Abstract Expressionism

Abstract Expressionism emerged from the upheaval of the inter- and post-war period in order to redefine the purpose and language of art. Rooted in spontaneity and individual expression, the artists of this movement turned inward, privileging the subjective and the instinctive leading to their canvas recording the dialogue between a painter’s self, their gestures and the act of creation. This approach elevated the process of creating over the final product and the resulting works were often monumental in scale, enveloping the viewer and asserting painting as an immersive, almost performative act.

The dynamic interplay between creator and created gave rise to two broad tendencies: the gestural or ‘action’ painting, characterised by expressive brushwork and dynamic movement, and the colour field approach, where expanses of hue conveyed mood and transcendence.

Through sweeping marks, drips and layered textures, action painting captured the energy of creation and transformed the act of painting into a form of existential expression in a reflection of postwar uncertainty and the search for meaning in a fractured world. The emphasis on spontaneity and materiality marked a profound shift in the understanding of art as process rather than product. Painting was no longer an image of something, instead, it was an event in and of itself.

Exemplifying the disciplined intensity of Abstract Expressionism, Lee Krasner (1908 - 1984) brought a rigorous compositional intelligence to her canvases with her dynamic rhythms and controlled explosions of energy embodying the tension between chaos and order that was central to the movement.

Joan Mitchell (1925 - 1992) extended the movement’s vitality into a lyrical and psychologically charged form with her sweeping brushstrokes and vibrant colour harmonies conveying her memories in the landscapes she experienced them.

Isabel Rawsthorne’s (1912 - 1992) exploration of distorted, fragmented forms and spatial tension was in pursuit of psychological depth and the dissolution of boundaries between figure and ground.

Janet Sobel (1893 - 1968), a self-taught artist, played a pioneering role in the development of all-over painting. Her intricate webs of dripped pigment fused intuitive gesture with decorative intricacy, blurring distinctions between craft and high art and inspired Pollock’s use of the technique after he saw her works exhibited in New York.