Hofman belived that abstract art was a way to to get at what was really important. He is quoted as saying "The ability to simplify means to eliminate the unnecessary so that the necessary may speak."
Soraida Martinez ([[1956] is a contemporary abstract expressionist painter. She was born in Harlem, New York City, USA on July 30, 1956. This article is about the Harlem neighborhood in New York City. ... July 30 is the 211th day (212th in leap years) of the year in the Gregorian Calendar, with 154 days remaining. ... 1956 (MCMLVI) was a leap year starting on Sunday of the Gregorian calendar. ...
Since 1992 Soraida Martinez has been known as the creator of Verdadism, a distinct form of hardedge abstract expressionism where each painting is accompanied by a written social commentary. Soraida is the only artist to write a social statement for every painting that she creates. Viewers are drawn to both the artist's hardedge abstract paintings and her bold commentaries on humanity and the universal human condition. According to Soraida, "My art reflects the essence of my true self and the truth within me...My struggle is for recognition, acceptance and inclusion; and, against racism, sexism and the dominant eurocentric male society, which never expected much from me but still did not allow my voice to be heard. My belief is that one must empower oneself with one's own truth..."
Hofmann himself explains the lateness of his development by the relative complacency fostered in him during his Paris years by the regular support of a patron, and by the time and energy he needed, afterward, to perfect himself as a teacher.
This freedom belongs with Hofmann's open surfaces as it does not with de Kooning's or Kline's, and his hesitancy in fully availing himself of it-despite the large part he had in the winning of it-must be blamed on his reluctance to cut himself off from Cubism as a base of operations.
Hofmann has not solved all the problems these present, but his being the first to broach them is enough of itself to give him a secure place in the history of painting.
HansHofmann was the only artist of the New York School to participate directly in the artistic revolution that took place in Europe during the first two decades of the twentieth century.
Hofmann's personal encounters with the avant-garde in Paris and Germany made him a much more direct and vivid source than the printed page, and it was his original synthesis of this richly complex heritage that made his contributions as both teacher and painter so significant.
Hofmann would struggle with the problems of his dual career for many more years, continuing to teach as well as to exhibit almost yearly until 1958, when at the age of seventy-eight he finally gave up teaching to devote himself to painting full-time.
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