Paintings appeared as unified optical textures and increased in scale. Various shapes were united into dominant islands, zones and boundless fields of intense and homogenous color. Expanses of bright hues produced unbroken "color fields" and did not stress sequential linear detail and formal diversity. The mood is one of mystic quietude. The transition period from action painting to color-field has been termed "post-painterly abstraction". Chromatic expression reduced to monochromes and rigid geometrics. Exemplary artist. Mark Rothko (mid-C20). He combined Surrealist automatism with human, animal and plant forms into inventive biomorphs. His compositions are soft, luminous and rectangular. The boundaries between forms and grounds are deliberately hazy. His works evoke a meditative mood. Subsidiary artists: Clyfford Still, Sam Francis, Barnett Newmann, Adolph Gottlieb, Ad Reinhardt. 6 Realist Trends
Paintings appeared as unified optical textures and increased in scale. Various shapes were united into dominant islands, zones and boundless fields of intense and homogenous color. Expanses of bright hues produced unbroken "color fields" and did not stress sequential linear detail and formal diversity. The mood is one of mystic quietude. The transition period from action painting to color-field has been termed "post-painterly abstraction". Chromatic expression reduced to monochromes and rigid geometrics. Exemplary artist. Mark Rothko (mid-C20). He combined Surrealist automatism with human, animal and plant forms into inventive biomorphs. His compositions are soft, luminous and rectangular. The boundaries between forms and grounds are deliberately hazy. His works evoke a meditative mood. Subsidiary artists: Clyfford Still, Sam Francis, Barnett Newmann, Adolph Gottlieb, Ad Reinhardt. 6 Realist Trends
"Not at all. Where are you going to start?" "The Waggoner," Edward replied, placing one hand lightly on my shoulder and spinning me around to look back toward the door we'd just come through. Every time he touched me, in even the most casual way, my heart had an audible reaction. It was more embarrassing with Carlisle there. The wall we faced now was different from the others. Instead of bookshelves, this wall was crowded with framed pictures of all sizes, some in vibrant colors, others dull monochromes. I searched for some logic, some binding motif the collection had in common, but I found nothing in my hasty examination. Edward pulled me toward the far left side, standing me in front of a small square oil painting in a plain wooden frame. This one did not stand out among the bigger and brighter pieces; painted in varying tones of sepia, it depicted a miniature city full of steeply slanted roofs, with thin spires atop a few scattered towers
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