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| | Rebels: Painters and Poets of the 1950s |
 | | Moreover, while the artists subsequently labeled Abstract Expressionists frequently resisted categorization and often stressed the philosophical and formal distinctions among themselves, there is nevertheless a consensus among scholars that Abstract Expressionism was a cohesive intellectual and artistic experience. |
 | | Although by the early 1950s most of the Abstract Expressionists had developed their signature styles, Harold Rosenberg's December 1952 essay "The Action Painters," in Art News, nevertheless dispensed additional credibility, for it provided the artists and their patrons the verbal framework with which to articulate the philosophical underpinnings and significance of this new style. |
 | | While the remaining Abstract Expressionists continued to paint, exhibit frequently, and receive favorable critical attention (not to mention increasing prices for their work), in retrospect it is apparent that by the mid-to-late 1950s, their aesthetic leadership, albeit not their public popularity, was on the wane. |
| www.npg.si.edu /exh/rebels/painters.htm (1992 words) |
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