The Greenberg’s “American-style painting” compares the 1950s painting from New York, America, and Paris, France. The view of Greenberg was characterized by a matter of visual response rather infusing theories and knowledge. Greenberg characterizes “American-style painting” in a contextual perspective represented in art discourses to remain plentiful and synthetic painting even though dry and pointless in the formalist analysis. The writing relates to the European modernists painting on its clarity, but the school of Paris gave Greenberg an unmatched creditability since the modern art has some aesthetic value. Greenberg tried to evaluate his ancient writings with the aesthetic modern art. The two skills cannot compare because modern writing requires an aesthetic value that Greenberg did not include in his writings.
Gutai art manifesto (Jirō Yoshihara)
In the consciousness of today, the art of the past seems fraudulent as the whole art presents an alluring appearance. The Gutai artists rejected the piled hoaxes in the drawing rooms, the antique shops, on the altars and in the palaces that were made of matter to assume appearance other than their own fraudulently. Gutai artists proposed the introduction of Art Informel that they found to be, a quite interesting alternative artistic approach. This manifesto and Gutai’s priorities relate to other movements in various ways. In the past, some monsters made matter such as paint of cloth, earth, marble, and metals. The arts assumed their appearance by signifying humans through the magic of materials. The primitive arts convey a feeling of life since the art movement use paint without distorting it or killing it. Gutai’s art does also not distort or alter matter but imparts life to matter. The manifesto advocates for the creation of new autonomous space that deserves the name art, by opening an opportunity departing from illusionistic and naturalistic art.