Displaying items by tag: preston h. haskell

It has been over a hundred years since abstraction was adopted in Western painting, and we’re still trying to make sense of it. Despite the rather clunky subtitle and the fact that the exhibition is drawn from a single collection, “Rothko to Richter: Mark-Making in Abstract Painting from the Collection of Preston H. Haskell” offers an excellent, compact survey of some of the key arguments.

One thing highlighted at the beginning of the show, which includes works by 23 painters, is that, along with the rise of abstract art, our concept of traditional art history — how one movement or artist invariably influences the next generation — has changed.

A new exhibition at the Princeton University Art Museum in New Jersey charts the developments in abstract painting that took place between 1950 and 1990. The show examines how postwar artists such as Josef Albers, Willem de Kooning, Richard Diebenkorn, Jean Dubuffet, Helen Frankenthaler, Hans Hofmann, Franz Kline, Morris Louis, Robert Motherwell, Robert Rauschenberg, Gerhard Richter, Mark Rothko, and Frank Stella ushered in advancements in abstraction thanks to their individual approaches to line, color, and form.

“Rothko to Richter: Mark-Making in Abstract Painting” presents nearly thirty paintings on loan from the collection of Preston H. Haskell III, a Princeton University alumnus and a longstanding Museum benefactor. The exhibition touches on a number of monumental movements, including Abstract Expressionism, Color Field painting, Minimalism, Op art, and Postmodernism.