Post-painterly abstraction

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Nachmalerische abstraction and New Abstraction (English Post- Painterly Abstraction ) denotes a not well-defined trend in the U.S. painting. The term was first used in 1964 by the art critic Clement Greenberg for an exhibition he curated at the Los Angeles County Museum of Art. Greenberg rewrote so that the end of the 1950s incipient shift away from gestural Abstract Expressionism towards new forms of expression in painting and summed up with this synonym different painting styles of the 31 artists represented this community exhibition together. Participating artists have included Walter Darby Bannard, Jack Bush, Gene Davis, Thomas Downing, Friedel Dzubas, Sam Francis, Helen Frankenthaler, Al Held, Ellsworth Kelly, Nicholas Krushenick, Alexander Liberman, Morris Louis, Howard Mehring, Kenneth Noland, Jules Olitski and Frank Stella.

Characteristics of nichtfigürlichen Nachmalerischen abstraction was the flatness ( flatness, flatness ): In a narrower sense, the arrangement ungebrocher, mutually demarcated, pure color areas on a dominant painting surface, or the white space in itself, and finally exceeding the preset from the screen space. This eventually led to a reduced color- analytic- geometric paintings as it is found in the hard-edge or in minimalism. The Nachmalerische abstraction was a typical feature of American painting after 1945. Definition as a short transition phase between Abstract Expressionism and Color Field painting, the term ultimately has in the art historical etymology of little importance.