The Development of the Post-Painterly Paradigm - Research Paper Example

This paper endeavors to discuss new approaches of artists to object, thereby highlighting their dissimilar inflections. As such, the part first considers the works of Jackson Pollock. Jackson Pollock’s Autumn Rhythm is one of his greatest arts (Halasz, 308). He created this artwork in October of 1950, and the works illustrate a sophisticated linear outline, thereby highlighting a critical balance between accident and control that he maintained over most of his works. Using the pouring and the dripping techniques, Pollock successfully managed to create an unconventional high-quality painting on a unexpended canvas laid on the floor.

The Autumn Rhythm also depicts the new approach of flipping, splashing and saturating within the canvas, thereby producing a high quality piece of art (Halasz, 308). This serves to highlight the diversity of the artist in his works, where he employed the unconventional painting process. Besides, he also utilized tools that are dissimilar from the conventional paint and brush, thereby depicting the paradigm shift. In the Autumn Rhythm, effects of utilization of sticks and other materials are evident.

Additionally, inflection is perceptible, owing to the use of dissimilar color paints that include black and white. Inflection is also visible in the force of pouring and dripping on the canvas, thereby producing a significant piece of artwork. Besides, the web-like curves within the artwork critically depicts a key inflection in the Autumn Rhythm. Another significant work is the artwork of Robert Rauschenberg, Dirt Painting in 1953. The object, (dirt on mold), portrayed was dirt and mold embedded in the wooden frame measuring 39 by 41 by 6 cm in dimension (Halasz, 309).

The work comprised of dirt placed on a wooden frame and dirt growing on it. Another work is the Automobile Tire Paint, by the same artist, Robert Rauschenberg. The work consisted of twenty sheets of drawing paper. He then inked the rear tire of a car driven by cage, thereby making the imprints on the papers. The Automobile Tire Paint depicted significant inflections in the line thicknesses of the imprints that formed on the paper sheets. Besides, owing to the weight of the automobile, the paints on the paper sheets were heavily imprinted on the sheets, thereby highlighting the zigzag markings.

Additiopnally the works showed a critical inflection, owing to the feint imprint from the front tire of the wheel, and the rear tire deposited a succulent black tread blot that extends in a retreating procession, the length of the laid-down paper sheets (Halasz, 309). The marking presents itself as a mono-print and a unique observation of indexical blotching. The black line marking that the Automobile Tire Paint made depicted the abstract expressionism model of confining straight imaginative appearance (Halasz, 309).

Because Rauschenberg did no utilize his hand in creating a mark, and the fact that cage’s automobile created the paint led to the creation of a new-fangled form or art. This serves greatly in the development of the post-painterly paradigm (Halasz, 309). Other works are also available that led to the realization of the post-painterly paradigm and include de Willem Kooning’s excavation and Franz Kline’s cardinal. Work CitedHalasz, Piri, A memoir of creativity: abstract painting, politics & the media, 1956-2008.

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