Cold War - The War of Artistic Influence

    The CIA was known for funding and promoting abstract expressionist art under the premise that liberal creativity counters the rigid/cold style of social realism expressed by Eastern Europe; this rivalry stems from the war of ideological differences and influences commonly referred to as the Cold War (Apollo). Though called the "Cold War," conflict and military intervention were a common feature of the era including historically significant conflicts such as those by the USSR in Afghanistan and the United States in Vietnam. Frequently, the intervention of one state led to the support and funding for the opposing group in the region; this mentality spilled over into social and cultural ideology, including perspectives and approaches to art. 

    Cultural wars have been a fundamental aspect of international politics since the later half of the Second World War when the Museum of Modern Art was mobilized for the war effort; the mobilization was an effort to help shape public opinion and maintain support for war efforts (Halley, “Was Modern Art Really a CIA Psy-Op?”). This tactic of war was considered the battle for the "hearts and minds" of society - modern art was considered particularly effective in this battle (Halley, “Was Modern Art Really a CIA Psy-Op?”). Modern art's "use" further shifted during the onset of the Cold War following World War II and became considered a fundamental line of national defense for the United States (Halley, “Was Modern Art Really a CIA Psy-Op?”). 

    Among the Cold War artists locked in the "greater" battle for geopolitical influence were Jackson Pollock, Mark Rothko, and Willem de Kooning, all of which were funded by Western governments seeking to counter the Soviet social realism movements in the East (Apollo, “Four Things to See”). All three artists were born in the early 1900s and lived through a period of intense geopolitical changes in culture and influence following the outbreak of two World Wars. This came to influence their artistic styles, approaches, and the meaning of their work within the geopolitical frameworks of the time. 

Mark Rothko

    Mark Rothko was born September 25th, 1903, in Daugavpils, Latvia, and lived until February 25th, 1970. Mark Rothko engaged in artistic styles such as abstract expressionism and color field (Mark Rothko). The CIA considered Mark Rothko to be a fundamental part of the propaganda war the United States and the Soviet Union were engaged in during the Cold War Saunders (“Modern Art Was CIA ‘weapon’ | the Independent”). Mark Rothko left USSR-occupied Latvia in 1913 to start a new life in the United States; he initially sought a life in Portland, Oregon, but moved to New York City in 1923, where he created artwork focused on urban scenery (Tate). New York inspired Rothko's artistic taste to take on more abstract forms, including three-dimensional creations, which evolved further following the onset of World War II into mythological and surrealist themes to express sadness and tragedy (Tate). 

Entrance to Subway 

    Entrance to Subway was painted by Mark Rothko in 1938 and is considered the early part of Rothko's career (“Entrance to Subway, 1938 - Mark Rothko - WikiArt.org”). The painting is part of a series of paintings Rothko created that depict the entranceway to subways; New York City's artistic influence can be seen throughout Rothko's early work (“Entrance to Subway, 1938 - Mark Rothko - WikiArt.org”). Entrance to Subway highlights the early transition toward a more abstract style following World War II. This piece utilizes deep and bold colors to depict a seemingly ordinary scene in a uniquely abstract light. This piece is interesting, given its apparent artistic techniques, which would become something Rothko would intentionally avoid. 

Yellow and Orange

    Yellow and Orange was painted by Mark Rothko in 1956; 1956 was a time of expansive geopolitical competition between the Soviet Union and the United States for ideological influence (Orange and Yellow - Buffalo AKG Art Museum). Rothko sought to create a sense of luminance through the use of layered color and expressed that the work was meant to be seen as "a door into another reality" (Orange and Yellow - Buffalo AKG Art Museum). This depiction is upheld by Rothko's use of abstract lines and colors that blur and merge in such a way that the lines and marks of "creation" (individual brush strokes and artistic techniques) are not immediately apparent when looking at the piece. Rothko's use of color and shape gave abstract art a unique "personality," which is precisely the mentality Western Cold War era propaganda sought to capitalize upon. 

Jackson Pollock 

    Jackson Pollock is an American painter born on January 28th, 1912, in Cody, Wyoming, and lived until August 11th, 1956. Jackson Pollock engaged in artistic styles, including abstract expressionism and action painting (Ochmanek). Jackson Pollock's paintings were considered part of the "battle for Picasso's mind"by the CIA's Director of Cultural Activities in the 1950s in reference to the cultural battle for artistic influence during the Cold War (Halley). Pollock struggled greatly in his personal life with alcoholism, though he was widely known by fellow artists as deeply committed and uncompromising when it comes to the arts (O’Connor). Much of Jackson Pollock's artistic upbringing occurred in Los Angeles, where he participated in the Mutual Arts High School; Pollock then moved to New York City in 1922 to study art at the Art Students League (O’Connor). Pollock became employed by the WPA Federal Art Project in 1935 as an easel painter (O’Connor). 

The She Wolf 

    The She Wolf was painted by Jackson Pollock in 1943; this piece was part of Pollock's early career in which he explored themes of sadness through mythological references (The Alfred H. Barr, Jr. Galleries and Pollock-Krasner Foundation). The She Wolf was painted during the height of World War II and exemplified the way in which Pollock's art is influenced and shaped by culturally significant events of the time. Pollock utilizes a more conformed abstract style than his later works, highlighting this as a transitional piece that exemplifies the progression toward the deep abstract work that would come to form during the post-war eras. This painting utilizes a uniquely dark background and white lines with abstract shapes that are more rigid in form. Pollock's use of lines also creates a sense of depth with "figures" standing in front of one another, as shown by the crossing of black and white lines. 

Convergence

    Convergence was painted in 1952 by Jackson Pollock; this piece was said to be one of the most important of Jackson Pollock's works, given the onset and expansion of Cold War ideological contention for cultural influence (Convergence, 1952 by Jackson Pollock). Convergence represents a desire for pure freedom of speech and expression, supported and sponsored by the Congress for Cultural Freedom (Convergence, 1952 by Jackson Pollock). Jackson Pollock utilizes a free collection of lines, colors, and empty space to create a deep statement supporting artistic freedom and anti-conformity, even in creative ideas. Pollock utilizes deeply contrasting colorations and shades to create a style with deeply tangled motions that likely explain Pollock's decision to name the piece "Convergence." 

Willem de Kooning

    William de Kooning is a Dutch-born American painter who lived from April 24th, 1904, to March 19th, 1997; Willem de Kooning engaged primarily in abstract expressionism (Kedmey). Abstract expressionist paintings by William de Kooning became increasingly exported under the premise of being the embodiment of the "freedom of expression" in an "open and free society." De Kooning's art was exported to states including Venezuela, India, and Japan, where competing ideological movements were present during the Cold War era (Cockcroft). The art featured a fusion of abstraction, landscapes, and figuration; De Kooning sought to represent pop culture, including post-World War II ideology going into the Cold War (“Willem De Kooning Paintings, Bio, Ideas”).

Woman in Rowboat 

    Woman in Rowboat was painted by Willem de Kooning in 1964 and is considered one of de Kooning's most important transitional works, which represents an era in which 20th-century painters were moving toward "pure abstraction"(Heather James Fine Art). Woman in Rowboat utilizes a very free motion of paint to create a sense of abstract movement. De Kooning's preference for/knowledge in landscape painting also shines through with the earthy colors and representation of water blues, forest greens, and natural browns. This work represents a purposely abstract style in which artistic freedom is embraced and celebrated. 

The Man and the Big Blonde

    The Man and the Big Blonde was painted by Willem de Kooning in 1982; this piece was painted late in de Kooning's life and represents an era of deep abstract artistic style (The Man and the Big Blonde by Willem De Kooning on Artnet). De Kooning utilizes a style that creates familiar shapes, shades, and colors in a deeply abstract and unique form. Features such as the eye shape on the left side and collection of facial shapes and features, along with an abstract collection of blonde, play off of the societal norms/ideologies of the time while maintaining a commitment to the (somewhat chaotic) abstract style. De Kooning utilizes a unique combination of familiar and nonsensical to create art that simultaneously grabs curiosity through familiarity and seemingly nonsensical styles.  

Wrapping it up!

    While art has been considered a fundamental part of Western propaganda and a line of national security for the United States during one of the most tense/volatile periods of modern history, the acceptance of modern art as a form of individuality and anti-socialist expression was widely contested during its implementation. Many of the artists being promoted/funded by the United States government were formally from communist states and were seen as barely accepted within United States society, much less a fundamental source of influence (Saunders). Nevertheless, the unlikelihood of the relationship between rejected communist styles and United States Cold War propaganda gave forth the perspective of creative artistic freedom, which led to the backing of expressionist paintings. 

    Artists like Jackson Pollock, Mark Rothko, and Willem de Kooning acted as foundational parts of the American wartime propaganda machine, though they all acted under free will and created art with their style/message/intentions. The individuality and ability to create their style, message, and unique qualities were in themselves the desirable aspect of the art - the West sought to embody the idea of "freedom of expression" through the artistic individuality Pollock, Mark Rothko and Willem de Kooning represented. The Cold War era of art is an interesting time of extensively changing ideology and recognition of the power of identities/connections based on cultural perspectives, including those that can be fostered and expanded through art. 

Work Cited

Apollo. “Four Things to See: The Cold War | Apollo Magazine.” Apollo Magazine, 9 Nov. 2023, www.apollo-magazine.com/four-things-to-see-the-cold-war/#:~:text=It%20is%20now%20well%20known,Pollock%2C%20Mark%20Rothko%20et%20al.

Cockcroft, Eva. “Artforum.” Artforum, 26 Sept. 2023, www.artforum.com/features/abstract-expressionism-weapon-of-the-cold-war-214234.

Convergence, 1952 by Jackson Pollock. www.jackson-pollock.org/convergence.jsp.

“Entrance to Subway, 1938 - Mark Rothko - WikiArt.org.” www.wikiart.org, www.wikiart.org/en/mark-rothko/entance-to-subway.

Halley, Catherine. “Was Modern Art Really a CIA Psy-Op?” JSTOR Daily, Feb. 2022. JSTOR, daily.jstor.org/was-modern-art-really-a-cia-psy-op.

Heather James Fine Art. “Willem de Kooning Woman in a Rowboat, 1964.” Artsy, 1999, www.artsy.net/artwork/willem-de-kooning-woman-in-a-rowboat-5.

Kedmey, Karen. “Willem de Kooning American, born the Netherlands. 1904–1997.” MoMA, 2017, www.moma.org/artists/3213.

The Man and the Big Blonde by Willem De Kooning on Artnet. www.artnet.com/artists/willem-de-kooning/the-man-and-the-big-blonde-a-V9dGMKnQ1g3Lapp6wxvjSA2.

Mark Rothko: Introduction. www.nga.gov/features/mark-rothko.html.

Ochmanek, Annie. “Jackson Pollock American, 1912–1956.” MoMA, 2016, www.moma.org/artists/4675.

O’Connor, Francis Valentine. “Jackson Pollock | Biography, Art, Paintings, Style, Death, and Facts.” Encyclopedia Britannica, 27 June 2024, www.britannica.com/biography/Jackson-Pollock.

Orange and Yellow | Buffalo AKG Art Museum. buffaloakg.org/artworks/k19568-orange-and-yellow.

Saunders, Frances Stonor. “Modern Art Was CIA ‘weapon’ | the Independent.” The Independent, 21 Oct. 1995, www.independent.co.uk/news/world/modern-art-was-cia-weapon-1578808.html.

---. “Modern Art Was CIA ‘weapon’ | the Independent.” The Independent, 21 Oct. 1995, www.independent.co.uk/news/world/modern-art-was-cia-weapon-1578808.html.

Tate. “Mark Rothko 1903–1970 | Tate.” Tate, www.tate.org.uk/art/artists/mark-rothko-1875.

The Alfred H. Barr, Jr. Galleries and Pollock-Krasner Foundation. “Jackson Pollock - The She Wolf.” MoMA, 2066, www.moma.org/collection/works/78719.

“Willem De Kooning Paintings, Bio, Ideas.” The Art Story, www.theartstory.org/artist/de-kooning-willem.