictive, the abstract, and the psychological – came to stand for the alienation which many people felt in the modernist period, combined with the sense of reaching more deeply into the psyche, to be "made whole with one's individuality."


title: History of painting

text: Max Ernst whose 1920 painting "Murdering Airplane", studied philosophy and psychology in Bonn and was interested in the alternative realities experienced by the insane. His paintings may have been inspired by the psychoanalyst Sigmund Freud's study of the delusions of a paranoiac, Daniel Paul Schreber. Freud identified Schreber's fantasy of becoming a woman as a "castration complex." The central image of two pairs of legs refers to Schreber's hermaphroditic desires. Ernst's inscription on the back of the painting reads: "The picture is curious because of its symmetry. The two sexes balance one another."


title: History of painting

text: During the 1920s André Masson's work was enormously influential in helping the newly arrived in Paris and young artist Joan Miró find his roots in the new Surrealist painting. Miró acknowledged in letters to his dealer Pierre Matisse the importance of Masson as an example to him in his early years in Paris.


title: History of painting

text: Long after personal, political and professional tensions have fragmented the Surrealist group into thin air and ether, Magritte, Miró, Dalí and the other Surrealists continue to define a visual program in the arts. Other prominent surrealist artists include Giorgio de Chirico, Méret Oppenheim, Toyen, Grégoire Michonze, Roberto Matta, Kay Sage, Leonora Carrington, Dorothea Tanning, and Leonor Fini among others.


title: History of painting

text: Der Blaue Reiter was a German movement lasting from 1911 to 1914, fundamental to Expressionism, along with Die Brücke which was founded the previous decade in 1905 and was a group of German expressionist artists formed in Dresden in 1905. Founding members of Die Brücke were Fritz Bleyl, Erich Heckel, Ernst Ludwig Kirchner and Karl Schmidt-Rottluff. Later members included Max Pechstein, Otto Mueller and others. The group was one of the seminal ones, which in due course had a major impact on the evolution of modern art in the 20th century and created the style of Expressionism.


title: History of painting

text: Wassily Kandinsky, Franz Marc, August Macke, Alexej von Jawlensky, whose psychically expressive painting of the Russian dancer "Portrait of Alexander Sakharoff", 1909 is in the gallery above, Marianne von Werefkin, Lyonel Feininger and others founded the Der Blaue Reiter group in response to the rejection of Kandinsky's painting "Last Judgement" from an exhibition. Der Blaue Reiter lacked a central artistic manifesto, but was centered around Kandinsky and Marc. Artists Gabriele Münter and Paul Klee were also involved.


title: History of painting

text: The name of the movement comes from a painting by Kandinsky created in 1903. It is also claimed that the name could have derived from Marc's enthusiasm for horses and Kandinsky's love of the colour blue. For Kandinsky, "blue" is the colour of spirituality: the darker the blue, the more it awakens human desire for the eternal.


title: History of painting

text: In the USA during the period between World War I and World War II painters tended to go to Europe for recognition. Artists like Marsden Hartley, Patrick Henry Bruce, Gerald Murphy and Stuart Davis, created reputations abroad. In New York City, Albert Pinkham Ryder and Ralph Blakelock were influential and important figures in advanced American painting between 1900 and 1920. During the 1920s photographer Alfred Stieglitz exhibited Georgia O'Keeffe, Arthur Dove, Alfred Henry Maurer, Charles Demuth, John Marin and other artists including European Masters Henri Matisse, Auguste Rodin, Henri Rousseau, Paul Cézanne, and Pablo Picasso, at his gallery "the 291."


title: History of painting

text: During the 1920s and the 1930s and the Great Depression, Surrealism, late Cubism, the Bauhaus, De Stijl, Dada, German Expressionism, Expressionism, and modernist and masterful color painters like Henri Matisse and Pierre Bonnard characterized the European art scene. In Germany Max Beckmann, Otto Dix, George Grosz and others politicized their paintings, foreshadowing the coming of World War II. While in America American Scene painting and the social realism and regionalism movements that contained both political and social commentary dominated the art world. Artists like Ben Shahn, Thomas Hart Benton, Grant Wood, George Tooker, John Steuart Curry, Reginald Marsh, and others became prominent. In Latin America besides the Uruguayan painter Joaquín Torres García and Rufino Tamayo from Mexico, the muralist movement with Diego Rivera, David Siqueiros, José Orozco, Pedro Nel Gómez and Santiago Martinez Delgado and the Symbolist paintings by Frida Kahlo began a renaissance of the arts for the region, with a use of color and historic, and political messages. Frida Kahlo's Symbolist works also relate strongly to Surrealism and to the Magic Realism movement in literature. The psychological drama in many of Kahlo's self portraits (above) underscore the vitality and relevance of her paintings to artists in the 21st century.


title: History of painting

text: "American Gothic" is a painting by Grant Wood from 1930. Portraying a pitchfork-holding farmer and a younger woman in front of a house of Carpenter Gothic style, it is one of the most familiar images in 20th-century American art. Art critics had favorable opinions about the painting, like Gertrude Stein and Christopher Morley, they assumed the painting was meant to be a satire of rural small-town life. It was thus seen as part of the trend towards increasingly critical depictions of rural America, along the lines of Sherwood Anderson's "1919 Winesburg, Ohio", Sinclair Lewis' 1920 "Main Street", and Carl Van Vechten's "The Tattooed Countess" in literature. However, with the onset of the Great Depression, the painting came to be seen as a depiction of steadfast American pioneer spirit.


title: History of painting

text: Diego Rivera is perhaps best known by the public world for his 1933 mural, "Man at the Crossroads", in the lobby of the RCA Building at Rockefeller Center. When his patron Nelson Rockefeller discovered that the mural included a portrait of Vladimir Lenin and other communist imagery, he fired Rivera, and the unfinished work was eventually destroyed by Rockefeller's staff. The film "Cradle Will Rock" includes a dramatization of the controversy. Frida Kahlo (Rivera's wife's) works are often characterized by their stark portrayals of pain. Of her 143 paintings 55 are self-portraits, which frequently incorporate symbolic portrayals of her physical and psychological wounds. Kahlo was deeply influenced by indigenous Mexican culture, which is apparent in her paintings' bright colors and dramatic symbolism. Christian and Jewish themes are often depicted in her work as well; she combined elements of the classic religious Mexican tradition—which were often bloody and violent—with surrealist renderings. While her paintings are not overtly Christian they certainly contain elements of the macabre Mexican Christian style of religious paintings.


title: History of painting

text: Political activism was an important piece of David Siqueiros' life, and frequently inspired him to set aside his artistic career. His art was deeply rooted in the Mexican Revolution, a violent and chaotic period in Mexican history in which various social and political factions fought for recognition and power. The period from the 1920s to the 1950s is known as the Mexican Renaissance, and Siqueiros was active in the attempt to create an art that was at once Mexican and universal. He briefly gave up painting to focus on organizing miners in Jalisco.


title: History of painting

text: During the 1930s radical leftist politics characterized many of the artists connected to Surrealism, including Pablo Picasso. On 26 April 1937, during the Spanish Civil War, the Basque town of Gernika was the scene of the "Bombing of Gernika" by the Condor Legion of Nazi Germany's Luftwaffe. The Germans were attacking to support the efforts of Francisco Franco to overthrow the Basque Government and the Spanish Republican government. The town was devastated, though the Biscayan assembly and the Oak of Gernika survived. Pablo Picasso painted his mural sized "Guernica" to commemorate the horrors of the bombing.


title: History of painting

text: In its final form, "Guernica" is an immense black and white, tall and wide mural painted in oil. The mural presents a scene of death, violence, brutality, suffering, and helplessness without portraying their immediate causes. The choice to paint in black and white contrasts with the intensity of the scene depicted and invokes the immediacy of a newspaper photograph.


title: History of painting

text: Picasso painted the mural sized painting called "Guernica" in protest of the bombing. The painting was first exhibited in Paris in 1937, then Scandinavia, then London in 1938 and finally in 1939 at Picasso's request the painting was sent to the United States in an extended loan (for safekeeping) at MoMA. The painting went on a tour of museums throughout the USA until its final return to the Museum of Modern Art in New York City where it was exhibited for nearly thirty years. Finally in accord with Pablo Picasso's wish to give the painting to the people of Spain as a gift, it was sent to Spain in 1981.


title: History of painting

text: During the Great Depression of the 1930s, through the years of World War II American art was characterized by Social Realism and American Scene Painting in the work of Grant Wood, Edward Hopper, Ben Shahn, Thomas Hart Benton, and several others. "Nighthawks" (1942) is a painting by Edward Hopper that portrays people sitting in a downtown diner late at night. It is not only Hopper's most famous painting, but one of the most recognizable in American art. It is currently in the collection of the Art Institute of Chicago. The scene was inspired by a diner (since demolished) in Greenwich Village, Hopper's home neighborhood in Manhattan. Hopper began painting it immediately after the attack on Pearl Harbor. After this event there was a large feeling of gloominess over the country, a feeling that is portrayed in the painting. The urban street is empty outside the diner, and inside none of the three patrons is apparently looking or talking to the others but instead is lost in their own thoughts. This portrayal of modern urban life as empty or lonely is a common theme throughout Hopper's work.


title: History of painting

text: The Dynamic for artists in Europe during the 1930s deteriorated rapidly as the Nazi's power in Germany and across Eastern Europe increased. The climate became so hostile for artists and art associated with Modernism and abstraction that many left for the Americas. "Degenerate art" was a term adopted by the Nazi regime in Germany for virtually all modern art. Such art was banned on the grounds that it was un-German or Jewish Bolshevist in nature, and those identified as degenerate artists were subjected to sanctions. These included being dismissed from teaching positions, being forbidden to exhibit or to sell their art, and in some cases being forbidden to produce art entirely.


title: History of painting

text: "Degenerate Art" was also the title of an exhibition, mounted by the Nazis in Munich in 1937, consisting of modernist artworks chaotically hung and accompanied by text labels deriding the art. Designed to inflame public opinion against modernism, the exhibition subsequently traveled to several other cities in Germany and Austria. German artist Max Beckmann and scores of others fled Europe for New York. In New York City a new generation of young and exciting Modernist painters led by Arshile Gorky, Willem de Kooning, and others were just beginning to come of age.


title: History of painting

text: Arshile Gorky's portrait of someone who might be Willem de Kooning (above) is an example of the evolution of abstract expressionism from the context of figure painting, cubism and surrealism. Along with his friends de Kooning and John D. Graham Gorky created bio-morphically shaped and abstracted figurative compositions that by the 1940s evolved into totally abstract paintings. Gorky's work seems to be a careful analysis of memory, emotion and shape, using line and color to express feeling and nature.


title: History of painting

text: The 1940s in New York City heralded the triumph of American abstract expressionism, a modernist movement that combined lessons learned from Henri Matisse, Pablo Picasso, Surrealism, Joan Miró, Cubism, Fauvism, and early Modernism via great teachers in America like Hans Hofmann and John D. Graham. American artists benefited from the presence of Piet Mondrian, Fernand Léger, Max Ernst and the André Breton group, Pierre Matisse's gallery, and Peggy Guggenheim's gallery "The Art of This Century", as well as other factors. The figurative work of Francis Bacon, Frida Kahlo, Edward Hopper, Lucian Freud, Andrew Wyeth and others served as a kind of alternative to abstract expressionism.


title: History of painting

text: Post-Second World War American painting called Abstract expressionism included artists like Jackson Pollock, Willem de Kooning, Arshile Gorky, Mark Rothko, Hans Hofmann, Clyfford Still, Franz Kline, Adolph Gottlieb, Mark Tobey, Barnett Newman, James Brooks, Philip Guston, Robert Motherwell, Conrad Marca-Relli, Jack Tworkov, William Baziotes, Richard Pousette-Dart, Ad Reinhardt, Hedda Sterne, Jimmy Ernst, Esteban Vicente, Bradley Walker Tomlin, and Theodoros Stamos, among others. American Abstract expressionism got its name in 1946 from the art critic Robert Coates. It is seen as combining the emotional intensity and self-denial of the German Expressionists with the anti-figurative aesthetic of the European abstract schools such as futurism, the Bauhaus and synthetic cubism. Abstract expressionism, action painting, and Color Field painting are synonymous with the New York School.


title: History of painting

text: Technically Surrealism was an important predecessor for abstract expressionism with its emphasis on spontaneous, automatic or subconscious creation. Jackson Pollock's dripping paint onto a canvas laid on the floor is a technique that has its roots in the work of André Masson. Another important ear<nowiki>ly m</nowiki>anifestation of what came to be abstract expressionism is the work of American Northwest artist Mark Tobey, especially his "white writing" canvases, which, though generally not large in scale, anticipate the "all over" look of Pollock's drip paintings.


title: History of painting

text: Additionally, Abstract expressionism has an image of being rebellious, anarchic, highly idiosyncratic and, some feel, rather nihilistic. In practice, the term is applied to any number of artists working (mostly) in New York who had quite different styles, and even applied to work which is not especially abstract nor expressionist. Pollock's energetic "action paintings", with their "busy" feel, are different both technically and aesthetically, to the violent and grotesque "Women" series of Willem de Kooning. As seen above in the gallery "Woman V" is one of a series of six paintings made by de Kooning between 1950 and 1953 that depict a three-quarter-length female figure. He began the first of these paintings, "Woman I" collection: The Museum of Modern Art, New York City, in June 1950, repeatedly changing and painting out the image until January or February 1952, when the painting was abandoned unfinished. The art historian Meyer Schapiro saw the painting in de Kooning's studio soon afterwards and encouraged the artist to persist. De Kooning's response was to begin three other paintings on the same theme; "Woman II" collection: The Museum of Modern Art, New York City, "Woman III", Tehran Museum of Contemporary Art, "Woman IV", Nelson-Atkins Museum of Art, Kansas City, Missouri. During the summer of 1952, spent at East Hampton, de Kooning further explored the theme through drawings and pastels. He may have finished work on "Woman I" by the end of June, or possibly as late as November 1952, and probably the other three women pictures were concluded at much the same time. The "Woman series" are decidedly figurative paintings. Another important artist is Franz Kline, as demonstrated by his painting "High Street", 1950 as with Jackson Pollock and other Abstract Expressionists, was labelled an "action painter" because of his seemingly spontaneous and intense style, focusing less, or not at all, on figures or imagery, but on the actual brush strokes and use of canvas.


title: History of painting

text: Clyfford Still, Barnett Newman, Adolph Gottlieb, and the serenely shimmering blocks of color in Mark Rothko's work (which is not what would usually be called expressionist and which Rothko denied was abstract), are classified as abstract expressionists, albeit from what Clement Greenberg termed the Color Field direction of abstract expressionism. Both Hans Hofmann and Robert Motherwell (gallery) can be comfortably described as practitioners of action painting and Color Field painting.


title: History of painting

text: Abstract expressionism has many stylistic similarities to the Russian artists of the early 20th century such as Wassily Kandinsky. Although it is true that spontaneity or of the impression of spontaneity characterized many of the abstract expressionists works, most of these paintings involved careful planning, especially since their large size demanded it. An exception might be the drip paintings of Pollock.


title: History of painting

text: Why this style gained mainstream acceptance in the 1950s is a matter of debate. American Social realism had been the mainstream in the 1930s. It had been influenced not only by the Great Depression but also by the Social Realists of Mexico such as David Alfaro Siqueiros and Diego Rivera. The political climate after World War II did not long tolerate the social protests of those painters. Abstract expressionism arose during World War II and began to be showcased during the early 1940s at galleries in New York like "The Art of This Century Gallery". The late 1940s through the mid-1950s ushered in the McCarthy era. It was after World War II and a time of political conservatism and extreme artistic censorship in the United States. Some people have conjectured that since the subject matter was often totally abstract, Abstract expressionism became a safe strategy for artists to pursue this style. Abstract art could be seen as apolitical. Or if the art was political, the message was largely for the insiders. However, those theorists are in the minority. As the first truly original school of painting in America, Abstract expressionism demonstrated the vitality and creativity of the country in the post-war years, as well as its ability (or need) to develop an aesthetic sense that was not constrained by the European standards of beauty.


title: History of painting

text: Although Abstract expressionism spread quickly throughout the United States, the major centers of this style were New York City and California, especially in the New York School, and the San Francisco Bay area. Abstract expressionist paintings share certain characteristics, including the use of large canvases, an "all-over" approach, in which the whole canvas is treated with equal importance (as opposed to the center being of more interest than the edges). The canvas as the "arena" became a credo of action painting, while the "integrity of the picture plane" became a credo of the Color Field painters. Many other artists began exhibiting their abstract expressionist related paintings during the 1950s including Alfred Leslie, Sam Francis, Joan Mitchell, Helen Frankenthaler, Cy Twombly, Milton Resnick, Michael Goldberg, Norman Bluhm, Ray Parker, Nicolas Carone, Grace Hartigan, Friedel Dzubas, and Robert Goodnough among others.


title: History of painting

text: During the 1950s Color Field painting initially referred to a particular type of abstract expressionism, especially the work of Mark Rothko, Clyfford Still, Barnett Newman, Robert Motherwell and Adolph Gottlieb. It essentially involved abstract paintings with large, flat expanses of color that expressed the sensual, and visual feelings and properties of large areas of nuanced surface. Art critic Clement Greenberg perceived Color Field painting as related to but different from Action painting. The overall expanse and gestalt of the work of the early color field painters speaks of an almost religious experience, awestruck in the face of an expanding universe of sensuality, color and surface. During the early-to-mid-1960s, "Color Field painting" came to refer to the styles of artists like Jules Olitski, Kenneth Noland, and Helen Frankenthaler, whose works were related to second-generation abstract expressionism, and to younger artists like Larry Zox, and Frank Stella, – all moving in a new direction. Artists like Clyfford Still, Mark Rothko, Hans Hofmann, Morris Louis, Jules Olitski, Kenneth Noland, Helen Frankenthaler, Larry Zox, and others often used greatly reduced references to nature, and they painted with a highly articulated and psychological use of color. In general these artists eliminated recognizable imagery. In "Mountains and Sea", from 1952, a seminal work of Color Field painting by Helen Frankenthaler the artist used the stain technique for the first time.


title: History of painting

text: In Europe there was the continuation of Surrealism, Cubism, Dada and the works of Matisse. Also in Europe, Tachisme (the European equivalent to Abstract expressionism) took hold of the newest generation. Serge Poliakoff, Nicolas de Staël, Georges Mathieu, Vieira da Silva, Jean Dubuffet, Yves Klein and Pierre Soulages among others are considered important figures in post-war European painting.


title: History of painting

text: Eventually abstract painting in America evolved into movements such as Neo-Dada, Color Field painting, Post painterly abstraction, Op art, hard-edge painting, Minimal art, shaped canvas painting, Lyrical Abstraction, Neo-expressionism and the continuation of Abstract expressionism. As a response to the tendency toward abstraction imagery emerged through various new movements, notably Pop art.


title: History of painting

text: Earlier in England in 1956 the term "Pop Art" was used by Lawrence Alloway for paintings that celebrated consumerism of the post World War II era. This movement rejected abstract expressionism and its focus on the hermeneutic and psychological interior, in favor of art which depicted, and often celebrated material consumer culture, advertising, and iconography of the mass production age. The early works of David Hockney and the works of Richard Hamilton Peter Blake and Eduardo Paolozzi were considered seminal examples in the movement.


title: History of painting

text: Pop art in America was to a large degree initially inspired by the works of Jasper Johns, Larry Rivers, and Robert Rauschenberg. Although the paintings of Gerald Murphy, Stuart Davis and Charles Demuth during the 1920s and 1930s set the table for pop art in America. In New York City during the mid-1950s Robert Rauschenberg and Jasper Johns created works of art that at first seemed to be continuations of Abstract expressionist painting. Actually their works and the work of Larry Rivers, were radical departures from abstract expressionism especially in the use of banal and literal imagery and the inclusion and the combining of mundane materials into their work. The innovations of Johns' specific use of various images and objects like chairs, numbers, targets, beer cans and the American flag; Rivers paintings of subjects drawn from popular culture such as George Washington crossing the Delaware, and his inclusions of images from advertisements like the camel from Camel cigarettes, and Rauschenberg's surprising constructions using inclusions of objects and pictures taken from popular culture, hardware stores, junkyards, the city streets, and taxidermy gave rise to a radical new movement in American art. Eventually by 1963 the movement came to be known worldwide as pop art.


title: History of painting

text: American pop art is exemplified by artists: Andy Warhol, Claes Oldenburg, Wayne Thiebaud, James Rosenquist, Jim Dine, Tom Wesselmann and Roy Lichtenstein among others. Lichtenstein's most important work is arguably "Whaam!" (1963, Tate Modern, London), one of the earliest known examples of pop art, adapted a comic-book panel from a 1962 issue of DC Comics' "All-American Men of War". The painting depicts a fighter aircraft firing a rocket into an enemy plane, with a red-and-yellow explosion. The cartoon style is heightened by the use of the onomatopoeic lettering ""Whaam!"" and the boxed caption ""I pressed the fire control... and ahead of me rockets blazed through the sky..."" Pop art merges popular and mass culture with fine art, while injecting humor, irony, and recognizable imagery and content into the mix. In October 1962 the Sidney Janis Gallery mounted "The New Realists" the first major pop art group exhibition in an uptown art gallery in New York City. Sidney Janis mounted the exhibition in a 57th Street storefront near his gallery at 15 E. 57th Street. The show sent shockwaves through the New York School and reverberated worldwide. Earlier in the fall of 1962 an historically important and ground-breaking "New Painting of Common Objects" exhibition of pop art, curated by Walter Hopps at the Pasadena Art Museum sent shock waves across the Western United States.


title: History of painting

text: While in the downtown scene in New York City's East Village 10th Street galleries artists were formulating an American version of Pop Art. Claes Oldenburg had his storefront and made painted objects, and the Green Gallery on 57th Street began to show Tom Wesselmann and James Rosenquist. Later Leo Castelli exhibited other American artists including the bulk of the careers of Andy Warhol and Roy Lichtenstein and his use of Benday dots, a technique used in commercial reproduction. There is a connection between the radical works of Duchamp, and Man Ray, the rebellious Dadaists – with a sense of humor; and pop artists like Alex Katz (who became known for his parodies of portrait photography and suburban life), Claes Oldenburg, Andy Warhol, Roy Lichtenstein and the others.


title: History of painting

text: While throughout the 20th century many painters continued to practice landscape and figurative painting with contemporary subjects and solid technique, like Milton Avery, John D. Graham, Fairfield Porter, Edward Hopper, Balthus, Francis Bacon, Nicolas de Staël, Andrew Wyeth, Lucian Freud, Frank Auerbach, Philip Pearlstein, David Park, Nathan Oliveira, David Hockney, Malcolm Morley, Richard Estes, Ralph Goings, Audrey Flack, Chuck Close, Susan Rothenberg, Eric Fischl, Vija Celmins and Richard Diebenkorn.


title: History of painting

text: During the 1930s through the 1960s abstract painting in America and Europe evolved into movements such as abstract expressionism, Color Field painting, Post painterly abstraction, Op art, hard-edge painting, Minimal art, shaped canvas painting, and Lyrical Abstraction. Other artists reacted as a response to the tendency toward abstraction, allowing figurative imagery to continue through various new contexts like the Bay Area Figurative Movement in the 1950s and new forms of expressionism from the 1940s through the 1960s. In Italy during this time, Giorgio Morandi was the foremost still life painter, exploring a wide variety of approaches to depicting everyday bottles and kitchen implements. Throughout the 20th century many painters practiced Realism and used expressive imagery; practicing landscape and figurative painting with contemporary subjects and solid technique, and unique expressivity like still-life painter Giorgio Morandi, Milton Avery, John D. Graham, Fairfield Porter, Edward Hopper, Andrew Wyeth, Balthus, Francis Bacon, Leon Kossoff, Frank Auerbach, Lucian Freud, Philip Pearlstein, Willem de Kooning, Arshile Gorky, Grace Hartigan, Robert De Niro, Sr., Elaine de Kooning and others. Along with Henri Matisse, Pablo Picasso, Pierre Bonnard, Georges Braque, and other 20th-century masters. In particular Milton Avery through his use of color and his interest in seascape and landscape paintings connected with the Color field aspect of Abstract expressionism as manifested by Adolph Gottlieb and Mark Rothko as well as the lessons American painters took from the work of Henri Matisse.


title: History of painting

text: "Head VI", 1949 is a painting by the Irish born artist Francis Bacon and is an example of Post World War II European Expressionism. The work shows a distorted version of the Portrait of Innocent X painted by the Spanish artist Diego Velázquez in 1650. The work is one of a series of variants of the Velázquez painting which Bacon executed throughout the 1950s and early 1960s, over a total of forty-five works. When asked why he was compelled to revisit the subject so often, Bacon replied that he had nothing against the Popes, that he merely "wanted an excuse to use these colours, and you can't give ordinary clothes that purple colour without getting into a sort of false fauve manner." The Pope in this version seethes with anger and aggression, and the dark colors give the image a grotesque and nightmarish appearance. The pleated curtains of the backdrop are rendered transparent, and seem to fall through the Pope's face.


title: History of painting

text: Italian painter Giorgio Morandi was an important 20th-century early pioneer of Minimalism. Born in Bologna, Italy, in 1890, throughout his career, Morandi concentrated almost exclusively on still lifes and landscapes, except for a few self-portraits. With great sensitivity to tone, color, and compositional balance, he would depict the same familiar bottles and vases again and again in paintings notable for their simplicity of execution. Morandi executed 133 etchings, a significant body of work in its own right, and his drawings and watercolors often approach abstraction in their economy of means. Through his simple and repetitive motifs and economical use of color, value and surface, Morandi became a prescient and important forerunner of Minimalism. He died in Bologna in 1964.


title: History of painting

text: After World War II the term School of Paris often referred to Tachisme, the European equivalent of American Abstract expressionism and those artists are also related to Cobra. Important proponents being Jean Dubuffet, Pierre Soulages, Nicolas de Staël, Hans Hartung, Serge Poliakoff, and Georges Mathieu, among several others. During the early 1950s Dubuffet (who was always a figurative artist), and de Staël, abandoned abstraction, and returned to imagery via figuration and landscape. De Staël 's work was quickly recognised within the post-war art world, and he became one of the most influential artists of the 1950s. His return to representation (seascapes, footballers, jazz musicians, seagulls) during the early 1950s can be seen as an influential precedent for the American Bay Area Figurative Movement, as many of those abstract painters like Richard Diebenkorn, David Park, Elmer Bischoff, Wayne Thiebaud, Nathan Oliveira, Joan Brown and others made a similar move; returning to imagery during the mid-1950s. Much of de Staël 's late work – in particular his thinned, and diluted oil on canvas abstract landscapes of the mid-1950s predicts Color Field painting and Lyrical Abstraction of the 1960s and 1970s. Nicolas de Staël's bold and intensely vivid color in his last paintings predict the direction of much of contemporary painting that came after him including Pop art of the 1960s.


title: History of painting

text: During the 1950s and 1960s as abstract painting in America and Europe evolved into movements such as Color Field painting, post-painterly abstraction, op art, hard-edge painting, minimal art, shaped canvas painting, Lyrical Abstraction, and the continuation of Abstract expressionism. Other artists reacted as a response to the tendency toward abstraction with art brut, as seen in "Court les rues," 1962, by Jean Dubuffet, fluxus, neo-Dada, New Realism, allowing imagery to re-emerge through various new contexts like pop art, the Bay Area Figurative Movement (a prime example is Diebenkorn's "Cityscape I, (Landscape No. 1)," 1963, Oil on canvas, 60 1/4 x 50 1/2 inches, collection: San Francisco Museum of Modern Art) and later in the 1970s Neo-expressionism. The Bay Area Figurative Movement of whom David Park, Elmer Bischoff, Nathan Oliveira and Richard Diebenkorn whose painting "Cityscape 1", 1963 is a typical example were influential members flourished during the 1950s and 1960s in California. Although throughout the 20th century painters continued to practice Realism and use imagery, practicing landscape and figurative painting with contemporary subjects and solid technique, and unique expressivity like Milton Avery, Edward Hopper, Jean Dubuffet, Francis Bacon, Frank Auerbach, Lucian Freud, Philip Pearlstein, and others. Younger painters practiced the use of imagery in new and radical ways. Yves Klein, Martial Raysse, Niki de Saint Phalle, Wolf Vostell, David Hockney, Alex Katz, Malcolm Morley, Ralph Goings, Audrey Flack, Richard Estes, Chuck Close, Susan Rothenberg, Eric Fischl, John Baeder and Vija Celmins were a few who became prominent between the 1960s and the 1980s. Fairfield Porter was largely self-taught, and produced representational work in the midst of the Abstract Expressionist movement. His subjects were primarily landscapes, domestic interiors and portraits of family, friends and fellow artists, many of them affiliated with the New York School of writers, including John Ashbery, Frank O'Hara, and James Schuyler. Many of his paintings were set in or around the family summer house on Great Spruce Head Island, Maine.


title: History of painting

text: Also during the 1960s and 1970s, there was a reaction against painting. Critics like Douglas Crimp viewed the work of artists like Ad Reinhardt, and declared the "death of painting". Artists began to practice new ways of making art. New movements gained prominence some of which are: Fluxus, Happening, Video art, Installation art Mail art, the situationists, Conceptual art, Postminimalism, Earth art, arte povera, performance art and body art among others.


title: History of painting

text: Neo-Dada is also a movement that started in the 1950s and 1960s and was related to Abstract expressionism only with imagery. Featuring the emergence of combined manufactured items, with artist materials, moving away from previous conventions of painting. This trend in art is exemplified by the work of Jasper Johns and Robert Rauschenberg, whose "combines" in the 1950s were forerunners of Pop Art and Installation art, and made use of the assemblage of large physical objects, including stuffed animals, birds and commercial photography. Robert Rauschenberg, Jasper Johns, Larry Rivers, John Chamberlain, Claes Oldenburg, George Segal, Jim Dine, and Edward Kienholz among others were important pioneers of both abstraction and Pop Art; creating new conventions of art-making; they made acceptable in serious contemporary art circles the radical inclusion of unlikely materials as parts of their works of art.


title: History of painting

text: Color Field painting clearly pointed toward a new direction in American painting, away from abstract expressionism. Color Field painting is related to post-painterly abstraction, suprematism, abstract expressionism, hard-edge painting and Lyrical Abstraction.


title: History of painting

text: During the 1960s and 1970s abstract painting continued to develop in America through varied styles. Geometric abstraction, Op art, hard-edge painting, Color Field painting and minimal painting, were some interrelated directions for advanced abstract painting as well as some other new movements. Morris Louis was an important pioneer in advanced Color Field painting, his work can serve as a bridge between abstract expressionism, Color Field painting, and minimal art. Two influential teachers Josef Albers and Hans Hofmann introduced a new generation of American artists to their advanced theories of color and space. Josef Albers is best remembered for his work as a Geometric abstractionist painter and theorist. Most famous of all are the hundreds of paintings and prints that make up the series "Homage to the Square". In this rigorous series, begun in 1949, Albers explored chromatic interactions with flat colored squares arranged concentrically on the canvas. Albers' theories on art and education were formative for the next generation of artists. His own paintings form the foundation of both hard-edge painting and Op art.


title: History of painting

text: Josef Albers, Hans Hofmann, Ilya Bolotowsky, Burgoyne Diller, Victor Vasarely, Bridget Riley, Richard Anuszkiewicz, Frank Stella, Morris Louis, Kenneth Noland, Ellsworth Kelly, Barnett Newman, Larry Poons, Ronald Davis, Larry Zox, Al Held and some others like Mino Argento, are artists closely associated with Geometric abstraction, Op art, Color Field painting, and in the case of Hofmann and Newman Abstract expressionism as well.


title: History of painting

text: In 1965, an exhibition called "The Responsive Eye", curated by William C. Seitz, was held at the Museum of Modern Art, in New York City. The works shown were wide-ranging, encompassing the Minimalism of Frank Stella, the Op art of Larry Poons, the work of Alexander Liberman, alongside the masters of the Op Art movement: Victor Vasarely, Richard Anuszkiewicz, Bridget Riley and others. The exhibition focused on the perceptual aspects of art, which result both from the illusion of movement and the interaction of color relationships. Op art, also known as optical art, is a style present in some paintings and other works of art that use optical illusions. Op art is also closely akin to geometric abstraction and hard-edge painting. Although sometimes the term used for it is perceptual abstraction.


title: History of painting

text: Op art is a method of painting concerning the interaction between illusion and picture plane, between understanding and seeing. Op art works are abstract, with many of the better known pieces made in only black and white. When the viewer looks at them, the impression is given of movement, hidden images, flashing and vibration, patterns, or alternatively, of swelling or warping.


title: History of painting

text: Color Field painting sought to rid art of superfluous rhetoric. Artists like Clyfford Still, Mark Rothko, Hans Hofmann, Morris Louis, Jules Olitski, Kenneth Noland, Helen Frankenthaler, John Hoyland, Larry Zox, and others often used greatly reduced references to nature, and they painted with a highly articulated and psychological use of color. In general these artists eliminated recognizable imagery. Certain artists quoted references to past or present art, but in general color field painting presents abstraction as an end in itself. In pursuing this direction of modern art, artists wanted to present each painting as one unified, cohesive, monolithic image.


title: History of painting

text: Frank Stella, Kenneth Noland, Ellsworth Kelly, Barnett Newman, Ronald Davis, Neil Williams, Robert Mangold, Charles Hinman, Richard Tuttle, David Novros, and Al Loving are examples of artists associated with the use of the shaped canvas during the period beginning in the early 1960s. Many Geometric abstract artists, minimalists, and Hard-edge painters elected to use the edges of the image to define the shape of the painting rather than accepting the rectangular format. In fact, the use of the shaped canvas is primarily associated with paintings of the 1960s and 1970s that are coolly abstract, formalistic, geometrical, objective, rationalistic, clean-lined, brashly sharp-edged, or minimalist in character. The Andre Emmerich Gallery, the Leo Castelli Gallery, the Richard Feigen Gallery, and the Park Place Gallery were important showcases for Color Field painting, shaped canvas painting and Lyrical Abstraction in New York City during the 1960s. There is a connection with post-painterly abstraction, which reacted against abstract expressionisms' mysticism, hyper-subjectivity, and emphasis on making the act of painting itself dramatically visible – as well as the solemn acceptance of the flat rectangle as an almost ritual prerequisite for serious painting. During the 1960s Color Field painting and Minimal art were often closely associated with each other. In actuality by the early 1970s both movements became decidedly diverse.


title: History of painting

text: Another related movement of the late 1960s, Lyrical Abstraction (the term being coined by Larry Aldrich, the founder of the Aldrich Contemporary Art Museum, Ridgefield Connecticut), encompassed what Aldrich said he saw in the studios of many artists at that time. It is also the name of an exhibition that originated in the Aldrich Museum and traveled to the Whitney Museum of American Art and other museums throughout the United States between 1969 and 1971.


title: History of painting

text: Lyrical Abstraction in the late 1960s is characterized by the paintings of Dan Christensen, Ronnie Landfield, Peter Young and others, and along with the fluxus movement and postminimalism (a term first coined by Robert Pincus-Witten in the pages of "Artforum" in 1969) sought to expand the boundaries of abstract painting and minimalism by focusing on process, new materials and new ways of expression. Postminimalism often incorporating industrial materials, raw materials, fabrications, found objects, installation, serial repetition, and often with references to Dada and Surrealism is best exemplified in the sculptures of Eva Hesse. Lyrical Abstraction, conceptual art, postminimalism, Earth art, video, performance art, installation art, along with the continuation of fluxus, abstract expressionism, Color Field painting, hard-edge painting, minimal art, op art, pop art, photorealism and New Realism extended the boundaries of contemporary art in the mid-1960s through the 1970s. Lyrical Abstraction is a type of freewheeling abstract painting that emerged in the mid-1960s when abstract painters returned to various forms of painterly, pictorial, expressionism with a predominate focus on process, gestalt and repetitive compositional strategies in general.


title: History of painting

text: Lyrical Abstraction shares similarities with color field painting and abstract expressionism, Lyrical Abstraction as exemplified by the 1968 Ronnie Landfield painting "For William Blake", (above) especially in the freewheeling usage of paint – texture and surface. Direct drawing, calligraphic use of line, the effects of brushed, splattered, stained, squeegeed, poured, and splashed paint superficially resemble the effects seen in abstract expressionism and color field painting. However, the styles are markedly different. Setting it apart from abstract expressionism and action painting of the 1940s and 1950s is the approach to composition and drama. As seen in action painting there is an emphasis on brushstrokes, high compositional drama, dynamic compositional tension. While in Lyrical Abstraction there is a sense of compositional randomness, all over composition, low key and relaxed compositional drama and an emphasis on process, repetition, and an all over sensibility.,


title: History of painting

text: Agnes Martin, Robert Mangold, Brice Marden, Jo Baer, Robert Ryman, Richard Tuttle, Neil Williams, David Novros, Paul Mogenson, Charles Hinman are examples of artists associated with Minimalism and (exceptions of Martin, Baer and Marden) the use of the shaped canvas also during the period beginning in the early 1960s. Many Geometric abstract artists, minimalists, and hard-edge painters elected to use the edges of the image to define the shape of the painting rather than accepting the rectangular format. In fact, the use of the shaped canvas is primarily associated with paintings of the 1960s and 1970s that are coolly abstract, formalistic, geometrical, objective, rationalistic, clean-lined, brashly sharp-edged, or minimalist in character. The Bykert Gallery, and the Park Place Gallery were important showcases for Minimalism and shaped canvas painting in New York City during the 1960s.


title: History of painting

text: During the 1960s and 1970s artists such as Robert Motherwell, Adolph Gottlieb, Phillip Guston, Lee Krasner, Cy Twombly, Robert Rauschenberg, Jasper Johns, Richard Diebenkorn, Josef Albers, Elmer Bischoff, Agnes Martin, Al Held, Sam Francis, Ellsworth Kelly, Morris Louis, Helen Frankenthaler, Gene Davis, Frank Stella, Kenneth Noland, Joan Mitchell, Friedel Dzubas, and younger artists like Brice Marden, Robert Mangold, Sam Gilliam, John Hoyland, Sean Scully, Pat Steir, Elizabeth Murray, Larry Poons, Walter Darby Bannard, Larry Zox, Ronnie Landfield, Ronald Davis, Dan Christensen, Joan Snyder, Ross Bleckner, Archie Rand, Susan Crile, and dozens of others produced a wide variety of paintings.


title: History of painting

text: During the 1960s and 1970s, there was a reaction against abstract painting. Some critics viewed the work of artists like Ad Reinhardt, and declared the 'death of painting'. Artists began to practice new ways of making art. New movements gained prominence some of which are: postminimalism, Earth art, video art, installation art, arte povera, performance art, body art, fluxus, happening, mail art, the situationists and conceptual art among others.


title: History of painting

text: However still other important innovations in abstract painting took place during the 1960s and the 1970s characterized by monochrome painting and hard-edge painting inspired by Ad Reinhardt, Barnett Newman, Milton Resnick, and Ellsworth Kelly. Artists as diverse as Agnes Martin, Al Held, Larry Zox, Frank Stella, Larry Poons, Brice Marden and others explored the power of simplification. The convergence of Color Field painting, minimal art, hard-edge painting, Lyrical Abstraction, and postminimalism blurred the distinction between movements that became more apparent in the 1980s and 1990s. The neo-expressionism movement is related to earlier developments in abstract expressionism, neo-Dada, Lyrical Abstraction and postminimal painting.


title: History of painting

text: In the late 1960s the abstract expressionist painter Philip Guston helped to lead a transition from abstract expressionism to Neo-expressionism in painting, abandoning the so-called "pure abstraction" of abstract expressionism in favor of more cartoonish renderings of various personal symbols and objects. These works were inspirational to a new generation of painters interested in a revival of expressive imagery. His painting "Painting, Smoking, Eating" 1973, seen above in the gallery is an example of Guston's final and conclusive return to representation.


title: History of painting

text: In the late 1970s and early 1980s, there was also a return to painting that occurred almost simultaneously in Italy, Germany, France and Britain. These movements were called Transavantguardia, Neue Wilde, Figuration Libre, Neo-expressionism, the school of London, and in the late 1980s the Stuckists respectively. These painting were characterized by large formats, free expressive mark making, figuration, myth and imagination. All work in this genre came to be labeled neo-expressionism. Critical reaction was divided. Some critics regarded it as driven by profit motivations by large commercial galleries. This type of art continues in popularity into the 21st century, even after the art crash of the late 1980s. Anselm Kiefer is a leading figure in European Neo-expressionism by the 1980s, Kiefer's themes widened from a focus on Germany's role in civilization to the fate of art and culture in general. His work became more sculptural and involves not only national identity and collective memory, but also occult symbolism, theology and mysticism. The theme of all the work is the trauma experienced by entire societies, and the continual rebirth and renewal in life.


title: History of painting

text: During the late 1970s in the United States painters who began working with invigorated surfaces and who returned to imagery like Susan Rothenberg gained in popularity, especially as seen above in paintings like "Horse 2", 1979. During the 1980s American artists like Eric Fischl, David Salle, Jean-Michel Basquiat (who began as a graffiti artist), Julian Schnabel, and Keith Haring, and Italian painters like Mimmo Paladino, Sandro Chia, and Enzo Cucchi, among others defined the idea of Neo-expressionism in America.


title: History of painting

text: Neo-expressionism was a style of modern painting that became popular in the late 1970s and dominated the art market until the mid-1980s. It developed in Europe as a reaction against the conceptual and minimalistic art of the 1960s and 1970s. Neo-expressionists returned to portraying recognizable objects, such as the human body (although sometimes in a virtually abstract manner), in a rough and violently emotional way using vivid colours and banal colour harmonies. The veteran painters Philip Guston, Frank Auerbach, Leon Kossoff, Gerhard Richter, A. R. Penck and Georg Baselitz, along with slightly younger artists like Anselm Kiefer, Eric Fischl, Susan Rothenberg, Francesco Clemente, Jean-Michel Basquiat, Julian Schnabel, Keith Haring, and many others became known for working in this intense expressionist vein of painting.


title: History of painting

text: Painting still holds a respected position in contemporary art. Art is an open field no longer divided by the objective versus non-objective dichotomy. Artists can achieve critical success whether their images are representational or abstract. What has currency is content, exploring the boundaries of the medium, and a refusal to recapitulate the works of the past as an end goal.


title: History of painting

text: At the beginning of the 21st century Contemporary painting and Contemporary art in general continues in several contiguous modes, characterized by the idea of pluralism. The "crisis" in painting and current art and current art criticism today is brought about by pluralism. There is no consensus, nor need there be, as to a representative style of the age. There is an "anything goes" attitude that prevails; an "everything going on", and consequently "nothing going on" syndrome; this creates an aesthetic traffic jam with no firm and clear direction and with every lane on the artistic superhighway filled to capacity. Consequently magnificent and important works of art continue to be made albeit in a wide variety of styles and aesthetic temperaments, the marketplace being left to judge merit.


title: History of painting

text: Hard-edge painting, geometric abstraction, appropriation, hyperrealism, photorealism, expressionism, minimalism, Lyrical Abstraction, pop art, op art, abstract expressionism, Color Field painting, monochrome painting, neo-expressionism, collage, intermedia painting, assemblage painting, digital painting, postmodern painting, neo-Dada painting, shaped canvas painting, environmental mural painting, traditional figure painting, landscape painting, portrait painting, are a few continuing and current directions in painting at the beginning of the 21st century.


title: History of painting

text: During the period before and after European exploration and settlement of the Americas, including North America, Central America, South America and the Islands of the Caribbean, the Antilles, the Lesser Antilles and other island groups, indigenous native cultures produced creative works including architecture, pottery, ceramics, weaving, , sculpture, painting and murals as well as other religious and utilitarian objects. Each continent of the Americas hosted societies that were unique and individually developed cultures; that produced totems, works of religious symbolism, and decorative and expressive painted works. African influence was especially strong in the art of the Caribbean and South America. The arts of the indigenous people of the Americas had an enormous impact and influence on European art and vice versa during and after the Age of Exploration. Spain, Portugal, France, The Netherlands, and England were all powerful and influential colonial powers in the Americas during and after the 15th century. By the 19th century cultural influence began to flow both ways across the Atlantic


title: History of painting

text: The depiction of humans, animals or any other figurative subjects is forbidden within Islam to prevent believers from idolatry so there is no religiously motivated painting (or sculpture) tradition within Muslim culture. Pictorial activity was reduced to Arabesque, mainly abstract, with geometrical configuration or floral and plant-like patterns. Strongly connected to architecture and calligraphy, it can be widely seen as used for the painting of tiles in mosques or in illuminations around the text of the Koran and other books. In fact, abstract art is not an invention of modern art but it is present in pre-classical, barbarian and non-western cultures many centuries before it and is essentially a decorative or applied art. Notable illustrator M. C. Escher was influenced by this geometrical and pattern-based art. Art Nouveau (Aubrey Beardsley and the architect Antonio Gaudí) re-introduced abstract floral patterns into western art.


title: History of painting

text: Note that despite the taboo of figurative visualization, some Muslim countries did cultivate a rich tradition in painting, though not in its own right, but as a companion to the written word. Iranian or Persian art, widely known as Persian miniature, concentrates on the illustration of epic or romantic works of literature. Persian illustrators deliberately avoided the use of shading and perspective, though familiar with it in their pre-Islamic history, in order to abide by the rule of not creating any lifelike illusion of the real world. Their aim was not to depict the world as it is, but to create images of an ideal world of timeless beauty and perfect order.


title: History of painting

text: Oriental historian Basil Gray believes "Iran has offered a particularly unique art to the world which is excellent in its kind". Caves in Iran's Lorestan province exhibit painted imagery of animals and hunting scenes. Some such as those in Fars Province and Sialk are at least 5,000 years old. Painting in Iran is thought to have reached a climax during the Tamerlane era, when outstanding masters such as Kamaleddin Behzad gave birth to a new style of painting.


title: History of painting

text: Paintings of the Qajar period are a combination of European influences and Safavid miniature schools of painting such as those introduced by Reza Abbasi and classical works by Mihr 'Ali. Masters such as Kamal-ol-molk further pushed forward the European influence in Iran. It was during the Qajar era when "Coffee House painting" emerged. Subjects of this style were often religious in nature depicting scenes from Shia epics and the like.


title: History of painting

text: African traditional culture and tribes do not seem to have great interest in two-dimensional representations in favour of sculpture and relief. However, decorative painting in African culture is often abstract and geometrical. Another pictorial manifestation is body painting, and face painting present for example in Maasai and Kĩkũyũ culture in their ceremony rituals. Ceremonial cave painting in certain villages can be found to be still in use. Note that Pablo Picasso and other modern artists were influenced by African sculpture and masks in their varied styles.


title: History of painting

text: Contemporary African artists follow western art movements and their paintings have little difference from occidental art works.


title: History of painting

text: The Kingdom of Kush in ancient Nubia (i.e. modern Sudan), bordering Ancient Egypt, produced a wide variety of arts, including wall paintings and painted objects. At the Sudanese site of Kerma, center of the Kerma culture that predated the Kingdom of Kush, a circa 1700 BC fragmentary painting from a royal tomb depicts a sailing ship and houses with ladders that are similar to scenes in reliefs from the reign of Egyptian queen Hatshepsut (c. 1479–1458 BC). The ancient tradition of wall paintings, first described by Abu Salih during the 12th century AD, continued into the period of medieval Nubia.


title: History of painting

text: The Christian tradition of painting in Ethiopia dates back to the 4th century AD, during the ancient Kingdom of Aksum. During their exile to Axum, the 7th-century followers of Muhammad described paintings decorating the Church of Our Lady Mary of Zion. However, the earliest surviving examples of church paintings in Ethiopia come from the church of Debre Selam Mikael in the Tigray Region, dated to the 11th century AD. Ethiopian paintings in illuminated manuscripts predate the earliest surviving church paintings. For instance, the Ethiopian Garima Gospels of the 4th-6th centuries AD contain illuminated scenes imitating the contemporary Byzantine illuminated style.


title: History of painting

text: At the start of the 20th century, artists like Picasso, Matisse, Paul Gauguin and Modigliani became aware of, and were inspired by, African art. In a situation where the established avant garde was straining against the constraints imposed by serving the world of appearances, African Art demonstrated the power of supremely well organised forms; produced not only by responding to the faculty of sight, but also and often primarily, the faculty of imagination, emotion and mystical and religious experience. These artists saw in African art a formal perfection and sophistication unified with phenomenal expressive power.


title: Acorus calamus

text: Acorus calamus (also called sweet flag, sway or muskrat root, among many common names) is a species of flowering plant with psychoactive chemicals. It is a tall wetland monocot of the family Acoraceae, in the genus "Acorus." Although used in traditional medicine over centuries to treat digestive disorders and pain, there is no clinical evidence for its safety or efficacy – and ingested calamus may be toxic – leading to its commercial ban in the United States.


title: Acorus calamus

text: Sweet flag is a herbaceous perennial, tall. Its leaves resembles those of the iris family. Sweet flag consists of tufts of basal leaves that rise from a spreading rhizome. The leaves are erect yellowish-brown, radical, with pink sheathing at their bases, sword-shaped, flat and narrow, tapering into a long, acute point, and have parallel veins. The leaves have smooth edges, which can be wavy or crimped. The sweet flag can be distinguished from iris and other similar plants by the crimped edges of the leaves, the fragrant odor it emits when crushed, and the presence of a spadix.


title: Acorus calamus

text: Only plants that grow in water bear flowers. The solid, triangular flower-stems rise from the axils of the outer leaves. A semi-erect spadix emerges from one side of the flower stem. The spadix is solid, cylindrical, tapers at each end, and is 5 to 10 cm in length. A covering spathe, as is usual with Araceae, is absent. The spadix is densely crowded with tiny greenish-yellow flowers. Each flower contains six petals and stamens enclosed in a perianth with six divisions, surrounding a three-celled, oblong ovary with a sessile stigma. The flowers are sweetly fragrant. In Europe, it flowers for about a month in late spring or early summer, but does not bear fruit. The fruit is a berry filled with mucus, which when ripe falls into the water and disperses by floating. In Asia, it also fruits sparingly, and propagates itself mainly by growth of its rhizome, forming colonies.


title: Acorus calamus

text: The branched, cylindrical, knobby rhizome is the thickness of a human finger and has numerous coarse fibrous roots below it. The exterior is brown and the interior white.


title: Acorus calamus

text: Sweet flag grows in India, central Asia, southern Russia and Siberia, Europe and North America. Habitats include edges of small lakes, ponds and rivers, marshes, swamps, and other wetlands.


title: Acorus calamus

text: In addition to "sweet flag" and "calamus" other common names include beewort, bitter pepper root, calamus root, flag root, gladdon, myrtle flag, myrtle grass, myrtle root, myrtle sedge, pine root, sea sedge, sweet cane, sweet cinnamon, sweet grass, sweet myrtle, sweet root, sweet rush, and sweet sedge.


title: Acorus calamus

text: The generic name is the Latin word "acorus", which is derived from the Greek άχόρου (áchórou) of Dioscorides (note different versions of the text have different spellings). The word άχόρου itself is thought to have been derived from the word κόρη (kóri), which means pupil (of an eye), because of the juice from the root of the plant being used as a remedy in diseases of the eye ('darkening of the pupil').


title: Acorus calamus

text: The specific name "calamus" is derived from Greek κάλαμος (kálamos, meaning "reed"), cognate to Latin "culmus" ("stalk") and Old English "healm" ("straw"), Arabic قَلَم (qálam, "pen") and Sanskrit लेखणी (lekhanee, " writing instrument", in turn from Proto-Indo European "*kole-mo-" (thought to mean "grass" or "reed"). The name "sweet flag" refers to its sweet scent and its similarity to "Iris" species, which are commonly known as flags in English since the late fourteenth century.


title: Acorus calamus

text: The plant was already mentioned in the Chester Beatty papyrus VI dating to approximately 1300 BC. The ancient Egyptians rarely mentioned the plant in medicinal contexts, but it was certainly used to make perfumes.


title: Acorus calamus

text: Initially, Europeans confused the identity and medicinal uses of the "Acorus calamus" of the Romans and Greeks with their native "Iris pseudacorus". Thus the "Herbarius zu Teutsch", published at Mainz in 1485, describes and includes a woodcut of this iris under the name "Acorus". This German book is one of three possible sources for the French "Le Grant Herbier", written in 1486, 1488, 1498 or 1508, of which an English translation was published as the "Grete Herball" by Peter Treveris in 1526, all containing the false identification of the "Herbarius zu Teutsch". William Turner, writing in 1538, describes 'acorum' as "gladon or a flag, a yelowe floure delyce".


title: Acorus calamus

text: The plant was introduced to Britain in the late 16th century. By at least 1596, true "Acorus calamus" was grown in Britain, as it is listed in "The Catalogue", a list of plants John Gerard grew in his garden at Holborn. Gerard notes "It prospereth exceeding well in my garden, but as yet beareth neither flowers nor stalke". Gerard lists the Latin name as "Acorus verus", but it is evident there was still doubt about its veracity: in his 1597 herbal he lists the English common name as 'bastard calamus'. Carl O. Sauer reported the tuber to have been used by North American Indians at the time of European discovery.


title: Acorus calamus

text: There are three cytotypic forms distinguished by chromosome number: a diploid form (2n=24), an infertile triploid form (2n=36), and a tetraploid form (see below). The triploid form is the most common and is thought to have arisen relatively recently in the Himalayan region through hybridisation of the diploid with the tetraploid.


title: Acorus calamus

text: Probably indigenous to most of Asia, the triploid form "Acorus calamus" var. "calamus" (also known as var. "vulgaris" or var. "verus") has now been introduced across Europe, Australia, New Guinea, South Africa, Réunion and North America. The tetraploid form "Acorus calamus" var. "angustatus" is native throughout Asia, from India to Japan and the Philippines and from Indonesia to Siberia. The diploid form "Acorus americanus" or "Acorus calamus" var. "americanus" is found in northern subarctic North America and scattered disjunct areas throughout the Mississippi Valley, and furthermore diploids are also found in Mongolia, central Siberia (Buryatia), Gilgit–Baltistan in Pakistan (claimed by India) and northern Himachal Pradesh in India. It is extinct in some parts of the United States and Canada. It may not been native to some of these areas, Pre-Columbian populations are thought to have dispersed it across parts of the United States.


title: Acorus calamus

text: Currently the taxonomic position of these forms is contested. The comprehensive taxonomic analysis in the Kew World Checklist of Selected Plant Families from 2002 considers all three forms to be distinct varieties of a single species. The Flora of North America publication considers the diploid form to be a distinct species, analyzing North American forms of the diploid variety, and does not analyse the morphology of Asian forms of the diploid variety. Also, in older literature, the name "Acorus americanus" may be used indiscriminately for all forms of "Acorus calamus" occurring in North America, irrespective of cytological diversity (i.e. both the diploid and triploid forms). The treatment in the Flora of China from 2010, which is followed in the Tropicos database system, considers all varieties to be synonyms of a single taxonomically undifferentiated species, pointing to morphological overlap in the characteristics singled out by Thompson.


title: Acorus calamus

text: The primary morphological distinction between the triploid and the North American forms of the diploid is made by the number of prominent leaf veins, the diploid having a single prominent midvein and on both sides of this equally raised secondary veins, the triploid having a single prominent midvein with the secondary veins barely distinct. According to the Flora of China, there is clear overlap in these characteristics and the different cytotypes are impossible to distinguish morphologically. Triploid plants are infertile and show an abortive ovary with a shrivelled appearance. This form will never form fruit (let alone seeds) and can only spread asexually.


title: Acorus calamus

text: The tetraploid variety is usually known as "Acorus calamus var. angustatus" Besser. A number of synonyms are known, but a number are contested as to which variety they belong. It is morphologically diverse, with some forms having very broad and some narrow leaves. It is furthermore also cytotypically diverse, with an array of different karyotypes.


title: Acorus calamus

text: Calamus leaves and rhizomes contain a volatile oil that gives a characteristic odor and flavor. Major components of the oil are beta-asarone (as much as 75%) and alpha-asarone, saponins, lectins, sesquiterpenoids, lignans, and steroids. Phytochemicals in the plant vary according to geographic location, plant age, climate, species variety, and plant component extracted. Diploids do not contain beta-asarone.


title: Acorus calamus

text: "A. calamus" and products derived from "A. calamus" (such as its oil) were banned from use as human food or as a food additive in 1968 by the United States Food and Drug Administration. Although limits on consumption in food or alcoholic beverages (115 micrograms per day) were recommended in a 2001 ruling by the European Commission, the degree of safe exposure remained undefined.


title: Acorus calamus

text: Although calamus has been used for its fragrance and ingested, it has not been studied by rigorous clinical research. Individual medical reports of toxicity mention severe nausea and prolonged vomiting over many hours following oral uses. Laboratory studies of its extracts indicate other forms of toxicity, due mainly to the emetic compound β-asarone.


title: Acorus calamus

text: "A. calamus" has been an item of trade in many cultures for centuries. It has been used medicinally for a wide variety of ailments, such as gastrointestinal diseases and treating pain, and its aroma makes calamus essential oil valued in the perfume industry. The essence from the rhizome is used as a flavor for foods, alcoholic beverages, and bitters in Europe. It was also once used to make candy.


title: Acorus calamus

text: The young stalks can be pulled when under ; the inner stems can be eaten raw. The roots can be washed, peeled, cut into small pieces, boiled, and simmered in syrup to make candy.


title: Acorus calamus

text: Sweet flag has a long history of use in Chinese, Nepal and Indian herbal traditions. Sweet flag was and is used as an herbal medicine by the Chipewyan people.


title: Acorus calamus

text: This plant is sometimes used as a pond plant in horticulture. There is at least one tetraploid ornamental cultivar known; it is usually called 'Variegatus', but the RHS recommends calling it 'Argenteostriatus'.


title: Scottish Lowlands

text: The Lowlands ( or ; , ) is a cultural and historical region of Scotland. Culturally, the Lowlands and the Highlands diverged from the Late Middle Ages into the modern period, when Lowland Scots replaced Scottish Gaelic throughout most of the Lowlands.


title: Scottish Lowlands

text: The Lowlands is not an official geographical or administrative area of the country. There are two main topographic regions: the Lowlands and the Southern Uplands. The term "Lowlands" mainly refers to the Central Lowlands. However, in normal usage it refers to those parts of Scotland not in the Highlands (or Gàidhealtachd). The boundary is usually considered to be a line between Stonehaven and Helensburgh (on the Firth of Clyde). The Lowlands lie south and east of the line. Note that some parts of the Lowlands (such as the Southern Uplands) are not physically "low," Merrick for example reaching , while some areas indisputably in the Highlands (such as Islay) are low-lying.


title: Scottish Lowlands

text: For other purposes, the boundary varies; but if the Boundary Fault is used, then the traditional Scottish counties entirely in the Lowlands are Ayrshire, Berwickshire, Clackmannanshire, Dumfriesshire, East Lothian, Fife, Kinross-shire, Kirkcudbrightshire, Lanarkshire, Midlothian, Peeblesshire, Renfrewshire, Roxburghshire, Selkirkshire, West Lothian, and Wigtownshire. Prior to 1921, the counties of East Lothian, Midlothian, and West Lothian were known as Haddingtonshire, Edinburghshire, and Linlithgowshire.


title: Scottish Lowlands

text: Traditional Scottish counties which straddle the Boundary fault include Angus, Dunbartonshire, Stirlingshire, Perthshire, Kincardineshire, Aberdeenshire, Banffshire, and Moray.


title: Scottish Lowlands

text: Geographically, Scotland is divided into three distinct areas: the Highlands, the Central plain (Central Belt, in the Central Lowlands), and the Southern Uplands. The Lowlands cover roughly the latter two. The northeast plain is also "low-land," both geographically and culturally, but in some contexts may be grouped together with the Highlands.


title: Scottish Lowlands

text: The term Lowlands is sometimes used in a more restricted sense to refer specifically to the Midland Valley. Much of this area, which has a characteristic structure of sedimentary rocks with coal deposits, lies within the basins of the Rivers Forth and Clyde. Historically, this valley has been the most agriculturally productive region of Scotland. During the 19th and early 20th centuries, coal deposits promoted concentrated industrial activity and urbanization in the Midland Valley, where 80 percent of the population of Scotland now live (3.5 million in the Central Belt). While coal mining and other heavy industry have declined in the region, it remains at the centre of the Scottish economy, with electronics and computer manufacture and service sectors such as telecommunications, computer software, and finance.


title: Scottish Lowlands

text: The southernmost counties of Scotland, nearest the Anglo-Scottish border, are also known as the Borders. They are sometimes considered separately from the rest of the Lowlands. Many ancestors of the Scotch-Irish, as they are known in the United States, or Ulster-Scots, originated from the lowlands and borders region before migrating to the Ulster Plantation in the 17th century and later the American frontier, many prior to the American Revolution.


title: Scottish Lowlands

text: The term Scottish Lowlands is used with reference to the Scots language in contrast to the Scottish Gaelic spoken in the Highlands (although historically also in the lowlands until the 15th century and 18th century in Galloway), to the Scottish history and to the Scottish clan system, as well as in family history and genealogy.


title: Eric Chou

text: Eric Chou (; Pha̍k-fa-sṳ: Chiu Hin-chet, born 22 June 1995) is a Taiwanese singer, songwriter and actor. He has been dubbed by the Taiwanese media as "king of the lovelorn people". Chou's self-composed smash hit "The Distance of Love", the ending theme of the 2014 Taiwanese drama "The Way We Were", where he also made a cameo, reached 100 million views on YouTube, making Chou the youngest Mandopop artist to reach the feat at that time.


title: Eric Chou

text: Eric Chou was born in Taiwan on 22 June 1995. He has two brothers—younger brother Jimmy/James, and older brother Alex () who is also active as a singer-songwriter. At a young age, he learned chess to improve his character, and even won a championship. When he was nine, his uncle brought him to watch Jay Chou's concert rehearsal. "When I heard him sing ‘Hair Like Snow’, that was the moment I was determined to become a singer-songwriter like him," Chou said. At the age of twelve, he moved with his family to Boston in the United States, where he attended Fay School and Northfield Mount Hermon School. Chou recalled not being able to sit still when he first started learning the piano and had to be forced by his mother. However, playing the piano had become his outlet to express his emotions and started to play more during his spare time when he was in the US. His inspiration for songwriting comes from movies, his friends and personal experiences. During his time in Boston, he wrote the song, "The Distance of Love", inspired by his failed attempt to impress a girl he liked from high school. "I thought I'd really get into music to make myself appear more charming, and that was actually the initial motivation," Chou said. At eighteen, Chou returned to Taiwan due to his parents' work in Shanghai.


title: Eric Chou

text: Chou was talent scouted by Taiwanese actor Edison Huang () who heard from a friend that his son "can sing", and was asked to perform at his wedding with actress Queenie Tai when he was seventeen. He performed the song "The Distance of Love" which will eventually be chosen two years after as the ending theme of the Taiwanese drama "The Way We Were" where Tai also appeared. He also made his acting debut in the same drama by making a cameo as a singer.


title: Eric Chou

text: In August 2014, Chou released "The Distance of Love" as his first single under Sony Music Taiwan. The song will eventually appear in his debut studio album "My Way to Love" which was released on 24 December. The album went on to top 18 charts upon its release. He won the TV Theme Song Award for "The Distance of Love" at the Hito Music Awards in 2015.


title: Eric Chou

text: In 2016, Chou served as a composer for the Chinese television series "Magical Space-Time". He wrote three songs including "I Love You So" which was performed by his brother Alex Chou, "Fleeting Happiness" by Taiwanese singer A-Lin, and "Back to the Day" by Chou himself, and was used for the opening, ending, and theme song of the drama respectively. He also had his first leading role in a micro drama for a ramen brand and released the theme song, "I Loved You".


title: Eric Chou

text: On 5 August 2016, Chou released his second studio album, "What Love Has Taught Us". It contained his hit single "How Have You Been?" which topped the KKBOX Mandarin Weekly Singles Chart for 30 consecutive weeks, and its music video reaching 185 million views as of July 2022. The song earned him the title "king of the lovelorn people". The album achieved success, and a solo concert, "This Is Love", has been announced to promote the album. Tickets for the Taipei show in November sold out within two minutes. The concert kicked off in Singapore on October, followed by Taipei in November, and then in Malaysia. Chou also performed for "Rock On! 2017", the largest countdown party in Singapore on 31 December 2016.


title: Eric Chou

text: In 2017, Chou performed at the 12th KKBOX Music Awards where he received the Artist of the Year award, the youngest singer to do so. In February 2017, he held his Valentine's concert in Macau where he performed his new song "Unbreakable Love", as well as a cover of Hebe Tien's "A Little Happiness". On 21 May 2017, Chou performed in his sold-out concert in Taipei where he also announced that he's already working on his new album. In August 2017, he announced the ticket-selling for his second concert tour "22 TWENTY TWO" in Taipei and the tickets sold out within 6 minutes. A second date has been added and tickets also sold out within an hour. Chou wrapped up his concert tour "This Is Love" on October and commenced with his second concert tour "22 TWENTY TWO" in November, where he premiered his new song "Without Her" which will eventually appear on his new album. On 15 December 2017, Chou released his third studio album, "The Chaos After You". The album contains ten songs, including the title track of the same name. He capped off the year by performing at Taoyuan New Year's Eve countdown party.


title: Eric Chou

text: In 2018, Chou won two awards at the Hito Music Awards including the friDay Digital Song Award for his song "The Chaos After You." In August 2018, he participated in the Tencent competition "Chao Yin Idols" where participants work with different artists to create a new musical style. During the competition, he co-wrote the song, "What's Wrong", with Chinese singer and actor Wu Jiacheng. The live version which they performed with Chinese singer Su Yunying was released digitally on Chinese streaming platforms on the same month. In November 2018, Chou appeared as the male lead in IQIYI web drama, "The Elfin's Golden Castle." In December 2018, Chou released the single, "Nobody But Me", along with its music video.


title: Eric Chou

text: On 10 January 2019, Chou released his first EP, "Freedom", which consists of five tracks. It included the songs, "What's Wrong" and "Nobody But Me" which was released the previous year. At the 15th KKBOX Music Awards, Chou performed a medley of his songs, including "At Least I Remember" from his new EP. On 11 May 2019, Chou kicked off his concert tour "How Have You Been". It was his first time to perform in Taipei Arena in front of 11,000 fans. Tickets were reportedly sold out in two minutes. The concert also commenced in Kaohsiung Arena in August. In October 2019, Chou released his song "Forever Beautiful" in support for a breast cancer campaign.


title: Eric Chou

text: In December 2019, Chou re-released a deluxe version of his EP "Freedom" as his fourth studio album which included the original five songs, and additional four new songs. Additionally, the music video for his song "What's Wrong" was hailed by YouTube to be the most viewed Mandopop music video, as well as the top 2 popular singer in Taiwan behind Jay Chou and above Jolin Tsai throughout 2019. Chou was also featured on G.E.M.'s song "Don't Force It".


title: Eric Chou

text: On 7 January 2020, Chou released his fifth studio album, "When We Were Young". The album consists of eleven tracks, including "I'm Happy".


title: Eric Chou

text: On 8 August, Chou became the first singer to hold a concert at Taipei Arena since the COVID-19 pandemic started as part of his "How Have You Been Tour". The show was sold at full capacity, attracting 10,000 concertgoers. To raise funds for the COVID-19 pandemic, Eric Chou donated all proceeds from a new remake of "Forever Beautiful", sung together with other Asian Sony artists.


title: Eric Chou

text: In January 2019, Chou announced that he has been in a relationship with Sanlih news anchor Dacie Chao, who is six years older than him, since March 2018, after previously denying the rumors. The couple broke up in October 2020 and got back together in 2021. Chou announced their engagement in October 2022 and revealed that he had proposed to Chou in Europe on a hotel balcony in March that year.


title: Religion in England

text: Christianity is the largest religion in England, with the Church of England being the nation's established state church, whose supreme governor is the monarch. Other Christian traditions in England include Roman Catholicism, Methodism and the Baptists. After Christianity, the religions with the most adherents are Islam, Hinduism, Sikhism, Judaism, Buddhism, modern paganism, and the Bahá'í Faith. There are also organisations promoting irreligion, including humanism and atheism.