‘Tachisme was the European equivalent to abstract expressionism in America. The name derives from the French word ‘tache’, meaning a stain or splash (e.g. of paint).
The introduction of the term to describe these post-war developments is usually credited to the critic Pierre Guéguen in 1951. However, it was used in 1889 by the critic Félix Fénéon to describe the impressionist technique, and again in 1909 by the artist Maurice Denis referring to the fauve painters.
Tachisme is virtually synonymous with art informel.
Hans Hartung: ‘T1982-E15’ source: http://www.tate.org.uk/art/artworks/hartung-t1982-e15-t07401
On first viewing this looks to me like a hedge formed from tall grasses, maybe a wheat field, that got burnt in a wild fire. A small creature has pushed its way in through the centre. It has an evenly painted background that is graduated from blue on the left through to yellow, on the right, with an orangey-red through the centre. On this central colour he has made sweeping, gestural strokes with small splatters and maybe has scratched into the paint at the bottom. There is a feeling of movement to this central part, created by the strokes of paint and scratches, and the tiny bits which seem to be flying off on the lighter areas (of what I see as wheat). ‘At this time Hartung commonly worked by dipping olive branches in paint and using them to thrash the canvas powerfully and it is likely that he employed the same method for this painting .’ (same source) Well, you would need a large canvas (I this is on linen) to thrash it with branches. I am drawn to the graduated background and this is something I may call upon for a more abstract study, although it says he used a spray can for this I am sure this effect could be achieved with careful brushwork.
Franz Kline: ‘Black Sienna’ oil on canvas. source: https://www.gagosian.com/artists/franz-kline
I looked through what I could find of Kline’s work for something I might enthuse about but I am afraid I cannot. My eyes want to create something which is not intended I am sure; which is a man playing a piano viewed from behind, the top part is the piano without the man and the lid down. He has used bold, gestural sweeps of the brush in stark black on white. Whilst I can see the movement within this and the boldness of it, this style is not something I would ever wish to emulate myself.
Jackson Pollock. I looked at Pollock’s work previously, and it was the inspiration in the previous exercise for my piece ‘Clusterf**k’ .
‘The Deep’, 1953 source: https://www.jackson-pollock.org/the-deep.jsp
I have chosen to look at this painting as it is a little different from his others. Entitled ‘The Deep’, it does indeed look like a chasm within the sea, complete with seaweed floating strands and coral and maybe jellyfish and shrimps. It looks at first just black and white but there is also yellow and maybe some greenish tones to it. I think he started with a black ground and then he has used a cloth or sponge to make these soft effects with just some flicking of paint across the central dark area. It is like looking into another world. That soft effect would work for portraying clouds or mist, or snow.
”I continue to get further away from the usual painter’s tools such as easel, palette, brushes, etc. ”
Marie Raymond: I was looking for a female artist within this group and was delighted to find the colourful work of Raymond. ‘Untitled’ 1943 oil on canvas, from ‘paysages imaginaires’ source: http://www.marieraymond.com/works1.html
This to me looks like a countryside scene, with trees and plants. It is full of joy and life. I note the complementary colours and the slight delineation of some of the ‘objects’. She has employed quite rough strokes of the brush at times whilst at others it is fluid and soft. I have found that this series was inspired by her walks in the countryside! ‘…The war forced her family to settle in Cagnes-sur-Mer, where Raymond began painting Paysages imaginaires (“Imaginary Landscapes”, 1941-1944), inspired by her inland walks.’ source: https://awarewomenartists.com/en/artiste/marie-raymond/
I take from this the different directional brush strokes which I think give this work so much life and movement.