Post Painterly Abstraction
Post-painterly abstraction is a response to the painterly and gestural techniques associated with some Abstract Expressionist artists.
Post-painterly abstraction represented a significant shift toward a more purely abstract form of painting. It evolved by drawing upon existing abstract art traditions, amalgamating elements from artists like Mark Rothko, Jackson Pollock, and late Henri Matisse works.
However, these post-painterly abstractionists purposefully rejected the introspective and mystical qualities of abstract expressionism and any lingering connections to the external world. They also explored innovative approaches to composition.
What they created was a kind of art that operated in a purely factual manner, emphasising the fundamental elements of the medium itself: form, colour, texture, scale, composition, and more.
In 1964, an exhibition featuring thirty-one artists associated with these developments was curated by art critic Clement Greenberg at the Los Angeles County Museum of Art and titled ‘Post-Painterly Abstraction’. Prominent figures in this movement included Helen Frankenthaler, Morris Louis, and Kenneth Noland.
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We collaborate with artists to create both limited editions and works on paper.
A limited edition is a set number of similar or identical artworks. The size of the edition denotes the total number of artworks that will ever be made, underscoring their value.
Framing options vary for each piece and are listed on the individual artwork pages. Our standard glazing offer is a minimum 90% UV acrylic plexiglass, or you can upgrade to an anti reflective Optium museum plexiglass.
Yes, 100%. We work directly with our artists to create editions that accurately represent their body of work. Additionally, every artist personally reviews and approves their final editions.
Every artwork is signed or stamped, and individually numbered. You will also receive a stamped and numbered certificate of authenticity.
No—the copyright is not transferred to the purchaser of the edition.
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