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An important distinction that made color field painting different from abstract expression was the paint handling. The most basic fundamental defining technique of painting is application of paint and the color field painters revolutionized the way paint could be effectively applied. Color field painting sought to rid art of superfluous rhetoric.
In 1954, art critic Clement Greenberg introduced Morris Louis to painter Helen Frankenthaler, who was working in as a, "proto–color field painter". [3] Her painting, Mountains and Sea (1952) had an impact on Louis and many other painters in Washington, D.C., and they borrowed Frankenthaler's process of staining raw canvas with color.
[19] [20] The technique was adopted by other artists, notably Morris Louis (1912–1962) and Kenneth Noland (1924–2010), and launched the second generation of the color field school of painting. [21] Frankenthaler often worked by laying her canvas out on the floor, a technique inspired by Jackson Pollock. [6] Frankenthaler preferred to paint ...
Mark Rothko (/ ˈ r ɒ θ k oʊ / ROTH-koh; Markus Yakovlevich Rothkowitz until 1940; September 25, 1903 – February 25, 1970) was a Latvian American abstract painter. He is best known for his color field paintings that depicted irregular and painterly rectangular regions of color, which he produced from 1949 to 1970.
Kenneth Noland (April 10, 1924 – January 5, 2010) was an American painter. He was one of the best-known American color field painters, although in the 1950s he was thought of as an abstract expressionist and in the early 1960s as a minimalist painter.
Washington Color School, Color Field painting, Post-painterly Abstraction Gene Davis (August 22, 1920 - April 6, 1985) was an American Color Field painter known especially for his paintings of vertical stripes of color.
Barnett Newman (January 29, 1905 – July 4, 1970) was an American painter. He has been critically regarded as one of the major figures of abstract expressionism, and one of the foremost color field painters.
All of the Color Field artists were concerned with the classic problems of pictorial space and the flatness of the picture plane. In 1953, Louis and Noland visited Helen Frankenthaler 's New York studio, where they saw and were greatly impressed by her stain paintings, especially Mountains and Sea (1952).