FROM 1947 TO 1951, more than a dozen Abstract Expressionists
achieved "breakthroughs" to independent styles. 1 During the
following years, these painters, the first generation of the New
York School, received growing recognition nationally and globally,
to the extent that American vanguard art came to be considered the
primary source of creative ideas and energies in the world, and a
few masters, notably Pollock, de Kooning, and Rothko, were elevated
to art history's pantheon. Younger artists who entered their circle
in the early fifties-the early wave of the second generation-such
as Larry Rivers, Helen Frankenthaler, Grace Hartigan, Allan Kaprow,
Joan Mitchell, Robert Rauschenberg, and Richard Stankiewicz (to
list some of the better known), were also acclaimed, but with a few
exceptions, their reputations had gone into decline by the end of
the fifties. In the following decade, the second generation was
eclipsed by a third generation, the innovators of Pop, Op, Minimal,
and Conceptual Art. (Any notion of a generation of artists is
necessarily arbitrary, of course. The term "generation," as it is
used here, refers to a group of artists close in age who live in
the same neighborhood at the same time, and to a greater or lesser
degree, know each other and partake of a similar sensibility, a
shared outlook and aesthetic.)
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