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New European Painting
New European Painting emerged in the 1980s and reached a critical point of major distinction and influence in the 1990s〔Chris Dercon (ed.), 1980-1996 in: '' Face a l'Histoire'', Centre Georges Pompidou / Flammarion, 1996, pp.496-561.〕 with painters like Gerhard Richter,〔Gerhard Richter. ''Atlas''. D.A.P., NY, 2006.〕〔Stefan Germer, "Des souvenirs inoppotuns," in: Jean-Paul Ameline, Brigitte Leal, Marc Bormand and Chris Dercon (eds.), '' Face a l'Histoire'', Centre Georges Pompidou / Flammarion, 1996, pp. 544-547.〕 Sigmar Polke, Georg Baselitz, Anselm Kiefer and Bracha Ettinger〔Brian Massumi and Catherine de Zegher (eds.), ''Drawing Papers'' n.24. The Drawing Center, NY, 2001〕〔Carol Armstrong and Catherine de Zegher (eds.), ''Women Artists at the Millennium''. Cambridge Massachusetts: October Books, MIT Press, 2006〕〔Griselda Pollock, "Rencontre avec l'histoire," in: Jean-Paul Ameline, Brigitte Leal, Marc Bormand and Chris Dercon (eds.), '' Face a l'Histoire'', Centre Georges Pompidou / Flammarion, 1996, pp. 535-540.〕 whose paintings have established and continue to create a new dialogue between the historical archive, American Abstraction and figuration.〔Pollock, Griselda, "Aesthetic Wit(h)nessing in the Era of Trauma." In: ''EurAmerica''. Vol.40 n.4: 829-886. 2010.()〕 The major new European painters of this era show strong engagements with painful personal and general history, as well as shared history; its memory and its oblivion; and with life under the shadow of WWII, utilizing research in new and old materials, photography and oil painting.
==Development==
These were followed by painters like Luc Tuymans, Marlene Dumas and others,〔Sofie Van Loo, ''Gorge(l)''. The Museum of Contemporary Art, Los Angeles, 2008〕〔Lisa gabrielle Mark (ed.) and ''Marlene Dumas: Measuring Your Own Grave''. The Royal Museum of Fine Arts, Antwerpen, 2006〕. A third wave came with artists like Neo Rauch, Michaël Borremans and Chris Ofili. Neo-expressionism and other related movements in painting have emerged in the final two decades of the 20th century in Europe and in the United States, but this New Painting is not expressionist. Rather it is a renovative kind of abstraction and figuration that relates to the parallel practice of a turning into art of personal and historical photographic archives.〔Hans-Ulrich Obrist, Laurence Bosse and Carolyne Christove-Bakargiev, ''La Ville, le Jardin, la Memoire / City, Garden, Memory''. Villa Medici, Rome, 1999.〕
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