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اِمتزاجِ دستاوردهای سبک امپرسیونیسم با هنرانتزاعی درقلمرو نقاشی وچاپ دستی (مکتب نیویورک: از 1940م تا به امروز) | ||
| مبانی نظری هنرهای تجسمی | ||
| مقاله 1، دوره 9، شماره 2 - شماره پیاپی 18، آذر 1403، صفحه 4-19 اصل مقاله (1.98 M) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22051/jtpva.2024.8205 | ||
| نویسنده | ||
| جلال الدین سلطان کاشفی | ||
| استاد دانشکدهی هنر های تجسمی، گروه آموزشی نقاشی، دانشگاه هنر تهران، ایران | ||
| چکیده | ||
| درسال 1940م. - به طور همزمان- دوجنبش در نیویورک به وجود میآید که اولین جنبش را «اکسپرسیونیسمِ انتزاعی» و شاخههای آن را نقاشی کُنشی یا ژِستورال (نقاشی حرکتی) یا اطواری، نقاشی عمل و یا انتزاعِ تغزلی و دومین جنبش را «امپرسیونیسمِ انتزاعی» دریافتگری و یا برداشتگرایی تجریدی میخوانند. جنبشهایی که با سود جستن از دستاوردهای سبک امپرسیونیسم و درآمیختن آن با هنر انتزاعی شکل میگیرد. در واقع این دو جنبش، پس از چندی، به هنرهایی بینالمللی تبدیل شده و در دیگر نقاط جهان نیز مورد توجه هنرمندان قرار میگیرند. بنابراین، هدف از نگارش این مقاله راه یافتن به تفکرات نقاشان و چاپگرانی است که در این برهه از زمان به رد هنرهای گذشته پرداخته و جویای مکتبی سراپا نوین، زیر چتر سبکی به نام امپرسیونیسمِ انتزاعی میشوند. بدین ترتیب، در این واکاوی سعی بر آن گردیده تا به سؤال اصلی این تحقیق پاسخ داده شود که چه عواملی سبب بروز و ظهور سبک یادشده در آن دیار میگردند؟ همچنین به عنوان یافتهها و نتیجهی این پژوهش میتوان چنین گفت که در نیویورک، نه تنها جریانهای اجتماعی و فرهنگی وقت از یک سو و سبکهای ملال آور گذشته از دیگر سو سبب شکل گیری جنبشهای یاد شده میشوند، بلکه مکتبهای نام برده باعث مطرح شدن آن سامان، به عنوان پایتخت هنر گشته و با به وجود آمدن این دو سبک، نیویورک مکانی برای به اوج رسیدن مُدرنیسم محسوب میشود. روش تحقیق توصیفی- تحلیلی است، گردآوری منابع کتابخانهای بوده و در برخی موارد از مآخذ اینترنتی معتبر نیز استفاده میگردد. | ||
| کلیدواژهها | ||
| امپرسیونیسمِ انتزاعی؛ مکتبِ نیویورک؛ جریانهای اجتماعی و فرهنگی؛ ریچارد وارن پوسِت؛ میلتون رِسنیک و دیگران | ||
| عنوان مقاله [English] | ||
| Merging the Achievements of Impressionism with Abstract Art in the Realm of Painting and Printmaking (School of New York: 1940 to the present) | ||
| نویسندگان [English] | ||
| Djalaleddin SoltanKashefi | ||
| Professor at the Faculty of Visual Arts, Painting Department, University of Art Tehran, Iran | ||
| چکیده [English] | ||
| In 1940, two major art movements emerged in New York that significantly shaped the course of modern art: "Abstract Expressionism" and "Abstract Impressionism." While these movements were distinct in their styles and philosophical underpinnings, both were rooted in a reaction to the traditional art practices of the time, drawing upon the achievements of Impressionism and abstract art to create new, innovative forms of expression. Abstract Expressionism, one of the more dominant movements of the mid-20th century, is often divided into angular or gestural painting, also known as motion painting, and lyrical abstraction. On the other hand, Abstract Impressionism is an intellectual or mental reception of Impressionism, focusing on the conceptual and perceptual aspects of painting, often driven by the artist's emotional state and subjective experience of the world. Both movements, though initially emerging in the context of New York’s post-war atmosphere, soon transcended national boundaries and gained recognition from artists around the world. The primary purpose of this article is to explore the ideas and approaches of painters and printmakers working within the framework of Abstract Impressionism. These artists sought to break from past artistic traditions, creating a new form of art that was not just a continuation of Impressionism but a novel combination of intellectual depth and abstract expression. The article delves into the factors that led to the rise of Abstract Impressionism in New York and considers the social and cultural currents of the time that influenced the artists involved in its development. The questions that this research aims to address include: What were the underlying factors that caused the emergence of Abstract Impressionism? How did the social and cultural climate of the time affect its development? And in what ways did New York-based artists navigate their creative processes in pursuit of new forms of expression, eventually contributing to the formation of a distinctive style? Although much has been written about Abstract Expressionism and its development throughout the 1940s and 1950s, the later years of the movement and the influence of Abstract Impressionism are often overlooked. By the late 1960s, some critics began to argue that these movements had come to an end, yet the impact of Abstract Expressionism and Abstract Impressionism continued to resonate within the art world. Even today, these movements remain of great interest to contemporary artists in New York and around the world. This article seeks to fill a significant gap in the existing literature by introducing Abstract Impressionism as a legitimate and influential art movement, providing insights into the artists, the works that emerged after 1960, and the lasting legacy of this style. Despite the extensive writings on Abstract Expressionism, particularly in the field of art history, few studies have focused on Abstract Impressionism, especially within the context of New York’s art scene. Additionally, this research addresses the lack of attention given to these movements within Iranian scholarly literature, where their contributions have yet to be thoroughly explored. In this article, not only will the central artistic concepts and elements of Abstract Impressionism be examined, but the research will also trace the historical roots of modernism and modernity, providing a broader understanding of the movements' context. The origins of Impressionism and Abstract Art will be reviewed, followed by an analysis of how these styles contributed to the development of Abstract Impressionism. Additionally, the article will introduce the key artists involved in this movement, highlighting their unique works and contributions to the evolution of the style. This study explores how the historical and social contexts of the time influenced the formation of Abstract Impressionism and Abstract Expressionism in New York. The period of the 1940s and 1950s in New York was marked by significant social, political, and cultural changes. The post-World War II era, with its rapid industrialization and the rise of the United States as a global superpower, created an environment that was conducive to artistic experimentation and innovation. The artists involved in both Abstract Expressionism and Abstract Impressionism sought to reflect the turbulent and uncertain world around them, using abstract forms as a means of conveying deep emotional and intellectual responses to the human condition. The research further argues that, while the social and cultural currents of the time were pivotal in shaping these movements, it was also the rejection of the "boring" and increasingly irrelevant art styles of the past that spurred the creation of new artistic approaches. Artists were eager to break free from the constraints of traditional representation and explore new means of self-expression. Abstract Expressionism and Abstract Impressionism both provided ways to articulate the emotional and psychological experiences of the artist in an increasingly fragmented and alienating world. These movements also played a crucial role in establishing New York as the new center of the international art world. By the 1950s, New York had replaced Paris as the capital of modern art, and the emergence of Abstract Expressionism and Abstract Impressionism was central to this shift. While many critics and historians of the time dismissed these movements in the late 1960s, believing they had run their course, Abstract Expressionism and Abstract Impressionism continued to influence subsequent generations of artists. The lasting impact of these movements can be seen in the works of artists who followed in their footsteps, both in New York and abroad. This article thus aims to introduce and analyze the works that continued to emerge after 1960, emphasizing the ongoing relevance of Abstract Impressionism and the artists who contributed to its legacy. Through a descriptive-analytical approach, this research draws upon a wide range of library resources, as well as valid internet sources, to provide a comprehensive overview of Abstract Impressionism and its historical development. In addition to examining the art itself, the study also considers the broader cultural and social factors that influenced the movement, including the political climate of the post-war period, the rise of consumerism, and the shifting role of the artist in society. By analyzing the works of key artists associated with Abstract Impressionism, the article provides a deeper understanding of how these artists navigated the challenges and opportunities of their time, ultimately contributing to the evolution of modern art. The research concludes by asserting that the social and cultural currents of the time, along with the rejection of traditional artistic conventions, were crucial in the formation of Abstract Impressionism and Abstract Expressionism. These movements not only influenced the course of modern art but also helped to establish New York as the epicenter of the art world. Through the continued exploration of these movements and their influence on contemporary art, the article aims to shed light on the enduring legacy of Abstract Impressionism and its role in the development of modern art. Research Method: The research employs a descriptive-analytical methodology, collecting and analyzing both library resources and reliable internet sources. | ||
| کلیدواژهها [English] | ||
| Abstract Impressionism, New York School, Social and Cultural Currents, Richard Posette, Milton Resnick, and Oth | ||
| مراجع | ||
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- آرناسن، یورواردور، هارواد (1367). تاریخ هنر نوین، ترجمهی محمد تقی فرامرزی، تهران، انتشارات زرین ونگاه. - آیتو، جان (1386). فرهنگ ریشه شناسی انگلیسی، ترجمهی حمید کاشانی، تهران: فرهنگ نشر نو – انتشارات معین. - اِسپور، دِنیس (1392). انگیزهی آفرینندگی در سیر تاریخی هنر ها، ترجمهی امیر جلال الدین اعلم،، چاپ دوم، تهران: انتشارات نیلوفر و دوستان. - استاکستاد، مریلین (1395). تاریخ هنر، ترجمه و تدوین: استاد بهزاد سلماسی- دکتر آناهیتا مقبلی و گروهی از مترجمان، تهران، انتشارات فخر اکیا. - بُکولا، ساندرو ( 1387) هنر مدرنیسم، مترجمان: رویین پاکباز و دیگران، چاپ اول، تهران، فرهنگ معاصر. - جنسن، ه. و (1359). تاریخ هنر، ترجمهی پرویز مرزبان، تهران: سازمان انتشارات و آموزش انقلاب اسلامی. - رید، هربرت (1367). کتاب هنر، ترجمهی یعقوب آژند، تهران، انتشارات مولی، چاپ دوم. - سمیع آذر، علیرضا (1388) اوج و افول مدرنیسم، (تاریخ هنر معاصر جهان) تهران، مؤسسه فرهنگی پژوهشی، چاپ و نشر نظر. چاپ اول. - کاسپر لینتون، نوربرت ( 1382) هنر مُدرن، ترجمه علی رامین، تهران، نشر نی، چاپ اول. - گاردنر، هلن (1365). هنر در گذر زمان، ترجمهی محمد تقی فرامرزی، تهران، انتشارات آگاه. - لوسی اسمیت، ادوارد (1380 مفاهیم و رویکرد ها در آخرین جنبش های هنری قرن بیستم، ترجمه دکتر علیرضا سمیع آذر، جلد اول و دوم، تهران، مؤسسه فرهنگی پژوهشی، چاپ و نشر نظر. - هارت، فردریک (1382). سی دو هزار سال تاریخ هنر، ترجمهی موسی اکرمی و ... ، تهران، نشر پیکان.
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