New York Figurative Expressionism names the painters who kept the human figure at the center of their work while Abstract Expressionism dominated postwar Manhattan. Though the impulse reaches back to the 1930s in the work of Marsden Hartley and Max Weber, the label was coined later as a counter-distinction to abstraction's rise. In the 1950s artists like Larry Rivers, Grace Hartigan, Elaine de Kooning, Fairfield Porter and Jan Müller painted figures with the scale, aggression and loose handling of their abstract peers, drawing on Old Masters, German Expressionism and everyday portraiture. Critics treated figuration as conservative and champions were few: the journal Reality (1953) defended any painter's right to paint any way he wants. Frank O'Hara championed the group in verse and prose, and by the late 1960s the figure had returned from exile in American art.