He moved to Paris in 1904 and began painting in essentially the Symbolist style. He used the color blue to express a feeling of melancholy along with slow moving, sinuous, and elongated linearity as seen in the painting The Old Guitarist (1903). Most of his subjects were either poor or handicapped in some way to reinforce this feeling of melancholy he evoked. Then, by mid 1905, he abandoned the 'blue' paintings and completed a series of rose-colored works on the theme of circus people which was inspired by his frequent visits to the Medrano Circus with his artist friends (Art of the Western World Study Guide. Stewart, Macek, Gealt, & Jaffe. 1989). The Family of Saltimbanques portrayed a group of six figures which some feel was a precursor for his most famous painting Les Demoiselles d'Avignon

After World War II, the New York School of artists formed a group who were to become known as Abstract Expressionists. It included European artists Piet Mondrian and Max Ernst who fled Europe for the safety of the United States in the thirties. Like many other modern movements, Abstract Expressionism doesn't describe any one particular style, but rather a general attitude of morality that was often tragic and on a grand scale. Some of the main artists included William de Kooning (1904,-), Mark Rothgo (1903-1980), and Jackson Pollock (1922-1956).

Jackson Pollock was an American painter who studied painting in 1929 at the Art Students' League in New York under Thomas Hart Benton. During the 1930s he was influenced by the Mexican muralist painters Orozco, Rivera, and Siqueiros and by certain aspects of Surrealism. He worked for the Federal Art Project from 1938 to 1942. By the mid 1940s he painted what was to become known as "action" painting using a drip and splash style. Instead of using the traditional easel, he put the canvas on the floor or wall and poured and dripped his paint from a can, using sticks, trowels or knives, rather than a brush to manipulate it. This was supposed to show a direct expression or revelation of the unconscious moods of the artist (Web Museum. http://sunsite.unc.edu/wm/)

Although Pol

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