 Hans
Hofmann . . . combined hard-edge, oblong forms with reckless,
loosely
brushed areas. He created a visual tension between impulsive gestural
areas and floating geometric forms. Rectangles seem to advance
and recede against the ground, inducing a dynamic back and forth
in space that epitomizes Hofmann's "push-pull." In a way, Hofmann
produced a synthesis of Fauvism and Cubism. Or, in terms of the
younger generation of American artists, a synthesis of the gestural
painting of Willem de Kooning, Jackson Pollock, and Franz Kline,
and the color-field painting of Clyfford Still, Mark Rothko,
and
Barnett Newman.
. . Peter Seltz
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