Color field

Lore & Background

During the late 1940s and early 1950s, art critic Clement Greenberg identified a dichotomy within abstract expressionism, distinguishing color field painting from action painting. Clyfford Still, another key figure, created non-figurative paintings concerned with juxtaposition of colors and surfaces, using jagged flashes of color that give the impression of one layer being 'torn' off to reveal colors underneath.

Reader's Guide

Color field painting shifted the focus of contemporary art from Paris to New York after World War II, becoming a major development within American abstract expressionism. Its significance lies in its emphasis on color as the subject itself, freed from objective context, and its influence on later generations of painters. Artists such as Barnett Newman, Robert Motherwell, and Jackson Pollock were associated with both abstract expressionism and color field painting. Newman's mature work featured areas of pure, flat color separated by thin vertical lines called 'zips,' while Motherwell's Open Series of the late 1960s through 1980s placed him firmly within the color field camp. The movement's legacy includes its impact on the use of staining techniques and all-over composition, as seen in Pollock's drip paintings and later stain paintings, and its expansion to artists in the United Kingdom, Canada, Australia, and the United States during the late 1950s and 1960s.

Did You Know?

• Clement Greenberg was the first art critic to suggest a dichotomy between color field painting and action painting within abstract expressionism.
• Mark Rothko's final series of paintings from the mid-1960s were dark tones of black, gray, and maroon, often including white or off-white borders, evoking a somber, meditative atmosphere.
• Barnett Newman called the thin vertical lines separating areas of color in his paintings 'zips.'
• Jackson Pollock's allover canvases have been likened by critics to the large-scale Water Lilies of Claude Monet from the 1920s.

Origins & Critical Discovery

Color field painting took shape in New York City across the 1940s and 1950s, drawing inspiration from European modernist traditions while remaining deeply intertwined with the broader abstract expressionist movement. Many of the artists who would become synonymous with color field were, in fact, among the very first generation of abstract expressionists. The movement's critical identity was crystallized by Clement Greenberg, who in the late 1940s and early 1950s was the first critic to articulate a meaningful distinction between two tendencies within the abstract expressionist canon. Greenberg instead pointed to a parallel current—one oriented toward all-over color and expansive chromatic fields—visible in the work of several pioneering painters. This critical framing gave the style a name and a conceptual home, separating it from the gestural, action-oriented strand while acknowledging their shared roots.

Defining Aesthetic Principles

The visual language of color field painting is defined by its radical simplification of pictorial space. Rather than building images through layered brushwork or dynamic gesture, the style spreads large areas of flat, solid color across or stains them into the canvas, producing unbroken surfaces and a deliberately flat picture plane. The movement consciously de-emphasizes the physical act of painting—brushstrokes, visible action, and gestural energy—in favor of a unified consistency of form and process. At its philosophical core, color field treats hue as an autonomous subject: color is liberated from any representational or objective context and becomes the very thing being depicted. This stands in sharp contrast to the action-painting ethos, where the painter's bodily movement and the trace of process are central. The result is a painting that invites contemplation rather than narration, where the emotional and perceptual weight of a single hue or a quiet chromatic relationship carries the entire meaning of the work.

Pioneering Voices

Several artists gave color field painting its most distinctive and enduring faces. Mark Rothko, though he resisted any label, produced the multiforms—layered rectangles of color he described as instruments for expressing basic human emotions like tragedy, ecstasy, and doom. His palette darkened dramatically over time, shifting from the bright reds and yellows of the early 1950s to the somber blues, grays, and blacks of his final mid-1960s series. Clyfford Still, influenced by the vast North Dakota landscapes of his youth, created jagged, pitted surfaces where color seemed torn from the canvas, evoking primordial caverns. Barnett Newman introduced his signature zips—thin vertical lines that both divide and unite vast fields of pure color, as in Vir Heroicus Sublimis at MoMA. Robert Motherwell, deeply shaped by Matisse, bridged loose painterly fields with measured lines in works like his Elegy to the Spanish Republic series before settling firmly into color field territory with his Open Series.

Global Expansion & Lasting Influence

After World War II redirected the center of contemporary art from Paris to New York, color field painting became a genuinely international phenomenon. By the late 1950s and throughout the 1960s, practitioners emerged across the United Kingdom, Canada, Australia, and multiple American cities including Washington, D.C. These later artists expanded the visual vocabulary well beyond the original New York formulations, incorporating stripes, concentric targets, simple geometric patterns, and references to landscape and natural imagery. The movement's influence also extended to artists whose primary identity lay elsewhere: Jackson Pollock, though most associated with action painting, was linked by critics to both tendencies; Ad Reinhardt, Adolph Gottlieb, Hans Hofmann, and Arshile Gorky in his final works were all identified by Greenberg as connected to color field practice. This broad constellation of voices ensured that color field was never confined to a single workshop or city, but remained a living, evolving conversation about what color alone could communicate on a flat surface.