The New York School emerged as a groundbreaking movement in American art during the post-World War II era. Artists like Jackson Pollock, Willem de Kooning, and Mark Rothko revolutionized painting with their bold, abstract styles and innovative techniques.

These artists shared a commitment to spontaneity, rejection of traditional conventions, and exploration of the subconscious. Their work was influenced by European modernism, Surrealism, and the cultural climate of post-war America, establishing New York as the new center of the art world.

Formation and Key Members of the New York School

Key artists of New York School

• Jackson Pollock
  • Pioneered drip painting technique creating all-over compositions with intricate layers and rhythmic patterns (Number 1, 1948)
  • Revolutionized the concept of painting as an arena for action and physical engagement with the canvas (Autumn Rhythm (Number 30))
  • Iconic works like Blue Poles exemplify his innovative approach to abstraction and the spontaneous creation process
• Willem de Kooning
  • Blended figuration and abstraction in his Women series portraying distorted, fragmented female figures with gestural brushwork (Woman I)
  • Abstract landscapes like Excavation showcase his dynamic compositions and expressive use of color and form
  • Interchange demonstrates his ability to seamlessly merge figurative elements with abstract passages creating a complex visual dialogue
• Mark Rothko
  • Created large color field paintings with luminous rectangular forms that evoke a sense of spirituality and contemplation (No. 61 (Rust and Blue))
  • Explored the emotional impact of color using subtle gradations and contrasting hues to create immersive experiences (Orange and Yellow)
  • Works like Four Darks in Red exemplify his mastery of color and his belief in the transcendental power of abstract art
• Franz Kline
  • Developed a signature style of bold black-and-white abstractions inspired by Chinese calligraphy and architectural structures (Chief)
  • Works like Mahoning showcase his gestural brushstrokes and the dynamic interplay between positive and negative space
  • Untitled (1957) demonstrates his ability to create powerful compositions using a minimal palette and spontaneous mark-making
• Robert Motherwell
  • Known for his Elegy to the Spanish Republic series which combines abstract forms with political and historical references
  • Incorporated collage and a limited color palette in compositions like Beside the Sea exploring the interplay between flat shapes and textured surfaces
  • At Five in the Afternoon exemplifies his use of black as a dominant color and his ability to evoke a sense of solemnity and depth

Emergence factors of New York School

• Influx of European artists fleeing Nazi-occupied Europe
  • Brought new ideas and influences to the New York art scene introducing avant-garde concepts and techniques (Hans Hofmann, Arshile Gorky)
  • Artists like Max Ernst settled in the U.S. contributing to the cross-pollination of Surrealist and Abstract Expressionist ideas
• Post-war disillusionment and search for new forms of expression
  • Artists sought to break free from traditional artistic conventions in response to the horrors of World War II
  • Explored the subconscious and the spontaneous creation process as a means of expressing their inner emotions and psychological states
• Economic and political dominance of the United States
  • New York City emerged as the new center of the art world replacing Paris in the post-war era
  • Increased patronage and support for American artists through galleries, museums, and collectors fostering the growth of the New York School
• Influence of Surrealism and Jungian psychology
  • Artists drew inspiration from automatic drawing and the exploration of the subconscious as a source of creativity and self-expression
  • Emphasis on the individual psyche and personal expression aligned with the Jungian concept of the collective unconscious

Artistic influences on New York School

• Jackson Pollock
  • Studied under Thomas Hart Benton learning the principles of rhythmic composition and the use of dynamic lines and forms
  • Influenced by Native American sand painting and Mexican muralism incorporating elements of ritual and symbolic imagery
• Willem de Kooning
  • Trained in the academic tradition at the Rotterdam Academy of Fine Arts developing a strong foundation in figurative drawing and painting
  • Drew inspiration from Cubism, Surrealism, and the work of Arshile Gorky in his exploration of fragmented forms and expressive brushwork
• Mark Rothko
  • Studied under Max Weber at the Art Students League in New York absorbing the principles of modernist abstraction and color theory
  • Influenced by Nietzsche's philosophy and the work of Henri Matisse in his pursuit of a transcendental art that evokes deep emotional responses
• Franz Kline
  • Trained in academic realism at Boston University honing his skills in drawing and composition
  • Influenced by Japanese calligraphy and the work of Willem de Kooning in his development of a gestural, black-and-white abstract style
• Robert Motherwell
  • Studied philosophy and art history at Stanford and Harvard Universities gaining a deep understanding of the intellectual and historical context of art
  • Influenced by the Surrealist concept of automatism and the work of Henri Matisse in his use of collage and his emphasis on the expressive potential of color and form

Shared principles of New York School

• Emphasis on spontaneity and the subconscious
  • Believed in the importance of automatic, intuitive creation as a means of tapping into the artist's inner world and emotions
  • Sought to express their deepest psychological states and experiences through the act of painting itself (Jackson Pollock's drip technique)
• Rejection of traditional artistic conventions
  • Abandoned figurative representation in favor of pure abstraction as a way of breaking free from the constraints of the past
  • Challenged the boundaries between art and life by embracing the physicality of the painting process and the use of unconventional materials (Willem de Kooning's inclusion of everyday objects)
• Belief in the autonomy of the artwork
  • Viewed the painting as an independent entity, free from external references or narrative content
  • Emphasized the flatness of the picture plane and the materiality of the paint itself as the primary subject of the work (Mark Rothko's color field paintings)
• Interest in the sublime and the transcendental
  • Sought to evoke a sense of awe, mystery, and spiritual depth through their large-scale, immersive works
  • Explored the metaphysical aspects of art and its ability to connect the viewer with a higher realm of experience (Barnett Newman's "zip" paintings)
• Commitment to individualism and personal expression
  • Valued the unique vision, style, and creative process of each artist as a fundamental aspect of their work
  • Rejected conformity and embraced the diversity of approaches and techniques within the New York School (Franz Kline's gestural abstractions vs. Robert Motherwell's collages)