The main claim in the article by Adolph Gottlieb, Mark Rothko and Barnett Newman is that the artists of American painting believed that they should not have to elaborate or explain their works to society. Furthermore, the authors stated a list of key expectations the artists behold in which one was that they reject the idea of focusing toward painting well rather than the subject matter, claiming that the subject matter is the only aspect the artists should focus on because it seen as timeless.
An example to support the main claim is the authors’ claim of the “The Syrian Bull” in which they state that it would be simple to explain the piece, but instead, they encouraged the idea that art is and must be timeless, so the meaning should be present to the day. The main point in the article by Jackson Pollock is that his development in art was not only a reaction of opposition to Brenton’s style of paintings but also that he was heavily impacted by the American Indian artistic styles due to their understandings of subject matter for a painter.
Furthermore, Pollock claims that the idea of natural and isolated American art is separated from the origins of the artist and where it was created. An example to support the main point is the artist’s discussion of the American Indian art styles which also influenced him as well because he claims that the message of the group is considered to behold a sense of universal in comparison to all other art.
The main claim in the article by Jackson Pollock is that the creation of art on an easel to be a “dying form” or no longer the way for art to be created in the future. Continuing, The author and artist states that the source for his paintings is unconscious with that he attempts to allow the paintings to be alive by themselves, believing that the paintings and him are connected. An example to support the main claim is the author’s description of how he executes his paintings. Pollock writes that by having a chance to walk around and paint from all four sides, he is able to be nearer to each one and rather than it be about just the artist or just the painting, this style of painting allows for the painting to be about the paintings.
The main point in the article by Mark Rothko is that art and their creators can become released from the limitations of expectations and judgment of society. The author further writes that artworks are only seen as completed and full of life at the end of the creation because Rothko believes that each painting is created with an uncertain path until it reaches said end. Rothko claims that art had become silent and neutral, but it is important for it to no longer be this way, but instead, push for a “transcendental experience” . An example to support the main point is the artist’s discussion of the art from the archaic period in which they created works that were of hybrids of demons and gods. These works called for abstract experiences in which the author claims that without such subjects, art becomes mundane. The main claim in the article by Mark Rothko is that it can be considerably dangerous to create a work of art and place it for it be viewed because it is a connection to the artist but by allowing it to be viewed, it becomes vulnerable as does the artist himself. An example to support the main claim is the author’s statement that a painting is commonly seen by those who are not appreciative and discredit the painting.
The main point in the article by Barnett Newman is that abstract painting and its artists were creating works of different shapes that were considered living to express feelings of the artist himself. The author also states the artists faced a problem of a desire for a “pure idea” because it is the only meaning for the artists in their art. An example to support the main claim is the author’s statement that it is now the artists’ job to show that abstract paintings and painters have a motive and need ideas to bring life to their paintings. The main claim in the article by Barnett Newman is the claim that sciences of today are only focused on the idea of the question of who the first man was and attempts to answer the dilemma with a series of mathematics methods but the author counters the question by stating that what the first man was, was an artist and that the first man to speak was of an attempt of poetry rather than a communication to others. An example to support the main point is the author’s discussion of the first chapter of the book of Genesis in which the author describes that the first man, Adam, had not eaten from the Tree of Knowledge and banished to Earth to sin or to struggle but rather sent out of a jealousy of God because the first man had wanted to be creative or a creator similar to the likes of God himself.
The main point in the article by Barnett Newman is that art had become concerned greatly with capturing the wonders of what is seen as beauty which was seen to the author as a limitation to the artists. The author further attempts to states that art can be without a background knowledge or view of beauty to be considered art. Also, the author states that the basis of modern art was to eliminate the expectation of depicting a general understanding of beauty but claims that groups such as the Impressionists struggled to create a new understanding of society and culture. An example to support Newman’s main point is the discussion of the Renaissance era which attempted to create works of “voluptuous art” until the modern art era began and was then set to get rid of the ideas of beauty.
The main claim in the article by Jackson Pollock is that in the interview, the artist states that with the age of modern painting, those viewing, creating, and critiquing must not come to the paintings with a preconceived idea or expectation of the work. The artist also stresses that each culture and each era have created works of art in the means of expressing their current time and events by using different methods and means of the technique. Pollock also discusses his method to paint in which was his ability to work in the moment of the painting and connect with the work lead to a type of statement within or of the piece. An example to support Pollock’s main claim is the final statement in which he states that the concern is not with the method or process of how the paint is put onto a canvas but rather it is on the fact of if there is a statement being made or not