Color Field Painting Movement Overview

"We are creating images whose reality is self-evident and which are devoid of the props and crutches that evoke associations with outmoded images, both sublime and beautiful...The image we produce is the self-evident one of revelation, real and concrete, that can be understood by anyone who will look at it without the nostalgic glasses of history."

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"A painting is not a picture of an experience; it is an experience."

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"The best works are often those with the fewest and simplest elements - pictures that are almost obvious, until you look at them a little more and things begin to happen."

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"Although the composition and function of color are two of the most important factors in determining the qualitative content of a painting, the reciprocal relation of color to color produces a phenomenon of a more mysterious order. This new phenomenon is psychological. A high sensitivity is necessary in order to expand color into the sphere of the surreal without losing creative ground. Color stimulates certain moods in us. It awakens joy or fear in accordance with its configuration. In fact, the whole world, as we experience it visually, comes to us through the mystic realm of color. Our entire being is nourished by it. This mystic quality of color should likewise find expression in a work of art."

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"My canvases are not full because they are full of colors but because color makes the fullness. The fullness thereof is what I am involved in. It is interesting to me to notice how difficult it is for people to take the intense heat and blaze of my color. If my paintings were empty they could take them with ease."

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"My concern is with the fullness that comes from emotion, not with its initial explosion, or its emotional fallout, or with the glow of its expenditure. The fact is, I am an intuitive painter, a direct painter...I present no dogma, no system, no demonstrations. I have no formal solutions...I work only out of high passion."

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Summary of Color Field Painting

Color Field Painting is a tendency within Abstract Expressionism, distinct from gestural abstraction, or Action Painting. It was pioneered in the late 1940s by Mark Rothko, Barnett Newman, and Clyfford Still, who were all independently searching for a style of abstraction that might provide a modern, mythic art and express a yearning for transcendence and the infinite. To achieve this they abandoned all suggestions of figuration and instead exploited the expressive power of color by deploying it in large fields that might envelope the viewer when seen at close quarters. Their work inspired much Post-painterly abstraction, particularly that of Helen Frankenthaler, Morris Louis, Kenneth Noland, and Jules Olitski, though for later color field painters, matters of form tended to be more important than mythic content.

Key Ideas & Accomplishments

Color Field Painting emerged out of the attempts of several artists in the late 1940s to devise a modern, mythic art. Seeking to connect with the primordial emotions locked in ancient myths, rather than the symbols themselves, they sought a new style that would do away with any suggestion of illustration.
The style was championed most enthusiastically by critic Clement Greenberg, who acclaimed the advances it achieved in the realm of form and composition. Bemoaning what he saw as the increasingly imitative, academic qualities of some action painters, he argued that Color Field Painting represented the way forward. His advocacy of the style proved highly influential.
Color Field Painting marks a major development in abstract painting, since it was the first style to resolutely avoid the suggestion of a form or mass standing out against a background. Instead, figure and ground are one, and the space of the picture, conceived as a field, seems to spread out beyond the edges of the canvas.

Overview of Color Field Painting

Barnett Newman's <i>Vir Heroicus Sublimis</i> at the Museum of Modern Art, New York City

Saying "A painter is a choreographer of space," Barnett Newman invented what he called the "zip," a band of vertical color. As a result, he added to the Color Field Painting movement a new way to experience space.

Beginnings and Development

Concepts, Trends, & Related Topics

Later Developments and Legacy

Key Artists

Mark Rothko

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Mark Rothko was an Abstract Expressionist painter whose early interest in mythic landscapes gave way to mature works featuring large, hovering blocks of color on colored grounds.
Clyfford Still

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Clyfford Still was a leading first-generation Abstract Expressionist. His mature works are large-scale paintings with gaping chasms and stains of jagged color, often in dark earth tones.
Helen Frankenthaler

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Helen Frankenthaler was an American abstract painter in mid-twentieth-century New York. Along with Morris Louis and Kenneth Noland, Frankenthaler is considered a pioneer in the practice of Color Field painting.
Kenneth Noland

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Kenneth Noland was an American painter who helped pioneer the Color-field painting movement in the 1960s. His most famous works consist of circular ripples of paint poured directly onto the canvas.
Morris Louis

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Morris Louis was an American painter and an original member of the so-called Washington Color School. Along with Kenneth Noland, Helen Frankenthaler, and others, Louis pioneered the Color Field school of painting, using a technique of soaking heavy oil paints into unprimed canvases. Louis's paintings in part inspired his friend Clement Greenberg to dub the second-generation Abstract Expressionism artists Post-painterly abstraction.
Barnett Newman

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Barnett Newman was an Abstract Expressonist painter in New York who painted large-scale fields of solid color, interrupted by vertical lines or "zips." His sometimes narrow or boxy canvases, part painting and part sculpture, were influential for Minimalism.
Frank Stella

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Frank Stella is an American artist whose geometric paintings and shaped canvases underscore the idea of the painting as object. A major influence on Minimalism, his iconic works include nested black and white stripes and concentric, angular half-circles in bright colors.
Richard Diebenkorn

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Richard Diebenkorn was an American painter who helped pioneer the California-based movement of Abstract Expressionism, and later the Bay Area Figurative Movement. In all his work, Diebenkorn used the natural environment as his chief inspiration and applied soft, naturalistic color fields to the canvas.
Ellsworth Kelly

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Ellsworth Kelly is an American Color Field and Hard edge painter. Kelly got his start in the late 1950s with showings at the Betty Parsons Gallery and the Whitney Museum. His work often consists of shaped canvases, simple geometric shapes, and large panels of uniform color.

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Do Not Miss

Abstract Expressionism

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A tendency among New York painters of the late 1940s and '50s, all of whom were committed to an expressive art of profound emotion and universal themes. The movement embraced the gestural abstraction of Willem de Kooning and Jackson Pollock, and the color field painting of Mark Rothko and others. It blended elements of Surrealism and abstract art in an effort to create a new style fitted to the postwar mood of anxiety and trauma.
Action Painting

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Action Painting was a term coined by art critic Harold Rosenberg to refer to the gestural and somewhat existential mode of Abstract Expressionism, often characterized by drips, flung paint, and rapid, spontaneous strokes by the artist. In this view the painting is a record of the artist's activities over time.
Post-Painterly Abstraction

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Post-painterly abstraction was a term developed by critic Clement Greenberg in 1964 to describe a diverse range of abstract painters who rejected the gestural styles of the Abstract Expressionists and favored instead what he called "openness or clarity." Painters as different as Ellsworth Kelly and Helen Frankenthaler were described by the term. Some employed geometric form, others veils of stained color.

Important Art and Artists of Color Field Painting

1957-D-No. 1 (1957)

Artist: Clyfford Still

There used to be some disagreement over which artist had first arrived at the style of Color Field abstraction. Most now believe that it was Clyfford Still who first did so - and at some remove from those in New York, such as Barnett Newman and Mark Rothko, who were also finding their way to the approach in the late 1940s. In this examplary work Still applied thick portions of color with a palette knife to achieve an effect that evokes a violent sundering in nature. Typically, Still's canvases were covered in rich earthy colors, from edge to edge.

Artwork Images

No. 2, Green, Red and Blue (1953)

Artist: Mark Rothko

Although Rothko never considered himself a Color Field painter, his signature approach - balancing large portions of washed colors - matches up to critics' understanding of the style. Rothko considered color to be a mere instrument that served a greater purpose. He believed his fields of color were spiritual planes that could tap into our most basic human emotions. For Rothko, color evoked emotion. Therefore each of Rothko's works was intended to evoke different meanings depending on the viewer. In the time No. 2, Green, Red and Blue was made, Rothko was still using lighter tones, but as more years passed and Rothko's mental health increasingly declined, his Color Fields were constituted by somber blacks, blues, and grays.

Mountains and Sea (1952)

Artist: Helen Frankenthaler

Helen Frankenthaler played a crucial role in the evolution of Color Field Painting. Some time in or around 1952, Clement Greenberg invited Morris Louis and Kenneth Noland to pay a visit to Frankenthaler's studio in order to witness her technique of staining untreated canvas with paint. This seminal moment marked a turning point for Abstract Expressionism, and soon this new group of artists were simplifying the painting process by applying large bands (or waves, circles, lines, etc.) of uniform color to the canvas, and Color Field Painting advanced further.

More Important Art

Frank Stella: The Metropolitan Museum of Art 1870-1970 (1970)

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Useful Resources on Color Field Painting

Books

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articles

Books

The books and articles below constitute a bibliography of the sources used in the writing of this page. These also suggest some accessible resources for further research, especially ones that can be found and purchased via the internet.

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Content compiled and written by Justin Wolf

Edited and published by The Art Story Contributors

"Color Field Painting Movement Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Justin Wolf
Edited and published by The Art Story Contributors
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First published on 01 Jul 2009. Updated and modified regularly
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