Traces the evolution of twentieth-century American abstract expressionism and critically evaluates the works of its major exponents

The Triumph of American Painting: A History of Abstract Expressionism

Arts & Photography

SANDLER, Irving

History & Criticism

Harper&Row

The sequel to "The Triumph of American Painting", this work covers the second generation of the New York School.

New York School

Architecture

Westview Press

Discusses the avant-garde, pop art, photo-realism, op art, kinetic sculpture, minimal sculpture, process art, earthworks, and conceptual art

American Art of the 1960's

Icon.

Discusses the avant-garde, pop art, photo-realism, op art, kinetic sculpture, minimal sculpture, process art, earthworks, and conceptual art

American art of the 1960s (Icon editions)

Harper

The fourth and final installment in Irving Sandler's series on contemporary art, Art of the Postmodern Era surveys the artists, works, movements, and ideas as well as the social and cultural context of this energetic and turbulent period in art.The book begins with the late 1960s, when new directions in art emerged, ranging from diverse postminimal styles to pattern and decoration painting and new image painting. In turn, the 1980s ushered in a second wave of new movements—neoexpressionism, media deconstruction, and commodity art. Sandler also discusses postmodernist art theory, the art market, and consumer society, providing an essential framework for understanding the art of this period.Unlike his previous books, Art of the Postmodern Era includes both American and European artists.

Art Of The Postmodern Era: From The Late 1960s To The Early 1990s

HarperCollins, Publishers

A review and history of abstract expressionism in American painting.

Abstract expressionism: The triumph of American painting

Praeger Publishers

A new examination of the art and influence of artist John Graham and his circle, whose works and ideas contributed to the advancement of American modernism in the interwar period The enigmatic and charismatic John Graham (1886–1961) was an important influence on his fellow New York artists in the 1920s through 1940s. Graham and his circle, which included Stuart Davis, Arshile Gorky, and Willem de Kooning, helped redefine ideas of what painting and sculpture could be. They, along with others in Graham's orbit, such as Jackson Pollock and David Smith, played a critical role in developing and defining American modernism. American Vanguards showcases about eighty-seven works of art from this vital period that demonstrate the interconnections, common sources, and shared stimuli among the members of Graham's circle.
Three essays by notable scholars investigate the complex relationships among Graham and his New York artist-colleagues during this formative period. William C. Agee positions Graham and his circle within the movement of New Classicism, which drew upon classical and Renaissance examples in an attempt to overcome the devastation of World War I. Irving Sandler focuses on the social, political, and intellectual dynamics among Davis, Gorky, Graham, and de Kooning in the mid-1930s. Karen Wilkin discusses the circumstances that brought these artists together, their common commitment to modernism, and the fascinating artistic cross-fertilization evident in their work. This critical reconsideration sheds new light on the New York School, Abstract Expressionism, and the vitality of American modernism between the two world wars.

American Vanguards: Graham, Davis, Gorky, de Kooning, and Their Circle, 1927-1942 (Addison Gallery of American Art)

Wilkin, Karen

Agee, William C.

Yale University Press

FROM 1947 TO 1951, more than a dozen Abstract Expressionists achieved "breakthroughs" to independent styles. 1 During the following years, these painters, the first generation of the New York School, received growing recognition nationally and globally, to the extent that American vanguard art came to be considered the primary source of creative ideas and energies in the world, and a few masters, notably Pollock, de Kooning, and Rothko, were elevated to art history's pantheon. Younger artists who entered their circle in the early fifties-the early wave of the second generation-such as Larry Rivers, Helen Frankenthaler, Grace Hartigan, Allan Kaprow, Joan Mitchell, Robert Rauschenberg, and Richard Stankiewicz (to list some of the better known), were also acclaimed, but with a few exceptions, their reputations had gone into decline by the end of the fifties. In the following decade, the second generation was eclipsed by a third generation, the innovators of Pop, Op, Minimal, and Conceptual Art. (Any notion of a generation of artists is necessarily arbitrary, of course. The term "generation," as it is used here, refers to a group of artists close in age who live in the same neighborhood at the same time, and to a greater or lesser degree, know each other and partake of a similar sensibility, a shared outlook and aesthetic.)

The New York School: The Painters and Sculptors of the Fifties

Routledge

This book discusses the role of gesture painting and the sculpture related to the painting in the development of distinctive artistic tendencies by the members of the second generation of the New York School during the second part of the fifties.

David Smith strove to create works of art that could be viewed "without reverence or awe" because they were, in his words, "natural . . . statements of peaceful pursuit." Intrinsic to this hope was his conviction that sculpture belongs in the elements, with sky and earth as its visible reference points. The Fields of David Smith celebrates a three-year exhibition in the expansive landscape of the Storm King Art Center in Mountainville, New York. The aim of the curators has been to recapture the experience of viewing Smith's work during his lifetime, when it was deployed with care and exuberance in ever-changing arrangements in his fields at Bolton Landing in the Adirondacks. The book first re-creates the scene at Bolton Landing. A moving essay by Smith's daughter Candida captures in the most personal and direct terms the man himself, his struggles and delights, and the intensity of his working life. This is followed by a memoir by Irving Sandler and reminiscences by friends of the artist. The text is accompanied by photographs by fellow artists and by Smith himself. The balance of the book is a sumptuous album of the evolving Storm King exhibition, featuring major works by Smith sent from collections all over the country. Jerry L. Thompson, one of the foremost photographers of sculpture, has captured Smith's work in summer and snow, at sunrise and dusk, glistening in the rain and presiding over the mists. The interplay between the works and their surroundings, and the effects of light on their surfaces, provides a new lens through which to view the sculpture of David Smith. With contributions by Mark di Suvero, Helen Frankenthaler, Anthony Caro, Kenneth Noland, and others. Historical photography by David Smith, Dan Budnik, Alexander Liberman, and others.

The Fields of David Smith

Thompson, Jerry L.

Reference

Thames&Hudson

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Books by SANDLER, Irving

See the best price to sell, buy, or rent books by SANDLER, Irving. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

The Triumph of American Painting: A History of Abstract Expressionism

New York School

American Art of the 1960's

American art of the 1960s (Icon editions)

Art Of The Postmodern Era: From The Late 1960s To The Early 1990s

Abstract expressionism: The triumph of American painting

American Vanguards: Graham, Davis, Gorky, de Kooning, and Their Circle, 1927-1942 (Addison Gallery of American Art)

The New York School: The Painters and Sculptors of the Fifties

New York School

The Fields of David Smith