American Figurative Expressionism took hold in 1930s Boston among immigrant artists - Karl Zerbe, Hyman Bloom, Jack Levine - and spread across the United States as the humanist counterweight to Abstract Expressionism. Its name arose as a deliberate counter-distinction to abstraction: these painters kept the figure, the face, and the story while borrowing the emphatic brushwork, bold color, and emotional charge of German Expressionism. The tendency had regional lives - the Boston group, New York's figurative fifties, Chicago's Monster Roster, and the Bay Area Figurative Movement of David Park and Richard Diebenkorn - and each wrestled with the same question: how to be modern and still picture human experience. Critics have always found it hard to define; its constant is a radical, rather than reactionary, commitment to the figure.
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Defining characteristics
The human figure kept as the central subject, handled with radical rather than academic technique
Emphatic, visible brushwork and bold, often dissonant color
Emotional and psychological weight: grief, fantasy, allegory, mortality, satire
Painterly surfaces where the figure borders on abstraction at the edges
Socially engaged subjects - the artist as witness to violence, corruption, and war
Key figures
Hyman Bloom(1913-2009) — Boston painter of mystical and macabre subjects, once hailed as 'the first abstract expressionist'
Jack Levine(1915-2010) — Socially biting painter of politicians, police, and urban life
Karl Zerbe(1903-1972) — German-born teacher at Boston's School of the Museum of Fine Arts who seeded the movement
David Park(1911-1960) — Spark of the Bay Area Figurative Movement, who burned his abstractions to return to the figure
Richard Diebenkorn(1922-1993) — Bay Area painter who moved between figuration and abstraction
Example works
The Passion of Sacco and Vanzetti — Ben Shahn (1931-32)