Gestural Painting
An Arena in Which to Act
Introduction
‘Never has man been more insignificant. Never has he felt so nervous. Never was happiness to unattainable and freedom so dead. Distress cries aloud; man cries out for his soul; this whole pregnant time is one great cry of anguish. Art too joins in, into the great darkness she too calls for help, she cries to the spirit:
this is Expressionism’. (Frascina, 1982, p.168)
In 1916 Austrian writer Hermann Bahr (1863 – 1934) was an early witness and critic of expressionism. Proposing his criticism of this forthcoming movement Bahr documented his explanation when the text ‘Expressionismus’ was published in Munich 1916, whilst Europe was partway through World War 1. Within this text Bahr strongly reaffirmed his outcry that ‘we are either ascending into the divine or we are falling, falling into night and nothingness (Edwards and Wood, 2004, p. 15), claiming that the current Impressionist art movement was no longer rendering artistic productions that were accurately reflecting the nature of the ages political and social warfare. Bahr was one of the first critics of modern art to identify and promote expressionism’s subjective, emotive and spiritual transnational contributions and outlooks that would soon become major global influences. The succession and upheaval of World War 1 and World War 2 designated New York as the art international headquarters as European artists fled to America for safety bringing with them revolutionary ideals and concepts that prospered from the 1940’s.
With the art scene now in turmoil it became the expressionists role to ‘be that of revolutionary: it is his duty to destroy the remnants of an empty, irksome aesthetic, arousing the creative instincts still slumbering unconscious in the human mind’ (Stiles and Selz, 1996, p.206). Responding to the unease of post-war life the expressionists adopted an approach that was essentially influenced by the Surrealist themes of the unconscious. Whilst focusing on introspective emotion and subconscious origins the American expressionists collectively shared alike interests to create a parallel artistic community based on Marxist ideologies of commercial and social equivalence. Disregarding previous class divides and understanding the importance of social progression in culture, the artists discovered new art forms as a means of ‘influencing the spiritual development of humanity’ (Blunden, n.d) with the intentions of reflecting the genuine truth of post-war reality through their creative processes.
Distinguishing a truly American attitude and methodology that would echo and apprehend both reality and spiritual questions, American Abstract Expressionism started to dominate western art culture. With particular avant-garde journals like ‘Tiger’s Eye’ together with prominent art critics
Clement Greenberg and Harold Rosenberg further dispersing their exclusive philosophies and creationist standpoints, the abstracted movement modernised the art world with expressive energy. These themes and questions will be furthermore explored throughout the context of this essay to examine how the concepts and ideologies of expressionism have continued to influence modern day practice.
Chapter 1 – Literary review
The revolution and uprising of Abstract Expressionism - also christened American-Type painting - by the advocating art critic Clement Greenberg (1909- 1994), saw a major transformation in the art world commencing in the early 1940’s. Greenberg’s primary understanding and indulgence of the new movement consisted of his preceding knowledge and awareness of the Cubist works of Pablo Picasso and Paul Cézanne during the early 20th Century, avant-garde period. Recognising Cubism as ‘still the only vital style of our time, the one best able to convey contemporary feeling, and the only one capable of supporting a tradition which will survive into the future and form new artists’ (Harrison, 1997, p.55) saw Greenberg largely consider the Cubist movement of abstracted forms to be the epoch of a new generation of Modern Art. It was this rejection and revolt against ‘straight-laced’ art industry attitudes that flung Cubism and then Abstract Expressionism to the cultural and historical foregrounds. Expressionism aimed to endorse self-perception.
It was when Greenberg started to notice a decline within the original Cubist painters and relatively lackluster, demoralised art scene leading up to the late 1930’s was he enlightened by the likes of resolute artists, Jackson Pollock, Adolph Gottlieb, Barnett Newman and Mark Rothko, whose persistent ambition was to paint ‘as if it had never been invented before’ (Mackie, 1989, p.18). It was with this new jubilation and vigour - which had started to disappear in the art world - that the establishment of ‘Action Painting’ and ‘Colour Field’ painting was born. It was the expressionist ambition to cast of the traditionalist theories and concepts, instead opposing to endorse original works powered by the self, the unconscious and inner emotional capacities. With the gestural paintings of Pollock and the emotional influence of great expanses of colour fashioned by Rothko, abstraction began to gainpopularity and momentum in modern art.
During this era of upheaval, Greenberg acknowledged that modern artists were forced to forsake and evolve from the customary representational easel paintings and adapt a more physical approach that could flourish and inspire the art world. During the Great Depression (1929-1939) the Federal Art Project employed thousands of artists – Jackson Pollock included – to craft various art based works fluctuating from murals and sculptures to theatre design and graphic arts in an attempt to restore social and cultural respite during a period of great tragedy. These early influences of American and Mexican mural design underpinned the expressionist ideology to begin producing work, as Clement Greenberg wrote, ‘to go beyond the cabinet picture, which is designed to occupy only a spot on the wall’ (Britt, 1999, p.269). Contrary, to the long-established illusion of depth characteristics of pre 20th century art, commonly observed in the figurative, realist works, modern art aimed to encompass work that desired to focus on the utilisation of scale, specific media and to bring about the awareness and acknowledgement of abstracted formal elements and literal flatness.
Clement Greenberg accompanied with his formalist viewpoint, determined flatness to be a key attribute that the American expressionists introduced to the art world and a recurrent defining feature of modern art. With the intention to ‘reassert the picture plane’ (Baal-Teshuva, 2003, p.37) the abstract expressionists standpoint was to heighten awareness and appreciation of surface flatness, an element that is unique and absolute to painting itself. Working towards eliminating illusion of depth, figuration and other exclusive ‘sculptural’ qualities, modernist painters initiated a transition of ‘purification’ that saw painting revert back to its primary quality of being flat. Unlike traditional artwork, the modern artist’s ability to recognise, manipulate and deliberately acknowledge the raw flatness of the canvas enabled the painting to consciously draw the spectator’s attention to the act of painting itself.
Plate 1: Mark Rothko. Mark Rothko in Studio. (n.d)
The expressionists viewed the canvas surface as an expansive space in which to explore and establish their individual pictorial narratives exploiting the space they required. Influenced by their Cubist predecessors and disregarding the conventional impression of depth, the abstractionist intentionally created two-dimensional works with no significant focal point, thus, offering numerous unfamiliar perspectives to the onlookers. This new radical approach from the modernist painters -particularly the likes Mark Rothko, Jackson Pollock and Barnett Newman - merged with their purposes to establish a ‘continuous surface capable of sustaining the same level of intensity from edge to edge’ evident within Mark Rothko’s untitled canvases.(Harrison, 1997, p.57).
Plate 2: Mark Rothko. Untitled. (1968)
Pioneering the ‘colour field’ branch of Abstract Expressionism and accentuating the properties surrounding literal flatness and sustained colour intensity -which Clement Greenberg enforced - was Mark Rothko. Joining the Abstract expressionists during the 1950’s, Rothko’s approach to working on his signature substantial canvases was to fuse intense blocks of colour, enlarged horizontally over the surface area to fashion a meditative atmosphere adhering to the individuality and unique perception of the viewer. Severing the ties from identifiable forms, imagery or figuration - all which had previously altered or focused the viewer’s response – enabled the sheer scale and vast volume of colour to envelop the observer’s field of vision to generate ‘an environment in itself’ (Britt, 1999, p.269).
Utilising and declaring the whole large pictorial space with simplistic rectangular shapes exemplified in Untitled (plate 2) enabled Mark Rothko to physically place himself - and therefore engulf the audience - within the freedom and liberation of the painted arena. Favouring visual elements of shape, analogous or complimentary colour variations, depth and scale, Rothko would compose atmospheric, emotive ‘colour fields’ - with imbedded interests of spirituality and meditative inclinations - in which the surfaces which would vibrate with creative energies, suggestive of the artists unconscious and process of direct self-expression. During this practice the colour field painters began to revive the visual aesthetic of the sublime – which has been a perplexing theme of exploration within philosophy and arts – particularly by Mark Rothko and Barnett Newman who searched perpetually to find and express overpowering emotions by means of the sublime.
Newman’s revolutionary essay analysing the contemporary sublime, ‘The Sublime is now’ (1948), Newman in understanding with the comparable views of philosophers Immanuel Kant (1724–1804) and Edmund Burke (1729–1797) suggests that the sublime- an evolution onto a higher or purer condition - ‘is to be found in a formless object, represented by boundlessness’ (University of Washington, n.d). Since the nature of the sublime and reflective judgement is compatible with the absolute mind, it therefore cannot be represented or illustrated by a bounded object. To reach the sublime limitlessness Rothko and the colour field painters conveyed self- evident emotions through colour, space, scale and abstraction. With the intention of producing ‘real’ and ‘human’ images on a magnificent scale, the artists created work that the modern sublime would discard of historic representation. Instead, the work presented itself in the ‘here and now’, highlighting the direct engagement between the physicality of the surface area and the spectators, providing environments free of nostalgia and other possible persuasive pre-conceptions of the past.
Nevertheless, colour field painting was not a singular segment of American abstraction that challenged concepts of the sublime and traditional painting techniques. Separating from Mark Rothko’s style and application of media, but simultaneously considering similar theories where the American action painters, headed by Jackson Pollock.
Chapter 2
Standing alongside but frequently opposing Clement Greenberg’s formalist theoretical approach throughout the criticism of American abstract expressionist art was Harold Rosenberg (1906- 1978), another renowned supporter and promoter of the American Action Painters. Unlike the formalist approach taken by Clement Greenberg, whose criticism analysed the canvas aesthetic properties of space and colour, Rosenberg’s significant adverse contribution heavily consisted of his emphasis on the identification of action and the process of the ‘creative act’. Rosenberg's attitude and judgement of the expressionists was largely based on the perception that the current ‘socially dead’ society was unable to contribute the art scene with new desirable objects, forms or subject matter that had not already been exhausted.
By removing the conventional historic aesthetics and traditionalist approach to painting - which Rosenberg considered to be inhabited with societies afflictions and therefore could no longer obtain the capability of carrying sincere emotion or meaning - the onlookers focus fell to the process of application of media and the manner in which the painter composed his physical, intellectual and emotional creative energy onto the four sided arena. American artist and editor Robert Motherwell introduced Rosenberg to the text ‘ The Dadaist should be a man who has fully understood that one is entitled to have ideas only if one can transform them into life - the completely active type, who lives only through action because it alone holds the possibility of his achieving knowledge’ (Revert, 2005, p.136). A piece written by Richard Huelsenbeck (1892-1947) a German psychoanalyst and published within ‘En Avant Dada’ (1920), underpinned Harold Rosenberg's perception, interpretation and emphasis on the importance of the physical creative response of the artist. It was Rosenberg’s impression that by being restricted and limited to questioning the purely visual elements of a painting left the audience unable to comprehend the complete physical human experience and emotions exposed within the creation of an action painting. To appreciate and effectively absorb the primordial involvement thoroughly, Rosenberg – largely in attention to Jackson Pollock - declared that ‘it had become apparent to speak of the canvas as an arena’ (Anther, 2006, p.86) and to envisage the artist in the impersonation of an actor. With culture, society and tradition no longer adequately prompting the action painters, the artist was left with only his arena, self-criticism, dexterity and his subconscious to record his automatic, instinctive and evoked thought processes. Each individual or continuous line and mark was captured in a moment of natural human instinct generating a sense of time and action.
Plate 3: Jackson Pollock. Works in his Long Island studio. (1949)
Perhaps the most recognisable and influential Practitioners of the American art movement was Jackson Pollock and his infamous ‘drip’ paintings Particularly fascinated with the belief that the foundation of concepts could stem from the unconscious, subsequently lead Pollock’s action paintings to have indicative subconscious and psychoanalysts elements as previously formalised by neurologist Sigmund Freud (1856-1939) in the 19th century. Suggestive influential early works created by Jackson Pollock during 1939-1940 saw the creation of his ‘Psychoanalytic Drawings’ that he had produced whilst under the analysis of Dr. Joseph Henderson. These primary works where ‘first and foremost, for the sake of feeling, and as vehicles of feeling’ (Harrison, 1997, p.60) in which Pollock could visually make the unconscious conscious and correspond to a process of mind investigation, subsequently communicating repressed or difficult emotions through artistic intervention. Pollock’s psychoanalytical drawings are likely preliminary roots that successively lead to the development of the unconventional action panting’s Pollock created during 1947-1950.
Plate 4: Jackson Pollock. Number 31. (1950)
To offer considered observations and critiques on these explorations and processes Rosenberg developed an exclusive approach in his methods and terminology of understanding and summarising the attributes of Jackson Pollock and the American action painters. Rather than evaluating the external appearance of the given art work and placing the artist at the forefront of his critique, Rosenberg followed an incisive process of decree; ‘inception, duration, direction, physic state, concentration and relaxation of will, passivity and alert waiting’ (Mackie, 1989, p.80). Utilising this system of understanding and rather than accepting the canvas as a singular existing object, Rosenberg’s endorsed the notion that within the confinements of the surface area lay a record of complex, human actions, emotions and internal introspection. With differing and intuitive analyses of American abstraction, Harold Rosenberg and Clement Greenberg were able to subsequently establish a methodical vocabulary to decipher and apprehend the theories, concepts and advancements of Abstract Expressionism to the rest of the artistic community worldwide.
During this period of liberty, the American artists discovered and unlocked new and unexplored artistic territory of self-examination and emotive expressiveness for subject matter and creative reference. However, by the 1960’s painting was seen to lose its ‘social relevance’ and the initial impact of gesturalism had begun to succumb to the revolution and fresh attributes of the latest movements. The escalating influences of Pop Art, Minimalism and Post-minimalism consequently lead to critical uncertainties that the theoretical and practical attitude taken by the expressionist was no longer proficient enough to interpret and confront the realism of postmodern war. Though the impression of the American artists gradually diminished during the following periods the underlying subjects, techniques and ideologies of expressionism have continued to influence and inspire modern-day art practice
Chapter 3
During the advancements and evolution of 20th and 21st century art many practising artists chose to embrace up to date media techniques of minimalism, conceptualism, digital and performance art within the current technological age. Although these leading styles were obtainable and incessantly expanding, select contemporary artists continued to remain dedicated to the notion of wholesome painting and abstraction
Plate 5: Gillian Ayres. Gillian Ayres in her Cornwall Studio. (2015)
Post war abstractionist Gillian Ayres (1930-present) is a key example of how the critically analysed theories and viewpoints of expressionism are still continually influencing contemporary art practice. Ayres has persistently enforced her view that ‘pure’ painting is a means to enrich primary visual experiences, to question subconscious emotions and to disregard of literary involvements – all issues which have formerly been given intense critical attention and glorification by the previously discussed American artist and critics. ‘We talk too much, we should talk less and draw more’ (Read, 1967, p.47), a fundamental statement by German writer Johann Wolfgang Von Goethe (1749-1832) highlights and supports Ayres viewpoint that both the artist and spectator ought to discount of prior traditional, nostalgic or subjective preconceptions of knowing or understanding and to unpretentiously ‘just look’ (Financial times, 2015).
Acknowledging the theoretical critique and pictorial communication of painting Ayres adopted areas of fascination and practical methods closely interlinked with the American colour field and action painters. Adapting a painterly approach and exploring matters of abstraction, gesturalism and the sublime Ayres obsessively concentrated on the physical and mental involvement of painting processes. Declaring that her paintings ‘are about painting, about shape and colour, not telling stories’, (Royal Academy of Arts, n.d) Ayres – whose attitude particularly since the 1970’s, was in certain respects a reaction towards the conflicting crisis surrounding expressionism- had become increasingly influenced by the concepts of Rosenberg’s declaration of the canvas as an arena and Rothko’s principle of inner-self subjectivity. Ayres whom had earlier seen Hans Namuth’s renowned photographs of Jackson Pollock dynamically working in his studio in 1950, became furthermore inspired not by Pollock’s rhythmic, energetic surfaces but the literary elements surrounding Pollock as an artist, his unconventional attitude and the eccentric methods by which he applied paint to surface.
Plate 6: Gillian Ayres. Distillation. (1957)
Ayres, as a young and developing artist during the 1960’s, persisted to develop a corporal style of splashing, dragging and pouring vibrant paint onto ‘humanely sized’ canvases – alike, but not in direct impersonation of Jackson Pollock. Ayres utilised her arenas to examine what could be done with painting and to contemplate the artists ‘imaginative and metaphorical interaction with the world… answering to the deepest human impulses’ (Wood, 2003, p.235-236) through creative imagination and physical processes. Her engagement with the subconscious mind and being equally inspired by Immanuel Kant’s and Edmund Burke’s philosophies of the sublime, a circumstance of subjective experience, provided Ayres with fresh perspectives and rationale for her ‘actions’.
Aspiring to reach this level of liberation - similar to that of Mark Rothko’s atmospheric canvases – Ayres formalist focus was on the sublimity that scale and colour intensity possess to wholly document an ‘experience that is true to oneself’ (Gooding, 1989, p.13). By producing large-scale paintings such as Distillation (plate 6) instilled with features of expressionist techniques of pouring and spirited drips Ayres aimed for transcendent properties through amplification of mark making. Formerly utilising a ladder – to become an extension of her physical body - within her practice supported Ayres to accordingly work on a substantial scale in which she could document the full personal dialogue between the mind, body and arena. Gesturally applying variants of thick and diluted colour –stressing the colours potency rather than its tonal aspects - with her hands, palette knives or brushes, Ayres successively exemplifies colour value, sublime properties, conscious and subconscious impulses and aesthetical textured surface planes that keep the spectators observation on the act of painting. Ayres aspiration has never been to understand or explain the ‘greater contextual complexities’ within her works, but to produce artworks that sustain a greater acknowledgement and appreciation involved within the act of painting.
Whilst Ayres – who is still producing work at 86 years of age - remained unwaveringly committed to obsessively questioning the properties of painting, contemporary German artist Gerhard Richter (1932 – present) chose to reconsider both expressionist and modern-day media, theory and approaches.
Chapter 4
With a career approaching five decades, Richter’s work has frequently questioned the boundaries between contemporary art movements and posed art critics with distinctive multifaceted themes that were proving difficult to categorise. Creating work that explored both the ‘then’ and ‘now’ of aesthetic modernism, Richter was able to produce paintings which proposed that ‘visual experience itself is not destined to follow one path, but allows a range of possible futures’ (Harris, 2003, p.31). The complex yet considered dialectical tension of photography and abstraction fused together within his large scale paintings delivered new elements for critique alongside questioning whether the preceding modern-day concepts of pure painting are more problematic and diverse than originally believed to be.
Plate 7: Gerhard Richter. Corinna Belz's documentary depicts Gerhard Richter at work. (2009)
Following Richter’s visit in 1958 of the ‘Documenta’ exhibition in Kassel where he saw American abstract works by Jackson Pollock and Lucio Fontana provoked Richter into realising that ‘there was something wrong with my whole way of thinking’ (Hage, 2016). Noticing the expression, autonomy and sincere genuineness reflected within the displayed works, Richter re-discovered possible ambiguities and potentials that had formerly been unexplored within the American art movement. This exploration resulted in the development of Richter’s new manner of contemporary abstraction consisting of the juxtaposition of photography – often depicting family members or cut-outs from magazine or newspaper articles- and painterly processes that began to question the ideals and attributes typically connected to expressionism.
Long-time friend of Richter’s and American based art historian Benjamin Buchloh (1941-present) remarked that the critics had begun to perceive Richter as a ‘painter who knows all tricks and techniques…like a survey of the whole universe of 20th century painting, presented in one vast cynical retrospective’ (Storr, 2003, p.15). Finding sovereignty through the captured image, Richter utilised photography as a means of seizing a particular authentic moment through a somewhat readymade object. Richter’s fascination of photography was largely informed by kantian perceptivity of reality in which Richter doubted ‘the picture of reality conveyed to us by our senses, which is imperfect and circumcised’ (Godfrey and Serota, 2011, p.247) and therefore found images to supply uncompromised depictions of a true existence comparable with his own unique visual understandings. Unearthing an aberrant relationship between the truth of photography and expressive nature of painting, Richter managed to redeem paintings significance - which had been considered immobile and untruthful – through the blending of former and current processes.
While Richter’s understanding of abstractions capacity to represent the infinite has always been in uncertainty and describing his process as ‘an assault on the falsity and religiosity of the way people glorified abstraction’, (Storr, 2003, p.69) Richter has noted the importance that abstraction awakes not the rational conscious but a deeper psychological catalysts. Influenced by the likes of expressionist Jackson Pollock and Pop artist Andy Warhol, Richter’s work evidently synthesised with expressionist qualities particularly evident through the gestural and transcendental properties in his chromatic paintings (plate 7).
Plate 8: Gerhard Richter. S. with Child. (1995)
Stimulated furthermore by the indefinite layers appearing within and around his images Richter intensified this realisation by obscuring or feathering his compositions through a cumulative method apparent within S. with Child (plate 8). Professor and curator Ulrich Lock (1953-present) implies that Richter’s specific arbitrary yet mechanical process of applying paint - either over smaller photographic works or sizeable canvases with a large squeegee -acts as a means of dissociating his works from ‘their ideological and historical constraints’ (David, 2000) as the images begin to blur reducing any illusionistic effects. In turn Richter’s paintings therefore act as visual foundations where the compression and blending of photography and painting disclose the conversation of the ‘then’ of reality and the ‘now’ of a singular action or movement into an unknowable exposé. This method not only establishes a system that obscures the viewer’s perspective of realism and imagination but it could be suggested that the recorded movement of dragged paint over the surface ‘echoes the cameras shutter action’ (Finch, 1995). Choosing to rely on the subjectivity and appearance of a photograph primarily separated Richter’s contemporary method before re-introducing it to the expressionist ‘painterly’ approach exploring pictorial space and unbounding both practices from their traditional associations.
Throughout Richter’s deliberated process and underlying theoretical and conceptual thought processes, Richter focussed majorly on media application that is most conspicuous. Heavily textured pigment is accumulated over the canvas creating ghostly or vaporous veils that cloud the initial subject. This transition into indistinctness subsequently draws the viewers’ attention away from figurative or preconceived understanding consequently becoming wholly abstract. With the viewers gaze now drawn to the highlighted qualities of the painterly surfaces of colour, texture and physicality the abstracted image decisively - once again – draws the spectator’s attention to the act of painting. Though Richter has utilised both modern complimentary and contradictory methods surrounding painting and photography strong expressionist links consistently remain challenging the apparent arguments between historic self-reflection and contemporary representation.
Conclusively, expressionism was a ‘heroic phase of Modernist innovation’ (Panero, 2008) that ultimately established superseding philosophies and techniques for up-coming movements, artists and critics. The role of the creative artists during the expressionist era was that of an existentialism existence that was explored through creative artistic and human freedom. Art critic Harold Rosenberg endorsed the revolutionary and rebellious theories of the American painters with the existential relationship that characterised the emphasis on the creator as an unbound and free individual in his famed essay ‘The American Action Painters’ in 1952. It was this liberation and boundlessness that provided the artists with the confidence to produce works that were unrestricted from conventional and historical subject matter, subsequently leading to the discovery of new areas for artistic reference and discussion.
Although the expressionist major success was largely in response to the conflicting social and cultural perspectives of disorder, control and confusion its limited two-decade rein had evolved several innovative elements of artistic styles, processes, theories and criticism. The development of colour field and action painting where just two significant attributions that have provided constant recognition and notability of a movement that has evidently supplied magnificent international standards. The recurrent themes of self-analysis, subconscious thought process and physical actions and gestures were quickly noted to be the abstractionist legacy when American painter Allan Kaprow (1927 – 2006) publicised ‘What is the legacy of Jackson Pollock’ article in ART News 57, 1958. Ultimately, in the wake of expressionism’s themes and concepts, new generations of artists and movements – Op Art, Fluxus, Minimalism and Post-Minimalism etc - were compelled and enthused to regenerate further potentials of expressionists subject matters and processes through explorative methods of painting, installation, mixed media and digital contemporary approaches.
Plate list:
Plate 1: Mark Rothko. Mark Rothko in studio (n.d) The Huffington post. [Online image]. Available from: < http://www.huffingtonpost.com/david-galenson/mark-rothko-in-the-hague_b_5941346.html > [Accessed 15 April 2016].
Plate 2: Mark Rothko. Untitled. (1968) MoMa. [Online image]. Available from:
<http://www.moma.org/collection/works/37042?locale=en> [Accessed 15 April 2016].
Plate 3: Jackson Pollock. Jackson Pollock works in his Long Island studio. (1949) Time. [Online Image]. Available from: <http://time.com/3878765/jackson-pollock-early-photos-of-the-action-painter-at-work/> [Accessed 5 April 2016].
Plate 4: Jackson Pollock. Number 31. (1950) Jackson Pollock.org. [Online image]. Available from: http://www.jackson-pollock.org/one-number31.jsp> [Accessed 18 April 2016].
Plate 5: Gillian Ayres. Gillian Ayres in her Cornwall studio. (2015). Christie’s. [Online image]. Available from: < http://www.christies.com/features/Gillian-Ayres-Pleasure-and-paint-6329-1.aspx> [Accessed 18 April 2016].
Plate 6: Gillian Ayres. Distillation. (1957). Tate. [Online Image]. Available from: < http://www.tate.org.uk/art/artworks/ayres-distillation-t01714> [Accessed 18 April 2016].
Plate 7: Gerhard Richter. Corinna Belz’s Documentary depicts Gerhard Richter at work. (2009). The New York Times. [Online image]. Available from: < http://www.nytimes.com/2012/03/14/movies/gerhard-richter-painting-a-documentary.html?_r=0> [Accessed 18 April 2016].
Plate 8: Gerhard Richter. S. with Child. (1995) Gerhard-Richter.com. [Online image]. Available from: < https://www.gerhard-richter.com/en/art/paintings/photo-paintings/mother-and-child-15/s-with-child-8131/?&categoryid=15&p=1&sp=32> [Accessed 18 April 2016].
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