In the meantime his work should animate a rich discussion that might examine his debt to various post-and post-Post-Impressionist tendencies _ Symbolism, Fauvism and German Expressionism, his relationship to the nonfigurative painters of his time _ to the flat, undiluted colors of early Al Held or Jack Youngerman or late Stuart Davis, who also drew inestimable inspiration from jazz.
22.
According to the Guggenheim Collection's art-historical glossary entry on " l'art informel " ( see External links ), Tapi? in his 1952 book, " was trying to define a tendency in postwar European painting that he saw as a radical break with all traditional notions of order and composition including those of Modernism . . . . He used the term Art Informel ( from the French " informe ", meaning unformed or formless ) to refer to the antigeometric, antinaturalistic, and nonfigurative formal preoccupations of these artists, stressing their pursuit of spontaneity, looseness of form, and the irrational . . . . Artists who became associated with Art Informel include Enrico Donati, Lucio Fontana, Agenore Fabbri, Alberto Burri, Asger Jorn, Emil Schumacher, Kazuo Shiraga, Antoni T�pies, and Jiro Yoshihara ."
