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New York Figurative Expressionism of the 1950s represented a trend where "diverse New York artists countered the prevailing abstract mode to work with the figure."〔Paul Schimmel and Judith E Stein, (''The Figurative fifties : New York figurative expressionism, Introduction'' ) (Newport Beach, Calif. : Newport Harbor Art Museum : New York : Rizzoli, 1988.)ISBN 0847809420, ISBN 978-0-8478-0942-4 0917493125 9780917493126〕 It was part of the evolving American Figurative Expressionism movement begun in the 1930s in the U.S. ==Categories of figurative expressionist modes== *The figure can refer to an armature or framework on which expressionist canvases are built: Willem de Kooning, (1904–1997); Jackson Pollock, (1912–1956); Conrad Marca-Relli, (1913–2000) *The figure was influenced by Old Master and history painting: Larry Rivers, (1923–2002); Grace Hartigan (1922 – ) *Representational portraiture: Elaine de Kooning, (1918–1989); Balcomb Greene, (1904–1990); Robert De Niro, Sr., (1920–1993); Fairfield Porter, (1907–1975); Gregorio Prestopino, (1907–1984); Lester Johnson, (1919–2010); George McNeil, (1909–1995); Robert Goodnough, (1917 – ); Irving Kriesberg, (1919–2009); and Earle M. Pilgrim, (1923-1976) *”Allegorical Mythical painting that brought stylistic elements of the German expressionists to the heroic scale of the Abstract expressionists: "〔Paul Schimmel and Judith E Stein, (''The Figurative fifties : New York figurative expressionism'' ) (Newport Beach, Calif. : Newport Harbor Art Museum : New York : Rizzoli, 1988.)ISBN 0847809420, ISBN 978-0-8478-0942-4 0917493125 9780917493126 p.15〕 Jan Müller, (1922–1958); Robert Beauchamp, (1923–1995); Nicholas Marsicano, (1914–1991) and Bob Thompson, (1937–1966) According to Klaus Kertess,〔Paul Schimmel and Judith E Stein, (''The Figurative fifties : New York figurative expressionism, The Other Tradition'' ) (Newport Beach, Calif. : Newport Harbor Art Museum : New York : Rizzoli, 1988.)ISBN 0847809420, ISBN 978-0-8478-0942-4 0917493125 9780917493126 p.17 〕 during the 1950s ''the figure in its role as harbinger of conservatism became an obvious target for abstractionist defensiveness—a defensiveness prone to blur the vast distinctions between figurative painters and to exaggerate the difference between the figurative and the nonfigurative. It was not until the late sixties and early seventies that the figure was permitted to return from exile and even to make claims to centrality.'' 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「New York Figurative Expressionism」の詳細全文を読む スポンサード リンク
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