{"id":"lyrical-abstraction","no":488,"name":"Lyrical Abstraction","ja":"リリカル・アブストラクション","era":"1947–1970s","family":"抽象表現","kind":"スタイル","collection":"Dictionary expansion 24","addedAt":"2026-08-18","source":{"title":"Wikipedia — Lyrical Abstraction","url":"https://en.wikipedia.org/wiki/Lyrical_abstraction"},"reference":{"status":"verified","pageUrl":"https://en.wikipedia.org/wiki/Lyrical_abstraction","credit":"Wikipedia — Lyrical Abstraction","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Saut%20dans%20l'espace%20(1953)%20-%20Karel%20Appel%20(1921-2006)%20(42578859160).jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Saut%20dans%20l'espace%20(1953)%20-%20Karel%20Appel%20(1921-2006)%20(42578859160).jpg","credit":"Karel Appel《空間への跳躍》1953 — Wikimedia Commons / CC BY 2.0"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Prieur%C3%A9%20de%20Saint-Cosme%2C%20Fenster%20von%20Zao%20Wou-Ki.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Prieur%C3%A9%20de%20Saint-Cosme%2C%20Fenster%20von%20Zao%20Wou-Ki.jpg","credit":"Zao Wou-Ki によるサン・コム修道院のステンドグラス — Wikimedia Commons / CC BY-SA 4.0"}]},"essence":"幾何学の規律にも激しい身振りにも寄らず、流れる筆致と滲む色で叙情を組み立てる抽象。パリで生まれた呼称が、後にアメリカで薄塗り・染み込みの絵画へも使われた。柔らかさと軽さを設計するときの参照点。","cues":["流れるような筆致","にじみと重なりの層","軽く透明な色","中心を持たない構成"],"intents":["静けさ","高揚","親密"],"works":["一次資料と代表作から成立条件を比較する","別媒体へ応用できる構成原理を取り出す"],"recipe":{"type":"参照作品の文字・記号・スケールを観察する","layout":"視線と情報を支配する構造を一つ抽出する","material":"時代・地域・制作工程に固有の素材と挙動を確認する"},"avoid":"表面的な記号へ還元せず、時代・地域・技術・制作主体の文脈を確認する。","colors":["#e9e6dd","#67635d","#171615"],"motif":"graphic","pair":["art-informel","color-field-painting"],"study":["パリ派とアメリカ用法の違い","ステイニングの技法","1970年前後の展覧会"],"en":{"essence":"Abstraction that leans neither on geometric discipline nor on violent gesture, assembling a lyric out of flowing strokes and bleeding colour. The name was born in Paris and was later applied in America to thinly painted, stained canvases. A reference point whenever softness and lightness have to be designed.","cues":["Flowing brushwork","Layers of bleed and overlap","Light, transparent colour","Composition without a centre"],"works":["Covers and backgrounds where the mark must feel made by hand and weightless at once, as in poetry, chamber music or wellness","Large washes for packaging and interiors that need to avoid both the corporate mesh gradient and the heavy painterly cliche"],"recipe":{"type":"A light-weight seriffed face set small at one corner, never crossing the centre of the wash.","layout":"An all-over, centreless field running past all four edges, offering the eye no anchor and no focal incident.","material":"Thinned colour on an absorbent ground, so the pigment spreads and the edge is decided by the substrate rather than by the hand."},"avoid":"Placing one confident stroke in the middle: a centred gesture turns the field into a logo and destroys the drift the style is made of.","study":["The difference between the Paris usage and the American one","The staining technique","The exhibitions around 1970"]}}