The first chapter of the thesis is primarily dedicated to the very beginnings of the abstract painting, which is followed by an overview of American abstract expressionism and gestural painting in the second half of the twentieth century. Later I explore some individual directions of abstract expressionism and choose authors which, in my opinion, form the main direction of visual language of shape and form, with an emphasis primarly on color and surface of color fields. These were Franz Kline, Philip Guston, Sam Francis and Pierre Soulage. My thesis also recalls reverse impact of the American gestural painting over post-war Europe painting, where I also ranked a local painter prof. Andrej Jemec. In my own paintings, I analyzed each presented individual work and wrote a substantive summary of the five selected reproductions. This is followed by Curriculum Planning, as transferable experience of Art Informel in the teaching programs.