If only because it emphasizes esthetic qualities, this term has come to be the most acceptable epithet for the innovative painting that became prominent in New York in the late 1940s (and was thus sometimes called the New York School
). Drawing not only from Surrealism but from jazz-based ideas of improvisatory gestural expression, these artists laid paint on the canvas in ways that reflected physical attack, whether in the extended dripped lines of
Jackson Pollock
or in the broad strokes...
