U.S. and Canada, mid-1950s
The term Post-painterly abstraction was coined by critic Clement Greenberg in conjunction with an exhibition of the same name at the Los Angeles County Museum of Art in 1964, featuring contemporary American and Canadian artists
Helen Frankenthaler, Canal, 1963
Morris Louis, Saraband, 1959
In 1953 Morris Louis visited the studio of Helen Frankenthaler, where he saw Mountains and Sea (1952), the first painting made with her signature “soak-stain” technique. This method of collapsing color into canvas by manipulating thinned acrylic washes into the unprimed cotton fabric had an immediate impact on Louis, who would translate it into his own idiom in a series of poured paintings created by gravity-pulled streams of luminescent color.
The term Post-painterly abstraction was coined by critic Clement Greenberg in conjunction with an exhibition of the same name at the Los Angeles County Museum of Art in 1964, featuring contemporary American and Canadian artists
Helen Frankenthaler, Canal, 1963 Morris Louis, Saraband, 1959In 1953 Morris Louis visited the studio of Helen Frankenthaler, where he saw Mountains and Sea (1952), the first painting made with her signature “soak-stain” technique. This method of collapsing color into canvas by manipulating thinned acrylic washes into the unprimed cotton fabric had an immediate impact on Louis, who would translate it into his own idiom in a series of poured paintings created by gravity-pulled streams of luminescent color.
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