1
artwork
1950 · Oil and enamel paint on canvas
The path links the evidence record and does not require bundling or reconstructing the artwork image.
Evidence trail · 1 direct source
- Jackson Pollock. One: Number 31, 1950. 1950 · The Museum of Modern Art · authority tier 1 · Open source ↗
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2
artwork
1950 · Oil on canvas
The path links the evidence record and does not require bundling or reconstructing the artwork image.
Evidence trail · 1 direct source
- Mark Rothko. No. 10. 1950 · The Museum of Modern Art · authority tier 1 · Open source ↗
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3
artwork
1957 · Oil and house paint on canvas
The path links the evidence record and does not require bundling or reconstructing the artwork image.
Evidence trail · 2 direct sources
- Lee Krasner | The Seasons · Whitney Museum of American Art · authority tier 1 · Open source ↗
- Lee Krasner · Whitney Museum of American Art · authority tier 1 · Open source ↗
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4
historical context
Abstract Expressionism was named and interpreted through multiple critical frameworks. Coates, Rosenberg, Greenberg, Ashton, Hess, Sandler, and others did not produce one unified doctrine; AEU makes that plurality navigable without collapsing it into a consensus definition.
Context remains context-only; this step does not convert proximity or chronology into causation.
Evidence trail · 5 direct sources
- Abstract Expressionist New York · The Museum of Modern Art · authority tier 1 · Open source ↗
- Clement Greenberg papers: Biographical Note · Archives of American Art, Smithsonian Institution · authority tier 1 · Open source ↗
- Harold and May Tabak Rosenberg papers: Biographical Note · Archives of American Art, Smithsonian Institution · authority tier 1 · Open source ↗
- Dore Ashton papers, 1849, circa 1928-2014 · Archives of American Art, Smithsonian Institution · authority tier 1 · Open source ↗
- Irving Sandler interviews and papers, 1944-2017 · Archives of American Art, Smithsonian Institution · authority tier 1 · Open source ↗
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5
interactive experience
Understand documented physical artwork dimensions relative to a 170 cm viewer and clearly labeled architectural reference walls without requiring reproduction of the artwork image.
This is a bounded educational interface, not proof of an artist's historical procedure, intent, or value.
Evidence trail · 8 direct sources
- Barnett Newman. Vir Heroicus Sublimis. 1950–51 · The Museum of Modern Art · authority tier 1 · Open source ↗
- Jackson Pollock. One: Number 31, 1950. 1950 · The Museum of Modern Art · authority tier 1 · Open source ↗
- Lee Krasner | The Seasons · Whitney Museum of American Art · authority tier 1 · Open source ↗
- Lee Krasner · Whitney Museum of American Art · authority tier 1 · Open source ↗
- Helen Frankenthaler. Mountains and Sea. 1952 · Helen Frankenthaler Foundation · authority tier 1 · Open source ↗
- Mountains and Sea, Helen Frankenthaler · National Gallery of Art · authority tier 1 · Open source ↗
- Louise Nevelson. Sky Cathedral. 1958 · The Museum of Modern Art · authority tier 1 · Open source ↗
- David Smith. Australia. 1951 · The Museum of Modern Art · authority tier 1 · Open source ↗
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Path boundaries
Anonymous/static fallback
No sign-in is required and this page does not store completion state. Use the ordered links as a guide, or jump to any stage.
Save/resume boundary
If ICU Save/My Universe is mounted by the parent, the path can be saved as one entity. AEU does not implement a second account, resume, recommendation, or persistence layer.
Evidence boundary
Stages reuse existing AEU records and their source/uncertainty rules. Sequence is pedagogical, not a claim of causation, influence, priority, canon, or quality.
Direct sources surfaced across this route: 14
ICU / CONNECTED DISCOVERY
Nearby in Infinite Concept Universe
Recommendations use ICU's bounded public graph. AEU source relationships keep documented fact, editorial mapping, contextual proximity, and interpretation distinct; proximity never becomes an influence claim.
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