Technically, an important predecessor is surrealism, with its emphasis on spontaneous, automatic or subconscious creation. Jackson Pollock's dripping paint onto a canvas laid on the floor is a technique that has its roots in the work of André Masson, Max Ernst and David Alfaro Siqueiros. Another important early manifestation of what came to be abstract expressionism is the work of American Northwest artist Mark Tobey, especially his "white writing" canvases, which, though generally not large in scale, anticipate the "all-over" look of Pollock's drip paintings.
The movement's name is derived from the combination of the emotional intensity and self-denial of the German Expressionists with the anti-figurative aesthetic of the European abstract schools such as Futurism, the Bauhaus and Synthetic Cubism. Additionally, it has an image of being rebellious, anarchic, highly idiosyncratic and, some feel, nihilistic. In practice, the term is applied to any number of artists working (mostly) in New York who had quite different styles and even to work that is neither especially abstract nor expressionist. California Abstract Expressionist Jay Meuser, who typically painted in the non-objective style, wrote about his painting Mare Nostrum, "It is far better to capture the glorious spirit of the sea than to paint all of its tiny ripples." Pollock's energetic "action paintings", with their "busy" feel, are different, both technically and aesthetically, from the violent and grotesque Women series of Willem de Kooning's figurative paintings and the rectangles of color in Mark Rothko's Color Field paintings (which are not what would usually be called expressionist and which Rothko denied were abstract). Yet all four artists are classified as abstract expressionists.
Abstract expressionism has many stylistic similarities to the Russian artists of the early twentieth century such as Wassily Kandinsky. Although it is true that spontaneity or the impression of spontaneity characterized many of the abstract expressionists works, most of these paintings involved careful planning, especially since their large size demanded it. With artists like Paul Klee, Wassily Kandinsky, Emma Kunz, and later on Rothko, Barnett Newman, and Agnes Martin, abstract art clearly implied expression of ideas concerning the spiritual, the unconscious and the mind.
Why this style gained mainstream acceptance in the 1950s is a matter of debate. American social realism had been the mainstream in the 1930s. It had been influenced not only by the Great Depression but also by the muralists of Mexico such as David Alfaro Siqueiros and Diego Rivera. The political climate after World War II did not long tolerate the social protests of these painters. Abstract expressionism arose during World War II and began to be showcased during the early forties at galleries in New York like The Art of This Century Gallery. The McCarthy era after World War II was a time of artistic censorship in the United States, but if the subject matter were totally abstract then it would be seen as apolitical, and therefore safe. Or if the art was political, the message was largely for the insiders.
While the movement is closely associated with painting, and painters like Arshile Gorky, Franz Kline, Clyfford Still, Hans Hofmann, Willem de Kooning, Jackson Pollock and others, collagist Anne Ryan and sculpture and certain sculptors in particular were also integral to Abstract Expressionism. David Smith, and his wife Dorothy Dehner, Herbert Ferber, Isamu Noguchi, Ibram Lassaw, Theodore Roszak, Phillip Pavia, Mary Callery, Richard Stankiewicz, Louise Bourgeois, and Louise Nevelson in particular were some of the sculptors considered as being important members of the movement. In addition, the artists David Hare, John Chamberlain, James Rosati, Mark di Suvero, and sculptors Richard Lippold, Herbert Ferber, Raoul Hague, George Rickey, Reuben Nakian, and even Tony Smith, Seymour Lipton, Joseph Cornell, and several others were integral parts of the Abstract expressionist movement. Many of the sculptors listed participated in the Ninth Street Show the famous exhibition curated by Leo Castelli on East Ninth Street in New York City in 1951. Besides the painters and sculptors of the period the New York School of Abstract expressionism also generated a number of supportive poets, like Frank O'Hara and photographers like Aaron Siskind and Fred McDarrah, (whose book The Artist's World in Pictures documented the New York School during the 1950s), and filmmakers — notably Robert Frank — as well.
Although the abstract expressionist school spread quickly throughout the United States, the major centers of this style were New York City and the San Francisco Bay area of California.
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