Art informel or material painting was an art movement that emerged in the 1960 as artists' response to World War II. Events from the past prompted artists to portray their pain and suffering using pigments as well as "non-artistic" and untraditional means and substances. Individual artists expressed their subconscious with different materials to avoid academic approaches and they mainly related to adolescent's or children's drawings (Dubuffet). The structure of painting managed to transform the artistic expression.
This thesis explores and analyses the works of individual artists from that period (Jean Dubuffet (1901–1985), Jean Fautrier (1898–1964), Antoni Tàpies (1923 – 2012), Alberto Burri (1915–1995), Janez Bernik (1933–2016), Rudolf Kotnik (1931–1996)), presents its historic background and describes my own creative aspirations. The reflexion on material painting will be part of the secondary school curriculum. One of the topics covered in this thesis was always a part of art informel, i.e. existential philosophy that affected artists' creations. Art informel is considered as abstract painting and some artists even reject the subject. However, it is impossible to reject it completely; even if it is not present directly because its symbolism is always hiding within materials. After the war new figural painting emerged from abstract art where the perception of a figure depends on individuals' experience with the figure.
As for the practical part, the main motif is a figure, which is completely abstracted in certain places and less in others, and it involves wire and different textiles. In the pedagogical part of the thesis I devised a lesson plan that would introduce modernist painting with untraditional or non-artistic materials to students. By experiencing art informel, students would be able to create a haptic space with various structures and effects of individual materials.