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Related to Tachism: Art Informel


or tach·ism  (tăsh′ĭz′əm)
A French school of art originating in the 1950s and characterized by irregular dabs and splotches of color applied haphazardly to the canvas.

[French tachisme, from tache, stain, from Old French teche, mark, of Germanic origin; see deik- in Indo-European roots.]

tach′iste, tach′ist n.
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.

ac′tion paint`ing

abstract expressionist painting involving typically the free and energetic dribbling or throwing of paint on canvas.
[1950–55, Amer.]
ac′tion paint`er, n.
Random House Kernerman Webster's College Dictionary, © 2010 K Dictionaries Ltd. Copyright 2005, 1997, 1991 by Random House, Inc. All rights reserved.

Tachism, Tachisme

a movement of the early 1950s which claimed to be in revolt against both Abstractism and naturalism, taking its name from patches of color (Fr. taches) placed on canvas spontaneously and by chance, the result being considered an emotional projection rather than an expression or a symbol. Cf. Abstract Expressionism. — Tachist, Tachiste, n.
See also: Art
-Ologies & -Isms. Copyright 2008 The Gale Group, Inc. All rights reserved.
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1); neat geometric and more gestural abstractions dancing between cubism and tachism. Increasingly she leaned towards the latter, stripping away any obvious figuration in a series of white-painted canvases, carved up with sinuous lines in rainbow colours: 'a red of pain', 'juicy flesh tones', green, blue.
At least three I know of, it could have started in more, in France is was Tachism, you've hear of Tachism, their approach to spontaneity in painting, Abstract Expressionism in America, and in Scandinavia and Holland you had the CoBrA and they were smart.
1956, draws on the organic shapes of tachism as well as on distressed surfaces that, although predating Arte Povera, set the terms for Davies's later long-distance engagement with the movement, via his participation in the Welsh artist group Beca.
Freed from the constraints of prescribed subjects and style, Polish artists reasserted their interest in Surrealism, a subject of much fascination before the war, and avidly investigated "the 'forbidden' Paris of existentialist anxiety" coupled with "the liberating gestures of Tachism." (8) Szapocznikow's sculptures of this period demonstrate her participation in the general movement to reclaim formal and thematic approaches prohibited by Socialist Realist doctrine.