How big to be intimate.” The concept is

How its going to be structured and what the overall argument will be? Abstract expressionism The Movement Abstract expressionism is a post–World War II art movement in American painting, developed in New York in the 1940s. It was the first precise American movement to achieve international influence and put New York City at the centre of the western art world, a part formerly occupied by Paris. Abstract expressionism is the term applied to new forms of abstract art developed by American painters such as Jackson Pollock, Mark Rothko and Willem de Kooning in the 1940’s and 1950’s. It is often categorized by gestural brush-strokes or mark making, and the impression of impulsiveness. Utmost Abstract Expressionist paintings are large scale, include non-objective imagery, lack a clear focal point, and show visible signs of the artist’s working process, but these characteristics are not consistent in every example. (AnfMann,2017)(virgina B Dr. Virginia B. Spivey, “Abstract Expressionism, an introduction,)Although widely known by individual styles, the Abstract Expressionists shared common artistic and intelligent interests. While not explicitly political, most of the artists held strong opinions based on Marxist ideas of social and economic equality. Many had advanced directly from employment in the Works Progress Administration’s Federal Art Project. There, they established  influences in Regionalist styles of American artists such as Thomas Hart Benton, and also the Socialist Realism of Mexican muralists including Diego Rivera and José Orozco. (AnfMAnn,2017)For other artists, scale greatly contributed to the meaning, and for the time, the works were vast in scale. In addition, they were meant to be seen in relatively close environments, so that the viewer was virtually enveloped by the experience of confronting the work. Rothko said, “I paint big to be intimate.” The concept is toward the personal and true expression of the individual rather than the extravently. |(Rothko,1950)Abstract Expressionism’s LegacyThroughout the 1950s, the movement of Abstract Expressionism became the foremost inspiration for  artists both in the United States and abroad. The U.S. government welcomed  its distinctive style as a reflection of American democracy, uniqueness, and cultural achievement, and actively promoted international exhibitions of Abstract Expressionism as a form of political propaganda during the years of the Cold War. However, many artists found it difficult to replicate the emotional authenticity implicit in the stylistic innovations of de Kooning and Pollock. Their work seemed studied and needed the same vitality of the first-generation pioneers. Others saw the metaphysical undertones of Abstract Expressionism at odds with a society increasingly concerned with a consumer mentality, powered by economic success and explosion of the mass media. Such reactions would inevitably lead to the emergence of Pop, Minimalism, and the rise of a range of new artistic developments in the mid-20th century. (Polgari,1990) Abstract Expressionism: How colour was a big influenceAnother noteworthy path way in the expressive p of colour. Rothko, Newman, and still, for example, produced artwork based on simplified, large format, colour – dominated fields, the impulse was in general very much reflective and cerebral, with pictorial subjects simplified to create a kind of elemental impact. Rothko and Newman, among others, would often speak of a clear goal to achieve the “sublime” rather than the “beautiful”, in a drive for a grand sublime and heroic visual opposition to a calming or comforting effect, which Newman labelled his reductivism as one means of.                     “…Freeing ourselves of the obsolete props of an outmoded and antiquated legend which would really free ourselves from the impediments of memory, association, nostalgia, legend and outright myth that had been the devices of Western European Painting.” (NewMann1950For Rothko, his glowing, soft edged rectangles of radiant colour are there to provoke viewers in a would-be like religious experience, even provoking emotion and some case tears. The Critics of Abstract Expressionism / Clement Green BergClement Greenberg was without doubt the single most significant art critic of the twentieth century. Though he is most closely associated with his support for Abstract Expressionism, and Jackson Pollock, his valuations shaped the work of many other artists, including Helen Frankenthaler, Morris Louis, and Kenneth Noland. His main consideration focused on the official properties of art, colour, line, and space. Greenberg’s severe method of criticism, and his understanding of the growth of modern art, although not without challenge, have significantly inclined generations of critics and historians. (Greenberg 1971) articleKey Ideas / of Greenberg on Abstract ExpressionsmClement Greenberg presented a wealth of ideas into the conversation of twentieth century art, expanding and refining notions such as “kitsch,” the “easel picture,” and pictorial “flatness,” and formulating perceptions such as that of the “all over” paint surface and “visual space”. Strongly associated with his support for Abstract Expressionism, Greenberg avidly believed in the obligation of abstract art to resist the interference of politics and commerce into art. Although he advocated what is often regarded as avant-garde art, Greenberg saw modern art as an unfolding ritual and by the end of his career, he found himself criticising what many others saw as avant-garde art, Pop and Neo-Dada as against the ethics he held dear in previous modern art. (GreenBerg,1971)Greenbergs Thoughts On abstract expressionism the MovementGreenberg’s exhaustive reply to the display of Abstract Expressionism can be found in one of his most important essays, “‘American-Type’ Painting” (1955).In some compliments, “‘American-Type’ Painting” was activated by Greenberg’s desire to counter the growing acceptance of the ideas that Harold Rosenberg had launched with “The American Action Painters” (1952). (ReF) The essay signifies one of Greenberg’s fundamental statements about the development of modern art. It tackles the development of Abstract Expressionism; it resists the extremism of Colour Field Painting, connecting it to Impressionism rather than Cubism; and argues that modern art advanced while pursuing ever-greater symbolic flatness. (Green berg 1955)Greenberg greatly recognised abstraction as a distinguishing surface of modern painting, for if art was to be truly modern, each medium had to pursue a process of justification, which would unravel it from other, related mediums. Indeed, it was increasingly a vital exterior of modern painting, since art was being threatened by the interference of clichés, philosophy,