{"id":13639,"date":"2016-03-28T12:22:54","date_gmt":"2016-03-28T10:22:54","guid":{"rendered":"https:\/\/www.aparences.net\/periodes\/art-contemporain\/color-field\/"},"modified":"2025-12-11T19:40:56","modified_gmt":"2025-12-11T18:40:56","slug":"color-field-2","status":"publish","type":"post","link":"https:\/\/www.aparences.net\/es\/arte-contemporaneo\/movimientos\/color-field-2\/","title":{"rendered":"Color field"},"content":{"rendered":"<p><!--contents--><\/p>\n\n\n<h2 class=\"wp-block-heading\">Color field painting<\/h2>\n\n\n\n<p>En estrecha relaci\u00f3n con el expresionismo abstracto, el <em>color field painting<\/em> (pintura de campos de color) es un movimiento nacido en Nueva York en los a\u00f1os 1940 y 1950 en respuesta a la <a href=\"https:\/\/www.aparences.net\/es\/arte-contemporaneo\/movimientos\/expresionismo-abstracto\/\"><em>action painting<\/em><\/a>.<\/p>\n\n\n\n<p> A diferencia de la <em>action painting<\/em>, los artistas de este nuevo movimiento expresionista van a pintar en largos planos y con colores s\u00f3lidos, casi monocromos, que crean zonas ininterrumpidas y eliminan cualquier profundidad. Sus principales representantes son: Mark Rothko, Adolph Gottlieb, Clyfford Still y Barnett Newman.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"343\" height=\"460\" src=\"https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/11\/mark-rothko-number-10.webp\" alt=\"Number 10, 1950, Mark Rothko\" class=\"wp-image-29646\" title=\"Number 10, 1950, Mark Rothko\"\/><figcaption class=\"wp-element-caption\"><em><strong>Number 10<\/strong>, 1950, <strong>Mark Rothko<\/strong> (New York, MOMA)<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n<!-- AdBoxRight2020 --><ins class=\"adsbygoogle\"     style=\"display:block; margin-top:30px;\"     data-ad-client=\"ca-pub-2468002815867636\"     data-ad-slot=\"3496014735\"     data-ad-format=\"auto\"     data-full-width-responsive=\"false\"><\/ins><script> (adsbygoogle = window.adsbygoogle || []).push({});<\/script><h2 class=\"wp-block-heading\">Mark Rothko<\/h2>\n\n\n\n<p>Pintor estadounidense de origen ruso, <strong>Mark Rothko<\/strong> (1903-1970) emigr\u00f3 a los Estados Unidos en 1913 y se form\u00f3 en Nueva York con Max Weber. Sus primeras obras son figurativas y de estilo expresionista. En 1935, fund\u00f3 con Arnold Gottlieb el grupo <em>The Ten<\/em>. Su inter\u00e9s por el automatismo surrealista se combina con su gusto por la riqueza del color inspirado por <a href=\"https:\/\/www.aparences.net\/es\/periodos\/arte-moderno\/el-fauvismo\/#henri-matisse\">Matisse<\/a>, que lo conduce m\u00e1s tarde, ya en el periodo de posguerra, a una <a href=\"https:\/\/www.aparences.net\/es\/periodos\/arte-moderno\/arte-abstracto\/\">pintura abstracta<\/a> que se caracteriza por grandes zonas de color, formas rectangulares con contornos borrosos dispuestas sobre un fondo donde se evidencia una b\u00fasqueda sutil de concordancias crom\u00e1ticas (<em>Number 10<\/em>, 1950). Con Clyfford Still, Barnet Newman y Ad Reinhard, Rothko es un protagonista importante del <em>color field abstracci\u00f3n<\/em>, movimiento que representa, en el contexto de la investigaci\u00f3n abstracta americana a partir de 1945, el polo opuesto a la <em>action painting<\/em>.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"510\" height=\"374\" src=\"https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/11\/rothko-entrance-to-subway.webp\" alt=\"Entrance to a Subway, 1938, Mark Rothko\" class=\"wp-image-29648\" title=\"Entrance to a Subway, 1938, Mark Rothko\"\/><figcaption class=\"wp-element-caption\"><em><strong>Entrance to a Subway<\/strong>, 1938, <strong>Mark Rothko<\/strong> (New York, Brooklyn Museum)<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n<p><em>En los a\u00f1os 30, Rothko pinta escenas urbanas, y es de ah\u00ed de donde le surgieron les temas espaciales a los que m\u00e1s tarde iba a darles la extraordinaria expresi\u00f3n de su pintura abstracta.<\/em><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"305\" height=\"460\" src=\"https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/11\/mark-rothko-vessels-of-magic.webp\" alt=\"Vessels of magic, 1940, Mark Rothko\" class=\"wp-image-29650\" title=\"Vessels of magic, 1940, Mark Rothko\"\/><figcaption class=\"wp-element-caption\"><em><strong>Vessels of magic<\/strong>, 1940, <strong>Mark Rothko<\/strong> <\/em><br><em>(New York, Brooklyn Museum)<\/em><\/figcaption><\/figure>\n<\/div>\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"379\" height=\"460\" src=\"https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/11\/rothko-untitled-1948.webp\" alt=\"Untitled, 1948, Mark Rothko\" class=\"wp-image-29652\"\/><figcaption class=\"wp-element-caption\"><em><strong>Untitled<\/strong>, 1948, <strong>Mark Rothko<\/strong> (Colecci\u00f3n privada)<\/em><\/figcaption><\/figure>\n<\/div>\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"409\" height=\"424\" src=\"https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/11\/mark-rothko-white-cloud.webp\" alt=\"White Cloud over Purple, 1957, Mark Rothko\" class=\"wp-image-29654\" title=\"White Cloud over Purple, 1957, Mark Rothko\"\/><figcaption class=\"wp-element-caption\"><em><strong>White Cloud over Purple<\/strong>, 1957, <strong>Mark Rothko<\/strong> (Colecci\u00f3n privada)<\/em><\/figcaption><\/figure>\n<\/div>\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"409\" height=\"434\" src=\"https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/11\/mark-rothko-untitled-1964.webp\" alt=\"Untitled (Black, Red over Black on red), 1964, Mark Rothko\" class=\"wp-image-29656\" title=\"Untitled (Black, Red over Black on red), 1964, Mark Rothko\"\/><figcaption class=\"wp-element-caption\"><em><strong>Untitled<\/strong> (Black, Red over Black on red), 1964, <strong>Mark Rothko<\/strong><\/em><br><em> (Paris, Centre Pompidou)<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n<!-- AdBoxLeft2023 --><ins class=\"adsbygoogle\" style=\"display:block\" data-ad-client=\"ca-pub-2468002815867636\" data-ad-slot=\"1318022963\" data-ad-format=\"auto\" data-full-width-responsive=\"true\"><\/ins><script> (adsbygoogle = window.adsbygoogle || []).push({});<\/script><h2 class=\"wp-block-heading\">Barnett Newman<\/h2>\n\n\n\n<p>Despu\u00e9s de estudiar pintura y filosof\u00eda, <strong>Barnett Newman<\/strong> (Nueva York 1905-1970), decidi\u00f3 dedicarse a la pintura en 1933. Sus primeras obras son abstracciones inspiradas en las artes primitivas de los indios en las que adopta la t\u00e9cnica del automatismo (<em>La muerte de Euclides<\/em>, 1947). Mientras tanto, realiza numerosos dibujos en los que se impone la l\u00ednea vertical, y su b\u00fasqueda pict\u00f3rica lo conduce a telas casi monocrom\u00e1ticas, marcadas por rayas verticales (<em>Onement I<\/em>, 1948). A partir de 1949, trabaja en telas de gran formato donde otorga una importancia preeminente al color puro, que parece extenderse fuera de los l\u00edmites del marco; el toque neutro elimina cualquier emoci\u00f3n t\u00e1ctil, las bandas verticales son de diferentes anchos y colores (<a href=\"https:\/\/www.moma.org\/collection\/works\/79250\"><em>Vir Heroicus Sublimis<\/em><\/a>, 1950-51). En 1957, en sus cuadros predomina el blanco y el negro (<em>Shining Forth<\/em>, 1961) y en el ciclo de las <em>Estaciones de la Cruz<\/em> (1958-1966).<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"499\" height=\"374\" src=\"https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/11\/barnett-newman-onement-iii.webp\" alt=\"Onement III, 1949, Barnett Newman\" class=\"wp-image-29659\" title=\"Onement III, 1949, Barnett Newman\"\/><figcaption class=\"wp-element-caption\"><em><strong>Onement III<\/strong>, 1949, <strong>Barnett Newman<\/strong> (New York, Museum of Modern Art)<\/em><\/figcaption><\/figure>\n<\/div>\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"332\" height=\"460\" src=\"https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/11\/barnett-newman-second-station.webp\" alt=\"Second Station, 1958, Barnett Newman\" class=\"wp-image-29661\" title=\"Second Station, 1958, Barnett Newman\"\/><figcaption class=\"wp-element-caption\"><em><strong>Second Station<\/strong> (serie Stations of the Cross, 1958, <strong>Barnett Newman<\/strong> <\/em><br><em>(New York, Barnett Newman Fondation)<\/em><\/figcaption><\/figure>\n<\/div>\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"446\" height=\"459\" src=\"https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/11\/barnett-newman-canto-II.webp\" alt=\"Canto II, lithographie, 1963, Barnet Newman\" class=\"wp-image-29663\" title=\"Canto II, lithographie, 1963, Barnet Newman\"\/><figcaption class=\"wp-element-caption\"><em><strong>Canto II<\/strong>, litograf\u00eda, 1963, <strong>Barnet Newman<\/strong> (Colecci\u00f3n privada)<\/em><\/figcaption><\/figure>\n<\/div>\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"620\" height=\"282\" src=\"https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/11\/barnett-newman-whos-afraid.webp\" alt=\"Who\u2019s Afraid of Red, Yellow and Blue IV, 1969-1970, Barnett Newman\" class=\"wp-image-29665\" title=\"Who\u2019s Afraid of Red, Yellow and Blue IV, 1969-1970, Barnett Newman\"\/><figcaption class=\"wp-element-caption\"><em><strong>Who\u2019s Afraid of Red, Yellow and Blue IV<\/strong>, 1969-1970, <strong>Barnett Newman<\/strong> <\/em><br><em>(New York, Barnett Newman Fondation)<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n<h2 class=\"wp-block-heading\">Adolph Gottlieb<\/h2>\n\n\n\n<p><strong>Adolph Gottlieb<\/strong> (1903-1974 Nueva York) es uno de los principales representantes de Estados Unidos del <a href=\"https:\/\/www.aparences.net\/es\/arte-contemporaneo\/movimientos\/expresionismo-abstracto\/\">expresionismo abstracto<\/a>. Despu\u00e9s de su investigaci\u00f3n sobre los jerogl\u00edficos de la Antig\u00fcedad y los totems americanos, crea escenas urbanas que lo llevar\u00e1n a los pictogramas ejecutados entre 1942 y 1952. Luego pinta paisajes imaginarios donde los motivos circulares ocupan un lugar primordial (<em>Blast I<\/em>, 1957) y m\u00e1s tarde se orienta hacia formas m\u00e1s monumentales, acerc\u00e1ndose a los pintores del color field en la serie que llam\u00f3 <em>Burst<\/em> (estallido) donde el campo pict\u00f3rico da creciente importancia al monocromatismo.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"335\" height=\"430\" src=\"https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/11\/adolph-gottlieb-voyagers-return.webp\" alt=\"Voyager\u2019s Return, 1946, Adolph Gottlieb\" class=\"wp-image-29667\" title=\"Voyager\u2019s Return, 1946, Adolph Gottlieb\"\/><figcaption class=\"wp-element-caption\"><em><strong>Voyager\u2019s Return<\/strong>, 1946, <strong>Adolph Gottlieb<\/strong><\/em><br><em> (New York, MOMA)<\/em><\/figcaption><\/figure>\n<\/div>\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"254\" height=\"430\" src=\"https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/11\/adolph-gottlieb-blast-I.webp\" alt=\"Blast I, 1957, Adolph Gottlieb\" class=\"wp-image-29669\" title=\"Blast I, 1957, Adolph Gottlieb\"\/><figcaption class=\"wp-element-caption\"><em><strong>Blast I<\/strong>, 1957, <strong>Adolph Gottlieb<\/strong> <\/em><br><em>(New York, MOMA)<\/em><\/figcaption><\/figure>\n<\/div>\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"449\" height=\"331\" src=\"https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/11\/adolph-gottlieb-flurry.webp\" alt=\"Flurry, 1967, Adolph Gottlieb\" class=\"wp-image-29671\" title=\"Flurry, 1967, Adolph Gottlieb\"\/><figcaption class=\"wp-element-caption\"><em><strong>Flurry<\/strong>, 1967, <strong>Adolph Gottlieb<\/strong> (Collection priv\u00e9e)<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n<!-- AfterArticle2023 --><ins class=\"adsbygoogle\"     style=\"display:block;margin-bottom:5px;\"     data-ad-client=\"ca-pub-2468002815867636\"     data-ad-slot=\"3955176166\"     data-ad-format=\"auto\"     data-full-width-responsive=\"true\"><\/ins><script> (adsbygoogle = window.adsbygoogle || []).push({});<\/script><h2 class=\"wp-block-heading\">Clyfford Still<\/h2>\n\n\n\n<p><strong>Clyfford Still<\/strong> (Grandin N. Dakota, 1904 &#8211; Baltimore, 1981). Despu\u00e9s de estudiar arte en Washington, comienza a ejecutar obras en reacci\u00f3n contra el cubismo y la <a href=\"https:\/\/www.aparences.net\/es\/periodos\/arte-moderno\/arte-abstracto\/\">abstracci\u00f3n geom\u00e9trica<\/a>, donde pone de manifiesto la influencia de las pinturas atmosf\u00e9ricas de <a href=\"https:\/\/www.aparences.net\/es\/periodos\/romanticismo\/los-paisajistas-romanticos\/#turner,-el-pintor-viajero\">Turner<\/a> y los colores planos de <a href=\"https:\/\/www.aparences.net\/es\/periodos\/postimpresionismo\/paul-gauguin\/\">Gauguin<\/a> y <a href=\"https:\/\/www.aparences.net\/es\/periodos\/arte-moderno-anexos\/henri-matisse-pintor-del-color\/\" data-type=\"link\" data-id=\"https:\/\/www.aparences.net\/es\/periodos\/arte-moderno-anexos\/henri-matisse-pintor-del-color\/\">Matisse<\/a>. En los a\u00f1os 30, pinta paisajes americanos y personajes deformes hasta llegar en 1940 a la serie semi-abstracta <em>Totem Fantasy<\/em>. Poco a poco, contrapone los colores claros y oscuros, la l\u00ednea desgarrada (<em>Autorretrato<\/em>, 1945) y elimina cualquier referencia figurativa. En 1948-1949, el negro invade casi todo el cuadro, pero a partir de 1950 Still vuelve a utilizar el color con una textura m\u00e1s ligera, dejando zonas del lienzo sin pintar (<em>Yellow<\/em>, 1951). A partir de entonces comienza a pintar grandes lienzos, eliminando cualquier referencia a la pintura de caballete y suprimiendo cualquier t\u00edtulo expl\u00edcito (<em>1962 D<\/em>, 1962) donde se expresa por medio de grandes manchas de color rotas y desgarradas por zonas m\u00e1s claras.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"321\" height=\"460\" src=\"https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/11\/clyfford-still-untitled.webp\" alt=\"Untitled, 1965, Clyfford Still\" class=\"wp-image-29673\" title=\"Untitled, 1965, Clyfford Still\"\/><figcaption class=\"wp-element-caption\"><em><strong>Untitled<\/strong>, 1965, <strong>Clyfford Still<\/strong> <\/em><br><em>(Madrid, Museo Thyssen-Bornemisza)<\/em><\/figcaption><\/figure>\n<\/div>\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"610\" height=\"367\" src=\"https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/11\/clyfford-still-ph-1082.webp\" alt=\"PH-1082, 1978, Clyfford Still\" class=\"wp-image-29675\" title=\"PH-1082, 1978, Clyfford Still\"\/><figcaption class=\"wp-element-caption\"><em><strong>PH-1082<\/strong>, 1978, <strong>Clyfford Still<\/strong> (Clyfford Still Museum)<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n<p class=\"has-text-align-center\">&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>En estrecha relaci\u00f3n con el expresionismo abstracto, el color field painting (pintura de campos de color) es un movimiento nacido en Nueva York en los a\u00f1os 1940 y 1950 en respuesta a la action painting.<\/p>\n","protected":false},"author":2,"featured_media":29644,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5470],"tags":[4656,4533,4651,4654,4657,4658,4655,4296],"class_list":["post-13639","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-movimientos","tag-adolph-gottlieb-2","tag-arte-contemporaneo","tag-barnett-newman","tag-clyfford-still-2","tag-color-field-es","tag-color-field-painting-es","tag-mark-rothko-2","tag-movimiento-expresionista"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Color field<\/title>\n<meta name=\"description\" content=\"En estrecha relaci\u00f3n con el expresionismo abstracto, el color field painting (pintura de campos de color) es un movimiento nacido en Nueva York en los a\u00f1os 1940 y 1950 en respuesta a la action 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