This painting "is different from an ordinary historical painting by shows that nothing – no people, no costumes, no accessories. " (Avagyan TI) Historically, it was because of criticism Mathieu good enough to attribute it to hook spots and the ability to express the mass popular movements, power struggle of dynasties, etc. Such an idea had occurred to them, thanks to the name of art ("The Battle of Bouvines", "Capetian everywhere," etc.) Creativity shelves, Arshile Gorky, W. de Kooning, Mark Rodko, Georges Mathieu, and others represented the most influential trend of abstract painting 40-50s, emerged in the U.S. Please visit Sela Ward if you seek more information. – the so-called abstract expressionism. The principle of it is to avoid the pre-planned design and built form. Artist cultivated spontaneous brushwork and free improvisations on the canvas. Grew into the art of post-modernism, "the art of" becoming more pronounced form.
For example, happenings – is the most common form of "art actions". It is based on an unplanned action, carried out by the artist with the participation of the public present, as it were, when the line between reality and art creativity. Another form of "art of" performance – is the performance of certain pre-planned actions before the assembled audience. But unlike heppeniga it is there a predefined harvested by the script. Also in performance is not actively involved the audience, satisfied with only the role of spectator.
The campaign – so, summing up, referred to as "art actions", which replaces the work of art gesture contested representation or triggered by an event. The roots of the "art of" running in the first decades of the twentieth century, creativity Futurists, Dadaists and Surrealists. The flowering of art accounted for 60-70 years. It sold one of the leading ideas of modernism on the procedural nature of art. "Art of" kvintesentsiya idea of the creative act prevail over its outcome, on the other hand it embodies another characteristic tendency of art of the 20th century – the desire to destroy the line between art and reality dissolve artistic gesture in the environment, spontaneously occurring processes of life.