Abstract expressionism

Summary

Abstract expressionism is a post–World War II art movement in American painting, developed in New York City in the 1940s. It was the first specifically American movement to achieve international influence and put New York at the center of the Western art world, a role formerly filled by Paris. Although the term "abstract expressionism" was first applied to American art in 1946 by the art critic Robert Coates, it had been first used in Germany in 1919 in the magazine Der Sturm, regarding German Expressionism. In the United States, Alfred Barr was the first to use this term in 1929 in relation to works by Wassily Kandinsky. Style Technically, an important predecessor is surrealism, with its emphasis on spontaneous, automatic, or subconscious creation. Jackson Pollock's dripping paint onto a canvas laid on the floor is a technique that has its roots in the work of André Masson, Max Ernst, and David Alfaro Siqueiros. The newer research tends to put the exile-surrealist Wolfg

Official source

https://en.wikipedia.org/wiki/Abstract_expressionism

About this result

This page is automatically generated and may contain information that is not correct, complete, up-to-date, or relevant to your search query. The same applies to every other page on this website. Please make sure to verify the information with EPFL's official sources.

Related publications (10)

Related publications

Related people

Related units

Related concepts (21)

Related concepts

Related courses (8)

Fiction is one of the laboratories that architecture uses for its tests. This should not come as a surprise, since architecture has always been a "science of fiction". The studio holds by elii [architecture office] will work in Madrid on housing, domesticity and fiction.

La structure du cours suivra une orientation chronologique. Le cours s'articulera en leçons qui reconstruiront historiquement les diverses œuvres et théories développées au cours des XXe et XXIe siècles.

Technologie du Bâti V aborde le bâtiment comme un système d'opérations techniques et culturelles invoquant des choix liés à l'environnement, au matériau, à la structure, et au montage. L'objectif du cours est d'amener les étudiants à acquérir des compétences sur la conception critique du bâtiment.

Related courses

Related lectures (7)

Related lectures

Related publications (10)

Regularity in metric spaces

Serguei Timochine

Using arguments developed by De Giorgi in the 1950's, it is possible to prove the regularity of the solutions to a vast class of variational problems in the Euclidean space. The main goal of the present thesis is to extend these results to the more abstract context of metric spaces with a measure. In particular, working in the axiomatic framework of Gol'dshtein – Troyanov, we establish both the interior and the boundary regularity of quasi-minimizers of the p-Dirichlet energy. Our proof works for quite general domains, assuming some natural hypotheses on the (axiomatic) D-structure. Furthermore, we prove analogous results for extremal functions lying in the class of Sobolev functions in the sense of Hajłasz – Koskela, i.e. functions characterized by the single condition that a Poincaré inequality be satisfied. Our strategy to prove these regularity results is first to show that, in a very general setting, the (Hölder) continuity of a function is a consequence of three specific technical hypotheses. This part of the argument is the essence of the De Giorgi method. Then, we verify that for a function u which is a quasi-minimizer in an axiomatic Sobolev space or an extremal Sobolev function in the sense of Hajłasz – Koskela, these technical hypotheses are indeed satisfied and u is thus (Hölder) continuous. In addition to that, we establish the Harnack's inequality for these extremal functions, and we show that the Dirichlet semi-norm of a piecewise-extremal function is equivalent to the sum of the Dirichlet semi-norms of its components.

EPFL2006

Cross-Corpus Acoustic Emotion Recognition: Variances and Strategies (Extended Abstract)

2015

Harmonic Syntax in Time: Rhythm Improves Grammatical Models of Harmony

Daniel Harasim, Martin Alois Rohrmeier

Music is hierarchically structured, both in how it is perceived by listeners and how it is composed. Such structure can be elegantly captured using probabilistic grammatical models similar to those used to study natural language. They address the complexity of the structure using abstract categories in a recursive formalism. Most existing grammatical models of musical structure focus on one single dimension of music–such as melody, harmony, or rhythm. While these grammar models often work well on short musical excerpts, accurate analysis of longer pieces requires taking into account the constraints from multiple domains of structure. The present paper proposes abstract product grammars–a formalism which integrates multiple dimensions of musical structure into a single grammatical model–along with efficient parsing and inference algorithms for this formalism. We use this model to study the combination of hierarchically-structured harmonic syntax and hierarchically-structured rhythmic information. The latter is modeled by a novel grammar of rhythm that is capable of expressing temporal regularities in musical phrases. It integrates grouping structure and meter. The combined model of harmony and rhythm outperforms both single-dimension models in computational experiments. All models are trained and evaluated on a treebank of hand-annotated Jazz standards.

ISMIR2019