Hans Hofmann Had Great Influence

hans hofmann had great influence over the development of abstract Expressionism. He had several exhibitions since 1908, in Germany and the United States (1908 Berlin: Neue Sezession; 1909 Berlin: Neue Sezession; 1944 New York: 67 Gallery, Forty American Modern; 1950 New York: Kootz Gallery, the Muralist and the Modern Architect, to name just a few).

Although he began his artistic inclinations early in the XX century, his most notorious pieces were created between 1950s and 1960s. He was very appreciated by the critics of his time and, as teacher, influenced many contemporary artists.

Hofmann found his color sense from Postimpressionist and Cubist theories, developing his famous 'Push and Pull' theory. The associated colors can be seen rejecting or attracting each other in the picture, in a "Push and pull" effect of visual contradiction.

The use of bright colors was typical of Expressionist fashion. Hofmann leans towards abstract representation as we can see in his works Imperium in Imperio (Oil on Canvas, 1964), where the key of the composition is made of basic geometric shapes, clearly constructed that stand out in strong contrast with each other.

The use of drawing line is almost nonexistent. Lines become an optical illusion, made by the contrast of the colors that create a three-dimensional effect as the bright colors stand out against violent dark tones (Autumn Gold, Oil on Canvas, 1957, the National Gallery of Art). When he does employ the drawing line, this presents bright colors and violent brush strokes, to mix cleanly with the rest of the composition. (Table with Fruit and Coffeepot, 481/4 x 601/4," Casein and Oil on Plywood, 1936).

Hofmann uses basic figures and basic colors, avoiding midtones or degradees. His work has the savage strength of Fauvist painting in the use of saturated hues, accentuated by intense black and cold tones.

His work mostly avoids figurative representation. There are few examples of clearly mimetic work, such as Japanese Girl (351/2 x 431/2," Casein and Oil on Plywood, 1935), or his Self-Portrait (111/2 x 131/2," Oil on Gessoed Plywood, 1942). There are other examples of less figurative images, where stylized forms suggest realistic designs, requiring the viewer's imagination, using the title as aid to decipher the artists intention (the Bouquet, 40x 50," Oil on Canvas, 1959).

The artistic tendencies of the time were mainly abstract and focused on visual sensations rather than rational messages. However, its intellectual value stands in the use of color palette that creates a visual balance and a plastic language present in all his pieces.

Hofmann uses the geometric simplicity and flat atmosphere of the Cubist vision. His work does not reproduce perspective or depth in different planes or background.

However, in works like and out of the Caves the Night Threw a Handful of Pale Tumbling Pigeons in the Light (601/4 x 801/4," Oil on Canvas, 1964) the contrast between the vibrant colors create a three-dimensional effect, as frictions between dark tones and bright spots seem to construct the environment of the painting.