This connection can be demonstrated through assessing the nineteenth century Romantic landscape paintings. Whereas artists like Frederick Church encouraged viewers to contemplate their place in nature, Color field painters relied on large canvasses overflowing in fields of color to create similar responses among their audience. Whereas, the action painting of Jackson Pollock and Willem de Kooning, reveal a connection to Existentialist philosophy. Showing how the Modernist concept of the artist/hero fed into the American values of individualism and democracy seen during the Cold War. The action paintings of Pollock, and its emphasis on the artist’s creative piece, helps explain the shift to assemblage, installation, and performance. The visual contrast between the works of the Color Imagists and the Action Painters paves the way for a discussion of formalist painting, as well as the emergence of creative practices that blurred the realm of art with real
This connection can be demonstrated through assessing the nineteenth century Romantic landscape paintings. Whereas artists like Frederick Church encouraged viewers to contemplate their place in nature, Color field painters relied on large canvasses overflowing in fields of color to create similar responses among their audience. Whereas, the action painting of Jackson Pollock and Willem de Kooning, reveal a connection to Existentialist philosophy. Showing how the Modernist concept of the artist/hero fed into the American values of individualism and democracy seen during the Cold War. The action paintings of Pollock, and its emphasis on the artist’s creative piece, helps explain the shift to assemblage, installation, and performance. The visual contrast between the works of the Color Imagists and the Action Painters paves the way for a discussion of formalist painting, as well as the emergence of creative practices that blurred the realm of art with real