Beginning with Impressionism of the late 19th century and moving towards the burgeoning Abstract Expressionism of the later 's, Greenberg makes many astute observations on the evolution of painting, providing a crucial insight and developing critical stratagems and tools for examining and evaluating abstraction at the birth of the movement. In his critical theory of the physicality of abstraction in relation to Formalist properties, Greenberg identifies unity, flatness and three-dimensional modeling as the new focus points in Modernist painting, connecting the meaning of art with its making.
His parents were middle-class Jewish immigrants, and he was the eldest of their three sons. Since childhood, Greenberg sketched compulsively, until becoming a young adult, when he began to focus on literature. During the next few years, Greenberg travelled the U.
Greenberg married inhad a son the next year, and was divorced the year after that. It was then that Greenberg began to write seriously, and soon after began getting published in a handful of small magazines and literary journals. Kitsch, on the other hand, was the product of industrialization and the urbanization of the working class, a filler made for the consumption of the working class: Greenberg writes, "Kitsch, using for raw material the debased and academicized simulacra of genuine culture, welcomes and cultivates this insensibility.
It is the source of its profits. Kitsch is mechanical and operates by formulas. Kitsch is vicarious experience and faked sensations. Kitsch changes according to style, but remains always the same. Kitsch is the epitome of all that is spurious in the life of our times.
Kitsch pretends to demand nothing of its customers except their money — not even their time. Art history, Abstract Expressionism and after[ edit ] Greenberg wrote several seminal essays that defined his views on art history in the 20th century.
InGreenberg joined Partisan Review as an editor. He became art critic for the Nation in He was associate editor of Commentary from until Greenberg believed Modernism provided a critical commentary on experience. It was constantly changing to adapt to kitsch pseudo-culture, which was itself always developing.
In the years after World War IIGreenberg pushed the position that the best avant-garde artists were emerging in America rather than Europe. Greenberg helped to articulate a concept of medium specificity.
In the case of painting, the two-dimensional reality of their facture lead to an increasing emphasis on flatness, in contrast with the illusion of depth commonly found in painting since the Renaissance and the invention of pictorial perspective.
He was particularly impressed by the potential of painters William Ronald and Jack Bushand later developed a close friendship with Bush. Greenberg expressed mixed feelings about pop art.
On the one hand he maintained that pop art partook of a trend toward "openness and clarity as against the turgidities of second generation Abstract Expressionism.
Wolfe argued that these three critics were dominating the world of art with their theories and that, unlike the world of literature in which anyone can buy a book, the art world was controlled by an insular circle of rich collectors, museums and critics with out-sized influence.
Post-painterly Abstraction Eventually, Greenberg was concerned that some Abstract Expressionism had been "reduced to a set of mannerisms" and increasingly looked to a new set of artists who abandoned such elements as subject matter, connection with the artist, and definite brush strokes.
Greenberg suggested this process attained a level of "purity" a word he only used within scare quotes that would reveal the truthfulness of the canvasand the two-dimensional aspects of the space flatness.
Greenberg coined the term Post-Painterly Abstraction to distinguish it from Abstract Expressionism, or Painterly Abstraction, as Greenberg preferred to call it.
Post-Painterly Abstraction was a term given to a myriad of abstract art that reacted against gestural abstraction of second-generation Abstract Expressionists.
The line between these movements is tenuous, however as artists such as Kenneth Noland utilized aspects of both movements in his art. Post-Painterly Abstraction is generally seen as continuing the Modernist dialectic of self-criticism. Clement Greenberg Collection[ edit ] Inthe Portland Art Museum PAM acquired the Clement Greenberg Collection of paintings, prints, drawings, and sculpture by 59 important artists of the lateth century and earlyst century.
Most of the artists represented are American, along with several Canadians, and a handful of artists of other nationalities. Artists represented in the collection include among others: In popular culture[ edit ] Greenberg was portrayed by actor Jeffrey Tambor in the film Pollockabout the life of Jackson Pollock.
Bibliography[ edit ] Greenberg, Clement.Clement Greenberg- alphabetnyc.com Veleučilište u Rijeci HUMANITIES 3 - Winter More Essay Examples on Modernism Rubric. Greenberg was then able to identify that what characterizes the uniqueness of each form of art is the nature of its medium: What he characterized as wholly unique to painting is the flatness of its two dimensional medium, and .
For Greenberg, this self-critical force within the pictorial activity is the engine that drives the whole history of modern art. According to Greenberg, the modernist artists did not know what they were doing: they were modernists, almost unbeknownst to themselves.
Clement Greenberg (b. –d. ) was the most influential and controversial art critic of his time.
His writings in defense of contemporary abstract art, first of abstract expressionism and then of post painterly abstraction or color-field painting, were accompanied by a theory of modernism.
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