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Jun 27, 2020 · How Clement Greenberg Shaped Modernist Art. Clement Greenberg was the outspoken voice of 20th century American Abstract Art, supporting the Abstract Expressionists and The Colour Field Painters. His ideas now define the iconic Modernist era. Jun 27, 2020 • By Rosie Lesso, MA Contemporary Art Theory, BA Fine Art.
- Rosie Lesso
Clement Greenberg ( / ˈɡriːnbɜːrɡ /) (January 16, 1909 – May 7, 1994), [1] occasionally writing under the pseudonym K. Hardesh, was an American essayist known mainly as an art critic closely associated with American modern art of the mid-20th century and a formalist aesthetician. He is best remembered for his association with the art ...
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Summary of Clement Greenberg. Clement Greenberg was probably the single most influential art critic in the 20 th century. Although he is most closely associated with his support for Abstract Expressionism, and in particular Jackson Pollock, his views closely shaped the work of many other artists, including Helen Frankenthaler, Morris Louis, and ...
- January 16, 1909
- May 7, 1994
Feb 3, 2012 · In his 1961 essay on “Modernist Painting,” Clement Greenberg (1909-1994) defined “Modernism” as the period (in art) roughly from the mid-1850s to his present that displayed a self-critical tendency in the arts. Greenberg considered Immanuel Kant the first Modernist. The essence of Kant’s thesis was the employment of the characteristic ...
Apr 26, 2024 · They write new content and verify and edit content received from contributors. Clement Greenberg (born Jan. 16, 1909, Bronx, N.Y., U.S.—died May 7, 1994, New York, N.Y.) was an American art critic who advocated a formalist aesthetic. He is best known as an early champion of Abstract Expressionism. Greenberg was born to parents of Lithuanian ...
- The Editors of Encyclopaedia Britannica
The essay is notable for its illuminating (and largely undeveloped) observations about the nature and history of pictures, let alone Greenberg's mid-life perception of the character and importance of the avant-garde. If the theory has a weakness, it lies with the centrality of pictorial art, which it seems to fit modernism like a glove.
Modernism reasserts the two-dimensionality of the picture surface. It forces the viewer to see the painting first as a painted surface, and only later as a picture. This, Greenberg says, is the best way to see any kind of picture. For example, since sculpture is inherently three dimensional, it is absolutely necessary that mod-ernist, i.e. pure ...
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