{"id":25137,"date":"2022-05-04T09:35:42","date_gmt":"2022-05-04T07:35:42","guid":{"rendered":"https:\/\/www.aparences.net\/?p=25137"},"modified":"2025-12-11T19:40:55","modified_gmt":"2025-12-11T18:40:55","slug":"hard-edge-painting-2","status":"publish","type":"post","link":"https:\/\/www.aparences.net\/es\/arte-contemporaneo\/hard-edge-painting-es\/hard-edge-painting-2\/","title":{"rendered":"Hard-edge painting"},"content":{"rendered":"<p><!--contents--><\/p>\n\n\n<h2 class=\"wp-block-heading\">Hard-edge (pintura de borde duro)<\/h2>\n\n\n\n<p>A finales de la d\u00e9cada de 1950, el historiador del arte californiano Jules Langsner comenz\u00f3 a observar una tendencia emergente en el arte abstracto que derivaba de la pintura de campos de color (Color field painting), pero que tend\u00eda a utilizar l\u00edneas limpias y tonos contrastados. Decidi\u00f3 poner de relieve esta tendencia con una exposici\u00f3n titulada <strong><em>Four Abstract Classicists<\/em><\/strong> en Los \u00c1ngeles County Museum of Art en 1959, que inclu\u00eda a los artistas Frederick Hammersley, Karl Benjamin, John McLaughlin y Lorser Feitelson. Langsner acu\u00f1\u00f3 el t\u00e9rmino \u00abhard edge colorforms\u00bb para describir las pinturas expuestas y, en general, el nuevo estilo de pintura de campos de color que se estaba haciendo popular en California. Observa que este estilo recuerda a la abstracci\u00f3n geom\u00e9trica de <strong>Piet Mondrian<\/strong>, <a href=\"https:\/\/es.wikipedia.org\/wiki\/Josef_Albers\" title=\"Josef Albers\">Josef Albers<\/a>, <strong>Ad Reinhardt<\/strong> y otros. Despu\u00e9s de Los \u00c1ngeles, la exposici\u00f3n viaj\u00f3 a Inglaterra e Irlanda, donde el cr\u00edtico brit\u00e1nico Lawrence Alloway subtitul\u00f3 la exposici\u00f3n California Hard-edge. Aunque los cuatro artistas de la exposici\u00f3n de Langsner son muy diferentes, todos ellos se vieron influenciados por las composiciones casi unitarias de la obra de <a href=\"https:\/\/www.aparences.net\/es\/arte-contemporaneo\/movimientos\/color-field\/\" title=\"Barnett Newman y otros pintores del Color field\">Barnett Newman y otros pintores del Color field<\/a>.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"344\" height=\"460\" src=\"https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/12\/frederick-hammersley-up-within-1958.webp\" alt=\"Up Within, 1958, Frederick Hammersley\" class=\"wp-image-30127\" title=\"Up Within, 1958, Frederick Hammersley\"\/><figcaption class=\"wp-element-caption\"><em><strong>Up Within<\/strong>, 1958, <strong>Frederick Hammersley<\/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=\"640\" height=\"423\" src=\"https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/12\/karl-benjamin-stage-II-1958.webp\" alt=\"Stage II, 1958, Karl Benjamin\" class=\"wp-image-30129\" title=\"Stage II, 1958, Karl Benjamin\"\/><figcaption class=\"wp-element-caption\"><em><strong>Stage II<\/strong>, 1958, <strong>Karl Benjamin<\/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=\"461\" height=\"458\" src=\"https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/12\/lorser-feitelson-dichotomic-organization-1959.webp\" alt=\"Dichotomic Organization, 1959, Lorser Feitelson\" class=\"wp-image-30131\" title=\"Dichotomic Organization, 1959, Lorser Feitelson\" srcset=\"https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/12\/lorser-feitelson-dichotomic-organization-1959.webp 461w, https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/12\/lorser-feitelson-dichotomic-organization-1959-100x100.webp 100w, https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/12\/lorser-feitelson-dichotomic-organization-1959-150x150.webp 150w\" sizes=\"auto, (max-width: 461px) 100vw, 461px\" \/><figcaption class=\"wp-element-caption\"><em><strong>Dichotomic Organization<\/strong>, 1959, <strong>Lorser Feitelson<\/strong>, colecci\u00f3n privada.<\/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\">La pintura Hard-edge: conceptos, estilos y tendencias<\/h2>\n\n\n\n<p>La pintura Hard-edge (pintura de borde duro) difiere mucho de su predecesora m\u00e1s popular, el <strong>Action Painting<\/strong>, en que los artistas aplican sus pinturas de manera espont\u00e1nea y en\u00e9rgica y tratan de evitar cualquier espiritualidad o expresi\u00f3n del alma. <strong>Frank Stella<\/strong>, uno de los pintores representativos del Hard-edge, pretend\u00eda evitar el dramatismo del Action Painting; como \u00e9l, la mayor\u00eda consideraba que, a mediados de los a\u00f1os 50, la abstracci\u00f3n gestual se estaba convirtiendo en una forma que copiaban legiones de seguidores con menos talento, fingiendo angustia y perspicacia existencial. Muchos pintores del Hard-edge tambi\u00e9n se diferenciaban en gran medida de los pintores tradicionales del Color Field, pues aunque su obra utilizaba el color como uno de sus principales componentes, se preocupaban m\u00e1s por el dise\u00f1o y la estructura. De hecho, aunque <strong>Kenneth Noland<\/strong> fue <strong>alumno de Josef Albers<\/strong>, que propugnaba la famosa \u00abinteracci\u00f3n del color\u00bb, \u00e9l y otros como \u00e9l sol\u00edan utilizar colores que no se ajustaban a la forma prevista por Albers. <em>Opposing #15<\/em> (1959) de Frederick Hammersley es t\u00edpica de esta estrategia, ya que utiliza primarios contrastados pero carece de cualquier forma de interacci\u00f3n o equilibrio de color. Hammersley ha contrastado colores (principalmente primarios), junto con formas geom\u00e9tricas b\u00e1sicas que parecen no interactuar. El resultado final presenta una de las caracter\u00edsticas de muchas pinturas Hard-edge, a saber, la presencia de colores ricos y saturados, l\u00edneas n\u00edtidas, una superficie plana, y un desinter\u00e9s por las relaciones entre los colores que componen el cuadro. Todo esto sugiere el cambio de inter\u00e9s que se produjo cuando la pintura Color field Painting dio paso a la <strong>Abstracci\u00f3n post-pict\u00f3rica<\/strong>; la preocupaci\u00f3n por el poder expresivo del color dio paso a un inter\u00e9s por los fen\u00f3menos \u00f3pticos.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"363\" height=\"460\" src=\"https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/12\/frederick-hammersley-opposing-1959.webp\" alt=\"Oposici\u00f3n #15, 1959, Frederick Hammersley\" class=\"wp-image-30133\"\/><figcaption class=\"wp-element-caption\"><em><strong>Oposici\u00f3n #15<\/strong>, 1959, <strong>Frederick Hammersley<\/strong>, colecci\u00f3n privada.<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n<p>Uno de los pintores del Hard-edge es <strong>Al Held<\/strong> (1928-2005), cuyo monumental <em>Echo<\/em> de forma geom\u00e9trica simplificada es caracter\u00edstico de este estilo. Al igual que muchos pintores estadounidenses que trabajaban en la d\u00e9cada de 1960, Al Held quer\u00eda conseguir algo m\u00e1s que una imagen situada exactamente en el espacio del cuadro. Quer\u00eda dar una sensaci\u00f3n de espacio \u00abno hacia dentro, como el antiguo horizonte, sino hacia fuera, hacia el espectador\u00bb. Held lleg\u00f3 a crear una especie de geometr\u00eda libremente expresiva de formas contorneadas, dotadas de una presencia escult\u00f3rica pero no modeladas en tres dimensiones. Estableciendo su espacio con una espesa capa de materia, busc\u00f3 dar la ilusi\u00f3n de formas que no se alejaban del plano pict\u00f3rico, sino que sobrepasaban la superficie.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"391\" height=\"459\" src=\"https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/12\/al-held-echo-1966.webp\" alt=\"Echo 1966, Al Held, colecci\u00f3n privada\" class=\"wp-image-30135\" title=\"Echo 1966, Al Held, colecci\u00f3n privada.\"\/><figcaption class=\"wp-element-caption\"><em><strong>Echo<\/strong> 1966, <strong>Al Held<\/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=\"640\" height=\"293\" src=\"https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/12\/al-held-house-of-cards-1960.webp\" alt=\"House of Cards, 1960, Al Held\" class=\"wp-image-30137\" title=\"House of Cards, 1960, Al Held\"\/><figcaption class=\"wp-element-caption\"><em><strong>House of Cards<\/strong>, 1960, <strong>Al Held<\/strong>, San Francisco Museum of 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=\"459\" height=\"460\" src=\"https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/12\/al-held-mao-1967.webp\" alt=\"Mao, 1967, Al Held\" class=\"wp-image-30139\" title=\"Mao, 1967, Al Held\" srcset=\"https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/12\/al-held-mao-1967.webp 459w, https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/12\/al-held-mao-1967-100x100.webp 100w, https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/12\/al-held-mao-1967-150x150.webp 150w\" sizes=\"auto, (max-width: 459px) 100vw, 459px\" \/><figcaption class=\"wp-element-caption\"><em><strong>Mao<\/strong>, 1967, <strong>Al Held<\/strong>, Nueva York, Museum of Modern Art, MoMA.<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n<h2 class=\"wp-block-heading\">Ellsworth Kelly<\/h2>\n\n\n\n<p><strong>Ellsworth Kelly<\/strong> (1923-2015) es probablemente <strong>el m\u00e1s famoso de los pintores del Hard-edge<\/strong>. Sus cuadros se componen de zonas planas de color rigurosamente separadas entre s\u00ed. En algunos cuadros, un color contiene a otro, de modo que el cuadro consiste en una imagen sobre un fondo. En otros lienzos, la superficie, aunque grande, no parece ser suficiente para contener la forma: cortada arbitrariamente en el borde, como si quisiera extenderse hacia la imaginaci\u00f3n del espectador, como en <em>Blue Green Red<\/em>. Este proceso confiere al cuadro energ\u00eda e inter\u00e9s, pero tiene algo de artificioso. Adem\u00e1s, la \u00abenerg\u00eda\u00bb y el \u00abinter\u00e9s\u00bb son conceptos pict\u00f3ricos tradicionales que Reinhardt, Albers y los pintores de <a title=\"la Abstracci\u00f3n post-pict\u00f3rica\" href=\"https:\/\/www.aparences.net\/es\/arte-contemporaneo\/post-painterly-abstraction-es\/post-painterly-abstraction\/\">la Abstracci\u00f3n post-pict\u00f3rica<\/a> parecen decididos a rechazar.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"417\" height=\"460\" src=\"https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/12\/ellsworth-kelly-blue-green-red-1963.webp\" alt=\"Blue Green Red, 1963, Ellsworth Kelly\" class=\"wp-image-30142\" title=\"Blue Green Red, 1963, Ellsworth Kelly\"\/><figcaption class=\"wp-element-caption\"><em><strong>Blue Green Red<\/strong>, 1963, <strong>Ellsworth Kelly<\/strong>, Nueva York, Metropolitan 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=\"598\" height=\"460\" src=\"https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/12\/ellsworth-kelly-mediterannee-1952.webp\" alt=\"Mediterr\u00e1neo, 1952, Ellsworth Kelly\" class=\"wp-image-30144\" title=\"Mediterr\u00e1neo, 1952, Ellsworth Kelly\"\/><figcaption class=\"wp-element-caption\"><em><strong>Mediterr\u00e1neo<\/strong>, 1952, <strong>Ellsworth Kelly<\/strong>, Londres, Tate Modern.<\/em><\/figcaption><\/figure>\n<\/div>\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"460\" height=\"460\" src=\"https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/12\/ellsworth-kelly-nine-squares-1976-7.webp\" alt=\"Nine Squares, 1976-77, Ellsworth Kelly\" class=\"wp-image-30146\" title=\"Nine Squares, 1976-77, Ellsworth Kelly\" srcset=\"https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/12\/ellsworth-kelly-nine-squares-1976-7.webp 460w, https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/12\/ellsworth-kelly-nine-squares-1976-7-100x100.webp 100w, https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/12\/ellsworth-kelly-nine-squares-1976-7-150x150.webp 150w\" sizes=\"auto, (max-width: 460px) 100vw, 460px\" \/><figcaption class=\"wp-element-caption\"><em><strong>Nine Squares<\/strong>, 1976-77, <strong>Ellsworth Kelly<\/strong>, Londres, Tate Modern.<\/em><\/figcaption><\/figure>\n<\/div>\n\n\n<p>Por su sencillez, la <a href=\"https:\/\/www.aparences.net\/es\/periodos\/arte-moderno-anexos\/henri-matisse-pintor-del-color\/\" title=\"pintura de Matisse\">pintura de Matisse<\/a> tuvo una gran influencia en muchos pintores estadounidenses de la d\u00e9cada de 1960. Siguiendo el ejemplo de Matisse, pintores como Ellsworth Kelly, <strong>Jack Youngerman<\/strong> (1926-2020) -cuyo <em>Totem Black<\/em>, tan gigantesco como el <em>Echo<\/em> de Held, parece un recorte de papel pintado a gran escala- vieron que las formas simples, pocas y tan grandes como para llenar todo el lienzo, ten\u00edan un mayor impacto en el espectador que una multitud de formas fragmentarias; <strong>Alexander Liberman<\/strong> (1912-1999) es m\u00e1s conocido por su conjunto de elegantes abstracciones geom\u00e9tricas, como <em>Omega VI<\/em>.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"461\" height=\"460\" src=\"https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/12\/alexander-liberman-omega-1962.webp\" alt=\"Omega VI, 1962, Alexander Liberman\" class=\"wp-image-30148\" title=\"Omega VI, 1962, Alexander Liberman\" srcset=\"https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/12\/alexander-liberman-omega-1962.webp 461w, https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/12\/alexander-liberman-omega-1962-100x100.webp 100w, https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/12\/alexander-liberman-omega-1962-150x150.webp 150w\" sizes=\"auto, (max-width: 461px) 100vw, 461px\" \/><figcaption class=\"wp-element-caption\"><em><strong>Omega VI<\/strong>, 1962, <strong>Alexander Liberman<\/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=\"640\" height=\"330\" src=\"https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/12\/alexandre-liberman-image-of-green-diagonal-1964.webp\" alt=\"Image of Green Diagonal, 1964, Alexander Liberman\" class=\"wp-image-30150\" title=\"Image of Green Diagonal, 1964, Alexander Liberman\"\/><figcaption class=\"wp-element-caption\"><em><strong>Image of Green Diagonal<\/strong>, 1964, <strong>Alexander Liberman<\/strong>, Washington, Smithsonian American Art 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=\"316\" height=\"460\" src=\"https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/12\/jack-youngerman-totem-black-1967.webp\" alt=\"Totem Black, 1967, Jack Youngerman\" class=\"wp-image-30152\" title=\"Totem Black, 1967, Jack Youngerman\"\/><figcaption class=\"wp-element-caption\"><em><strong>Totem Black<\/strong>, 1967, <strong>Jack Youngerman<\/strong>, colecci\u00f3n privada.<\/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\">Desarrollos posteriores &#8211; Despu\u00e9s de la pintura Hard-edge<\/h2>\n\n\n\n<p>En 1964 Langsner organiz\u00f3 otra exposici\u00f3n, esta vez en la Pavilion Gallery (tambi\u00e9n conocida como Newport Pavilion) de Newport Beach, California. Combinando su t\u00e9rmino original con el subt\u00edtulo de Alloway, Langsner llam\u00f3 a esta exposici\u00f3n California Hard-edge Painting. La exposici\u00f3n inclu\u00eda a los cuatro artistas originales de <strong>Four Abstract Classicists<\/strong> (1959), as\u00ed como a artistas como Larry Bell, Helen Lundenberg y John Coplans. Sin embargo, esto no quiere decir que el t\u00e9rmino \u00abhard edge\u00bb fuera por tanto un punto de referencia establecido para los a\u00f1os venideros; compet\u00eda con varios otros que intentaban describir un trabajo similar en aquella \u00e9poca, como \u00abOne-Image painting\u00bb y \u00abSystemic painting\u00bb. Por ello, algunos comisarios trataron de evitar las etiquetas descriptivas, y en 1963 se celebr\u00f3 en el Jewish Museum de Nueva York una exposici\u00f3n titulada Second-Generation Abstraction. La exposici\u00f3n inclu\u00eda 47 obras de nueve artistas: Al Held, Ellsworth Kelly, <a href=\"https:\/\/www.aparences.net\/es\/arte-contemporaneo\/hard-edge-painting-es\/frank-stella-lo-que-ves-es-lo-que-ves\/\" title=\"Frank Stella\">Frank Stella<\/a>, Morris Louis, Kenneth Noland, Miriam Schapiro, George Ortman, Paul Brach y Raymond Parker. Esta exposici\u00f3n es importante porque introduce a los artistas neoyorquinos en la escuela Hard-edge de la pintura abstracta. Hasta entonces, esta tendencia s\u00f3lo se asociaba a los artistas californianos, considerados como los rebeldes de la escuela de Nueva York. Aunque el t\u00e9rmino \u00abhard-edge\u00bb es \u00fatil para describir las tendencias de finales de la d\u00e9cada de 1960, apenas se hab\u00eda lanzado, que los artistas ya se mov\u00edan en nuevas direcciones, y dej\u00f3 de utilizarse cuando la pintura abstracta explor\u00f3 nuevos temas en la d\u00e9cada de 1970.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"640\" height=\"311\" src=\"https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/12\/kenneth-noland-new-day-1967.webp\" alt=\"New Day, 1967, Kenneth Noland\" class=\"wp-image-30154\" title=\"New Day, 1967, Kenneth Noland\"\/><figcaption class=\"wp-element-caption\"><em><strong>New Day<\/strong>, 1967, <strong>Kenneth Noland<\/strong>, Nueva York, Whitney Museum of American 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=\"405\" height=\"460\" src=\"https:\/\/www.aparences.net\/wp-content\/uploads\/2023\/12\/miriam-schapiro-byzantium-1967.webp\" alt=\"Byzantium, 1967, Miriam Schapiro\" class=\"wp-image-30156\" title=\"Byzantium, 1967, Miriam Schapiro\"\/><figcaption class=\"wp-element-caption\"><em><strong>Byzantium<\/strong>, 1967, <strong>Miriam Schapiro,<\/strong> Colecci\u00f3n privada.<\/em><\/figcaption><\/figure>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>El t\u00e9rmino Hard-edge designa un estilo caracterizado por formas de colores vivos, separadas entre s\u00ed por bordes s\u00f3lidos y duros, de ah\u00ed su nombre.<\/p>\n","protected":false},"author":2,"featured_media":30125,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5748],"tags":[5759,5754,5757,5756,5755],"class_list":["post-25137","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-hard-edge-painting-es","tag-four-abstract-classicists-2","tag-hard-edge-painting-2","tag-jules-langsner-2","tag-pintura-abstracta","tag-pintura-de-borde-duro"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Hard-edge painting<\/title>\n<meta name=\"description\" content=\"El t\u00e9rmino Hard-edge designa un estilo caracterizado por formas de colores vivos, separadas entre s\u00ed por bordes s\u00f3lidos y duros, de ah\u00ed su nombre.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, 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