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Solomon
R.
Guggenheim Museum
Library
and Archives
http://www.archive.org/details/adreinhardtcolorOOsolo
t
r
Ad
This project
is
supported by a
a Federal
Endowment
Washington, D.C.,
Agency
The Solomon
R.
New
R.
Guggenheim Foundation,
York, 1980
ISBN: 0-89207-022-6
Library of Congress Card Catalogue
The Solomon
R.
Number: 79-55693
The Solomon
President
Trustees
R.
Guggenheim Foundation
Peter O. Lawson-Johnston
Wendy
Earl Castle
McNeil, Frank
Obre, Seymour
Slive,
Albert
Stewart, Joseph
R. Milliken, A.
E.
W. Donner, John
Hilson,
Thiele, Michael
F.
Wettach, William
T.
Eugene W.
T. Ylvisaker
Solomon
R.
Guggenheim,
Justin K. Thannhauser,
Peggy Guggenheim
Perpetuity
Advisory Board
The Solomon
Director
Staff
R.
Guggenheim Museum
Thomas M. Messer
Henry Berg, Deputy Director
Susan
L.
Waldman, Curator
of Exhibitions;
Margit
Rowell, Curator; Angelica Zander Rudenstine, Research Curator; Linda Shearer, Assistant
Curator; Carol Fuerstein, Editor; Vivian Endicott Barnett, Curatorial Associate;
Hall, Librarian;
Ward
Mary Joan
B.
Mimi
R.
Development Associate
Briggs,
Information
Orrin H. Riley, Conservator;
Dana
L.
Funghini, Associate Registrar; Jack Coyle, Assistant Registrar; Saul Fuerstein, Preparator;
E.
S.
Members
F.
Edwards,
Jr.,
Government Patrons
Jr.,
Assistant Building
I.
P. Fuller,
Rosenman, Mrs.
S.
F.
Thannhauser
Endowment
New
^EZ
Jr.
Florsheim
New
York
Frederick
Ohio
Ad Reinhardt
Weisman Company, Century
City, California
Institute
of Art,
New York
of
Modern
Art,
The Pace
Gallery, Inc.,
Gallery,
New
York
New Haven
Marlborough
New
New
York
York
If
there
there
is
is
it
is
in
is
Ad Reinhardt's art. If
Ad Reinhardt's color
an art-as-art experience.
They do not lend themselves to verbalization, only to the act of seeing. This
Reinhardt wanted.
is
what
For these reasons, the present exhibition Ad Reinhardt and Color, is not accompanied by a text defining what the viewer will experience or see. Not only
would such an essay be antithetical to the artist's intentions, but it might subvert
our true understanding of the art. For once the range of tones, values, hues and
"non-colors" in these paintings has been named, we are no closer to understanding
the specific experience they provide. The essence of that experience lies in the
contradictions and ambiguities of Reinhardt's color, which cannot be explained.
Many
critics
Since the possibilities of interpretation are limited (with this Reinhardt would have
concurred),
it
this
process here.
is
with the problem of color. This study has helped the author
equivocal position
it
may
in this
in
art,
in-
it
hoped that
is
is
that Reinhardt
comparable
in
was a
its
de-
am
grateful to the
many
and
collectors
friends
who were
interviewed:
Colt,
for the development of my own ideas. To Barbara Rose for giving me all the notes
and documents (including unpublished Reinhardt manuscripts) she used in preparing Reinhardt's selected writings, Art-as-Art; these proved an extraordinary and
invaluable working tool.
would like to thank the members of the Museum staff who have worked on this
exhibition, and in particular my assistant Philip Verre for his collaboration on this
I
project.
Finally,
would
like to
express
my
M.R.
10
Ad
Margit Rowell
Ad
Reinhardt's tongue
in
whose debt
to
Mondrian
is
clear, Reinhardt's
oeuvre
is
grouped with
his
more
Motherwell, Rothko,
and
after,
is
in
generally
Newman and
whose
within
Still),
is
it
his
assertion. At a
in
relation to
age of Surrealism,
in
two
in
linear time,
was not
but
a sequence of
will
toward an
in
On
differ.
of
(whom
classifications,
both
artists
were analogous.
Of
1.
Even should
we
grounds that they must be situated after Malevich and Mondrian, this merely
attributes to them a position in a sequence, not a specific place in an absolute
chronology. For Mondrian's and Malevich's art
is
as ahistorical as Reinhardt's.
11
Mondrian
Composition 2. 1922
Oil on canvas, 21% x 21 Va" (55.7 x 53.4 cm.)
Collection The Solomon R. Guggenheim Museum,
Reinhardt
Abstract Painting, Blue. 1953
Oil
New
It
seems
on canvas, 20
York
M. Hirschland,
New
York
do
in
the
history of events.
periods.
In truth,
[is]
still
largely un-
explored." 2 This was Reinhardt's sense of things: that the possibilities of the painting medium were restricted, but much remained to be explored. When he spoke of
going "beyond" Mondrian, he meant that he would address himself to the same
aesthetic problems his predecessor had confronted, problems which were still open
and active. In doing so, he at once accepted and challenged the limits of the paint-
ing tradition.
II.
Mondrian's name appears intermittently throughout Reinhardt's notes and writings, the only clue to his interest we have today. Friends and relatives tend to be
inconsistent in their recollections. Some assert that they do not remember ever
hearing Reinhardt speak of Mondrian. Others recall only a vague reference in passing. Even when Mondrian was mentioned, the connotations were often ambiguous:
2. Ibid., p.
12
126
his
in
reference to
would seem
lecture,
"There
esteem
for
Mondrian was the challenge. And Reinhardt wanted to get rid of a lot
Mondrian did not get rid of. 4
Mondrian's presence was felt in New York long before he actually arrived in the
United States in October of 1940. His paintings were known in magazine illustraPicasso,
that
and from the early 1930s could be seen at the Museum of Living Art. Some
in the 1926 exhibition of the Societe Anonyme in Brooklyn; others in
tions,
were shown
Cubism and Abstract Art at The Museum of Modern Art in 1936. Carl
knew Mondrian in Paris in the early 1930s. Upon their
return to New York they worked to found the American Abstract Artists, a group
of painters and sculptors who banded together to defend the cause of abstraction
in a milieu which was a priori unreceptive to it. Their guiding principle was rationalism in art; and Mondrian, both as theorist and artist, was their major source
Alfred Barr's
of inspiration.
AAA was
in
founded.
In
Neo-Plastic thought.
In
New
Masses
which he referred
whether art should
in
have social value or be considered merely a "divertissement intended for pleasurable entertainment." Reinhardt's
how
certainty about
abstraction,
how
Effort,"
reflects
some
un-
Yet
Reinhardt
tive figuration.
initial
life
illustra-
in
the second and final draft, titled "The Fine Artist and the
is
is
War
Consider the recent Mondrian exhibition. These paintings, sensuous and concrete
manifestations of a certain kind of thinking and understanding which pretended
3.
Lecture at
Skowhegan School
of Painting
what
5.
Rough
draft
is
published
in
which the
Barbara Rose,
first
author by Rose
6.
7. Ibid.,
Art
Ad
Reinhardt,
The
New
final
ed.,
pp. 176-177
demanded in
"did", here
what the
it
its
appreciation
for
if
anything "looked"
lines, colors,
and spaces
told,
and not
in
anything
in
else, (the
a sanctuary."
it
precisely
were
too,
and sculpture
4. In particular, Priscilla
"as though
to be architecture
the horizontal
most dynamic
result,
13
Mondrian
Reinhardt
Oil
Oil
Bequest of Mr.
S. B. Slijper
to
on canvas, 40 Vj
A2Vi" (102.3
108 cm.)
Art,
New
York,
Haags Gemeentemuseum,
The Hague
In
art
were inseparably
in
all
political
content
from their work. Reinhardt identified more closely with the idealism of the AAA
than with his contemporaries in the New York School. When he abandoned the
Platonic principle of art as a reflection of universal laws, even as a reflection of a
social order (one basis of Mondrian's and the AAA's aesthetic), he did not seek to
rationalize his decision through aesthetic metaphysics of transcendence, or the
it
would be more absolute and unequivocal. And in taking this position he not
only went beyond Mondrian, but beyond the artists of his own generation to foreshadow the art of the 1970s.
art"
positions
Kubler, p. 64
14
Mondrian
Reinhardt
Oil
on canvas, 55
Bequest of Mr.
20" (40.7
50.8 cm.;
Private Collection
S. B. Slijper
The Hague
If
we
refer
in
we
see that
many
pictorial evolution
led
artist
Mondrian to
is
his
striking
in
its
It
is
proximately twenty-five years separated the careers of these two artists and there
is no evidence of a direct influence of the older man upon the younger. Yet in ad-
and contrasting colors, closed contours and definite although minimal figureground illusionism. In 1911-12, with the artist's growing awareness of French
Cubism, the figures' contours break open and fuse with the ground in a continuous heavy linear grid, suppressing the duality of closed form and open space.
Colors are darkened and unified toward the same end. In 1912-13 the grid lines are
abbreviated to short strokes linked in a rhythmic, organic filigree pattern on a flat,
muted and almost monochrome field. Thus Mondrian dissolves his discrete forms
into a dematerialized field of energy. In 1913, the artist's attention shifts from
the morphology of trees (organic form) to that of building facades (architectonic
15
Mondrian
Composition
Oil
VII.
on canvas, 41
Collection The
1913
Va x
44 3A" (104.4
Solomon
R.
113.6 cm.)
Reinhardt
on canvas, 50
Collection The
16
Museum
Ad
of
Modern
Art,
Reinhardt, 1969
New
Mondrian
Composition No.
Oil
8.
on canvas, 37Va
Collection The
New
York
1914
x
21%"
Solomon
R.
Guggenheim Museum,
Reinhardt
Untitled. 1948-49
Oil
on canvas, 51
New
York
17
form): the short strokes are joined at right angles, and the surface
is
once more
is
placed to suggest a
filling in
of planes.
vertical, inspired
Most
of the formats
ing facades.
In Composition 1916 the grid breaks up, and the colored planes seem released
and appear to float, announcing not only the "plus-and-minus" series but the now
contourless free-floating planes of a contemporaneous group of 1916-17 works.
Color (pink-reds, mustard yellows, off-blues) asserts itself more powerfully. After a
transitional phase in which black and gray grid patterns were explored, in 1920-21
Mondrian arrived at his mature Neo-Plastic style, characterized by rhythmically
articulated linear structure and subtly balanced color planes. The reduced and
ordered chromatic and spatial equivalences create a unified two-dimensional surface. The visible brushwork produces a vibrating luminosity. The formats are
it
is
examine
useful to
it
in
many
similarities
Reinhardt's early paintings of 1938 to 1940 consist of closed shapes either or-
flat-
tened, exist on a clearly defined ground. By 1943 these forms have been loosened
a gestural calligraphy
some
It
overlapping,
was during
some adjusted
this
in
in
1950, sometimes closely knit, sometimes open or apart, were at once stroke and
They were also value, as the artist compressed his palette toward a single
Here Reinhardt began to intuit what would be his personal solution. Yet even
the unfolding of his next phase runs parallel to Mondrian's development. In 1950
Reinhardt executed a series of "dark paintings," using black as the diapason to
which he tuned a low-pitched chromatic scale.
plane.
key.
For Reinhardt, as for Mondrian, the penultimate experiment with non-color incited a return to vibrant primary hues.
9. Philip Pavia,
"The Problem
18
1,
as the Subject-
Spring 1958,
p.
in each painting to
chromatic variations on a single hue. The return to limited color brought with it
an increased and explicit attention to light. Mondrian trapped light on his surface through the textural fabric of his brushwork. However, texture and brush-
Mondrian
Composition 1916. 1916
Oil on canvas with wood strip nailed to
bottom edge, 467s x 29 5/8 " (119 x 75.1 cm.)
Collection The Solomon R. Guggenheim Museum,
nw
New
York
;'i
|J"zir
'ht-.l+t+l-f-i.
!.
4-ll' J_i-'
Reinhardt
1950
on canvas, 40x36" (101.6x91.5 cm.)
Marlborough Gallery Inc., New York
Untitled.
Oil
.'i 7 i|<,.Ll
l
Mondrian
Composition
Oil
in
on canvas,
Lines (Black
42'/2 x42'/2"
7-'
,,
i<-'
108 cm.)
The Netherlands
19
Reinhardt
Mondrian
Composition with Color Planes No. 3. ca. 1917
Oil on canvas, 18% x 24" (48 x 61 cm.)
Collection Haags Gemeentemuseum, The Hague
New
20
of Art,
Mondrian
Composition in Diamond Shape. 1918-19
Oil on canvas, 23 Vj x 23 /2 (59.7 x 59.7 cm.)
Collection Rijksmuseum Kroller-Muller,
Otterlo, The Netherlands
1
-L>
Museum
Form
Modern
in
"Style as recurrence"
in
late
Architecture.""
reference to
In
in
New
York on "The
"dialectical
theories
went
Spiral
(Engels,
straight line.
,"
.
12
Reinhardt defined
his
own
spiral
development
in
b.
c.
d.
e.
Whereas conventional
from the archaic to the classic to the Rococo (or from the tentative to the resolved to the decadent style), Reinhardt chose to plot a circular course for himself, positioning his late (Rococo or decadent) style prior to the
middle classical
period.
This
own concept
solely to his
of circular as
difficult, intricate
and animated.
Early
solutions are integral in relation to the problem they resolve. Late ones are
partial in being
Rough
Sam
draft
11. Lecture at
Hunter,
Summer
1966.
communicated by Rose
New
Communicated
by Rose
12. Ibid., p. 4
by Harris Rosen-
November
(with errors)
14. Kubler, pp.
1966,
in
p. 34.
Rose, p. 10
55-56
News,
vol.
Reprinted
defining the pertinent form-class, for otherwise the visual properties of late
solutions in one class may deceptively resemble those of early solutions in
another class. Late and early are perforce relative to a defined starting point u
Reinhardt was surely referring distantly and loosely to Kubler's classifications when
he spoke of the relative "ages" or stylistic classifications in his own pictorial
earliest work (in a post-Cubist style) is indeed "late-Classicalcompared to classic Cubism. In identifying his last paintings as
classical," he was presumably anticipating a new generation of "classical"
evolution:
his
mannerist"
"early
painters
still
if
to emerge.
21
The
artist
at Galerie
with
Iris
Iris
Clert at the
Clert, Paris,
opening of
his exhibition
June 1963
IV.
A square
(neutral, shapeless) canvas, five feet wide, five feet high, as high as a
man, as wide as a man's outstretched arms (not large, not small, sizeless),
trisected (no composition), one horizontal form negating one vertical form
(formless, no top, no bottom, directionless), three (more or less) dark flightless)
non-contrasting (colorless) colors, brushwork brushed to remove brushwork, a
matte, flat, free-hand painted surface (glossless, textureless, non-linear, no hard
edge, no soft edge) which does not reflect its surroundings a pure, abstract,
non-objective, timeless, spaceless, changeless, relationless, disinterested
"Auto-
Paris,
exhibition there)
22
Iris
on occasion of Reinhardt's
Clert,
(much
in
a detailed analysis of
of
Second, the square format poses compositional problems for the artist.
Mondrian, when he did use a perfectly square canvas, often acknowledged this
difficulty by turning it ninety degrees and orienting it as a lozenge. Unless he
turned the square on the diagonal, he could not achieve the tensions within the
painting and in relation to the edge as successfully as in his more common slightly
off-square formats. But Reinhardt sought to eliminate all inner and outer tensions.
To do so, he emphasized his equilateral square format by "getting rid of" asymmetry, rhythm and contrast. In so doing, he eliminated "composition" in the conventional hierarchical sense. The complete symmetry of Reinhardt's mature works
where the
areas,
although hazy, are defined and bonded evenly to the frame, negates any visual
interplay or excitement and even precludes an analysis of the constituent parts. So
that paradoxically the subdivisions of the surface create the unity of the field and
of the perceptual experience.
Mondrian's understanding that "relationships" were the crucial focus of his art
infinity of possibilities. And as time passed and the artist's ideas
evolved, his compositions grew more explicitly rhythmic and complex. One might
say that Mondrian became caught up in time. His paintings reflect his own history
of changing circumstances, displacements and developing ideas. And his late titles
allowed him an
in
Woogie acknowledge
music of Boogie
the introduction
holistic.
And although
like
Mondrian's, are articulated along parallel and perpendicular (or horizontal and
vertical) axes, they cannot be measured in musical or temporal terms. Any attempt
or
each other out. The effect of the equilateral cruciform, creating a trisected square,
is far removed from the vital, dynamic equilibrium Mondrian sought. On the contrary,
it
form
"difficult,
class,
we may
intricate
they are "simple [and] expressively clear." Reinhardt was aware that he had
in
V.
in
art
color and used the occasion to mention the numwhere color was excluded Chinese monochrome
I
is
something wrong,
ir-
and
any morality.'" 6
Reinhardt's
16. Transcript of panel discussion at Phila-
delphia
Museum
1960. Published
in It is,
possibilities.
23
space;
emotion,
sensation,
affectivity,
color symbolism
expressivity;
was
historical references of
all
divisive
art-as-art experience.
His notes
"red,
fire,
riot,
deceit
scarlet
"blue 'color of
villains,
doom, darkness""
in
ambiguous.
In
is
the early "red" pictures of about 1951, his reds are rarely
true red, rather they are hot pinks, oranges, apricots, even golden hues.
field,
when Reinhardt
it
become
blurred.
similarly,
18.
24
Communi
within
17.
Still,
surface articulation, to ever-closer hues and a simple trisected square. The final
works of the blue series anticipate the black paintings; first perceived as a uniform
color surface, they slowly yield to the eye's insistence, revealing a subtly inflected
chromatic pattern.
is
timeless
evanescences" of
is
a simplification.
Initially
is
we
itself,
move
first
is
we accommodate
Then
somewhat mys-
into focus,
field.
contours.
its
a pattern of barely
nuances of color within the blacks usually blues, reds and browns in the
Once deciphered, the chromatic differences blur and are swallowed
back into the uniform field. Reinhardt enjoyed confusing the issue by describing
these works as monochromatic, whereas they are monochrome only on the most
superficial level. He also argued that black was a non-color, only to disprove it in
visible
later paintings.
his paintings.
in
these works
color
it
is
it
pigment
is
as contradictory
is
The
and elusive
pictorial context
is
is
in
fact
held.
a perceptual illusion?
came
even more
its
difficult to "think
about."
Still
"feel," urges us to
19
They are
difficult to "see,"
Newman's
in
art (of
own
work, and he
in his
in
spir-
acknowledged that
human
experience.
washes and dissolved spaces. They can look organized and organic, atmospheric
and airless, immanent and transcendent, ideal, unreal and most real. They are
complete, self-contained, absolute, rational, perfect, serene, silent, monumental
and universal. They are "of the mind," pure, free, true. Some are formless,
lightless, spaceless, timeless, a "weightless nothingness" with no explanations,
no meanings, nothing to point out or pin down, nothing to know or feel. The
10
least is the most, more is less.
Chinese Landscape
December
21.
"
Art
News
vol 53
1954, p. 27
Unpublished notes. Communicated by
Rose
In
art.
But
his
own
restricted space."
art,
"Voids as significant as
he wrote:
it
looked as
21
25
"LANSO The
second characteristic,
Simplicity
'simplicity,'
is
some
means
to be without gaudiness
the use of
in
The simplest use of color is seen in sumi paintings; in the direct statement in
one 'color.' By means of the one black ink, varied in thinness or depth, all colors
color.
is found to be much
which complex and in-
rich in expression
22
is
than paintings
The
fifth
in
YUGEN, includes
A speck of dust holds
characteristic,
wrote
in
'.
'.
Reinhardt wanted
an anonymous
emblem
signifying the
quintessence of painting.
nihilist
28
and an iconoclast,
far
from
wishing to subvert the tradition of painting, sought to confirm and defend its very
tenets. For Reinhardt the black paintings represented "a logical development of
personal art history and the historic traditions of Eastern and Western pure paint22.
It is,
ing."
'
As early
as 1958,
he described
his
23. Ibid., p. 63
90
25. Unpublished notes. Communicated by
"beyond" Mondrian and pushing form to the absolute limits of perception, "form
and content being one," he aspired to rid painting once and for all of non-art
content. Only the irreducible experience of art as its own subject matter remains.
3
"It is just this and nothing else," he liked to say.
A younger generation of American artists understood this, and it was of crucial
significance to them. Upon Reinhardt's death, Frank Stella commented: "If you
don't know what [Ad's paintings are] about you don't know what painting is
24. Rose, p.
Rose
26. Artscanada, no. 113,
'
27. Artscanada,
The Nation,
p. 534,
on
p.
19
vol. 196,
wrote: "Reinhardt's
know."
29.
Ad Reinhardt, "Three Statements," Artforum, vol. IV, March 1966, p. 35. Re-
30.
Ad
printed
in
journal of
It is,
in
Rose,
p.
84
"A Contribution to a
some future art-historian,"
Reinhardt,
no. 2,
Rose,
p.
Autumn
31.
32.
Rose
Reinhardt)
26
about."
32
In
going
>
The
artist
and Robert
New
York
00
ca
.a
27
Works
in
the exhibition
x77cm.)
Private Collection
Provenance:
the artist
Estate of the artist
to present
owner
Exhibition:
Ad
2,
Abbemuseum, Eindhoven,
Contemporain, Grand
July 2;
Museum
Vienna, July-Aug.
28
Palais, Paris,
May
22-
cm
-r
'
'
J-
%
E
i
rq
l__
^Eg
V
-
,30
U'
is
Pi
5J
(
_.
i.
.:,'
ira n
EH
'
] ;t
eu n
EE
fJ
29
Untitled. 1950
Oil
on canvas, 60
18" (152.4
45.7 cm.)
Signed on reverse:
Ad Reinhardt
Provenance:
the artist
Estate of the artist
New York
Exhibitions:
New
York,
Ad
33
Marlborough Gallery
Reinhardt:
30
Inc.,
New
York,
Ad
18
39" (152.7
Ad
New
Museum
of
Ad
Modern
Art,
Reinhardt,
1969
Provenance:
the artist
Estate of the artist
to present owner,
1969
Exhibitions:
New
York, 1966-67,
no. 35
Marlborough Gallery
p. 12, no.
Inc.,
New
York, 1974,
42
and
43
31
4
Untitled. 1948
Oil
on canvas, 60
40" (152.4
101.6 cm.)
Inscribed on reverse: "Early Geometric
1950's close values"/ 60 x 40"
Inc.,
New York
Provenance:
the artist
Estate of the artist
to present
owner
Exhibition:
32
33
34
Oil
102 cm.)
Collection The
New York,
Museum
Gift of Mrs.
of
Ad
Modern
Art,
Reinhardt,
1969
Provenance:
the artist
Estate of the artist
to present owner,
1969
Exhibitions:
Philadelphia
Museum
of Art,
American Art
5:
Greenville County
Museum,
1977: Virginia
Museum
17:
Bronx Museum,
35
Oil
on canvas, 80
42" (203.2
106.8 cm.)
1952
Collection Old National Bancorporation,
Spokane, Washington
Provenance:
the artist
Betty Parsons Gallery,
to present
New York
owner
Exhibitions:
Randolph-Macon Women's
College, Ash-
Apr-June 1957
p. 44, no.
Institute of
55 (Number
Contemporary
5).
Traveled to:
Art, Boston,
Nov.
Insti-
36
Institute of
Oil
on canvas, 60
22" (152.4
x 55.9
cm.)
Ad
Ohio
Provenance:
the artist
Estate of the artist
New York
Exhibition:
Marlborough Gallery
Spring 1969
Inc.,
New
York,
37
Oil
on canvas, 30
30" (76.2
76.2 cm.)
Provenance:
the artist
Betty Parsons Gallery,
New York
38
'
Oil
on canvas, 41
33" (104.2
83.8 cm.)
Carpenter,
Jr.
Provenance:
the artist
New York
1958
Exhibition:
Graham
Gallery,
New
39
40
10
Oil
on canvas, 60
82" (152.4
208.4 cm.)
Ad
Provenance:
the artist
New York
Marlborough Gallery
to present
Inc.,
New
York
owner
Exhibitions:
New
York,
Ad
Whitney Museum
of
New Decade:
Museum
of Art, Oct.
Graham
Gallery,
Museum
15-May 15
New
York, 1965
Art
Museum
of Saint Louis,
May
20-June 20; Seattle Art Museum, July 15Aug. 23; Pasadena Art Museum, Sept. 25Nov. 7; The Baltimore Museum of Art, Dec.
14, 1965-Jan. 23,
in
New
York)
1,
color repr.
Marlborough Gallery
p. 12, no. 54
44 [sic]
Inc.,
New
York, 1974,
References:
Fred McDarrah, The Artist's
Pictures,
Sam
New
York, 1961,
World
in
p. 173, repr.
Century,
repr.
Art
p. 100, repr.
New
41
11
Oil
on canvas, 30
30" (76.2
76.2 cm.)
Ad
30
in.
Collection Frederick
Weisman Com-
Provenance:
the artist
Estate of the artist
The Pace
Gallery,
to present
42
owner
New
York
in.
12
on canvas, 60
101.6cm.)
Oil
40" (152.4
New
Woodward
Foundation
Provenance:
the artist
Betty Parsons Gallery,
New
New
York
Graham
to
Gallery,
Woodward
York
Foundation, Washington,
Mar. 1965
to present owner, 1977
D.C.,
Exhibitions:
New
Ad
York,
17-Nov.
5,
(Red Painting)
Arthur Tooth and Sons, London, 6 American
Abstract Painters, Jan. 24-Feb. 18, 1961, no.
16, repr.
Graham
Gallery,
New
York, 1965
New
Haven,
Woodward
5,
1978
References:
no. 3, 1960,
Lucy Lippard,
repr.
vol. 53,
Aug.-Sept. 1965,
p.
125,
color repr.
America,
vol. 62,
One
Art," Art
Sept.-Oct. 1974,
p. 75,
color repr.
43
13
Painting. 1952
Red
Oil
on canvas, 78
144" (198.1
365.8 cm.)
Collection The Metropolitan
of Art,
New York,
Museum
Purchase, Arthur
New York
owner, 1968
Exhibitions:
The Museum
of
Modern
Art,
New
York,
ber
7;
shown only
The Metropolitan
Num-
New York)
Museum of Art, New
in
and
Field:
p. 44,
1,
1970,
7)
The Cleveland
4-Mar. 28
Museum
of Art, Feb.
The
New
43 [sic]
New
44
548
45
14
Abstract Painting Blue. 1953
Oil
on canvas, 30
30" (76.2
76.2 cm.)
Carpenter,
Jr.
Provenance:
the artist
Estate of the artist
to present owner, ca. 1968
46
15
Abstract Painting Blue. 1952
Oil
on canvas, 50
20" (127
50.8 cm.)
Blue
Private Collection
Provenance:
the artist
Estate of the artist
to present
owner
Exhibition:
New
York, 1966-67,
47
16
;
Oil
on canvas, 56
22
in.
1 1953
Provenance:
the artist
to present
owner
Exhibition:
Stable Gallery,
New
48
3,
1965
17
Abstract Blue. 1953
Oil
on canvas, 50
25" (127
x 63.5
cm.)
New York
Exhibitions:
Stable Gallery,
Calleria Odyssia,
1895-1965
Apr.
Cross Currents
26-May
in
Modern
Art,
#53)
The Jewish Museum,
N.
5,
Abrams Family
New
49
18
Abstract Triptych, Blue. 1953
Oil
by the
artist,
45
15"
(1
Ad
Museum
Purchase (65.65)
Provenance:
the artist
Stable Gallery,
New York
Exhibitions:
Stable Gallery,
New
York, 1965
References:
Bulletin,
Dec. 1965,
p. 35, fig.
Thomas
C. Colt,
Jr.,
"How Dayton
Built Its
vol. 67,
Institute,
50
19
Blue Painting. 1952
Oil
Provenance:
the artist
Betty Parsons Gallery,
to present
New York
owner
51
20
Abstract Painting Blue. 1952
Oil
on canvas, 30
New
York
Provenance:
the artist
Estate of the artist
to present
owner
Exhibition:
52
in cat.)
21
Oil
on canvas, 84
36" (213.4
91
.5
cm.)
New York
Provenance:
the artist
to present owner,
1959
53
22
Abstract Painting. 1950-51
Oil
78x24" (198.2x61
cm.)
Ad
Provenance:
the artist
to present
owner
Exhibitions:
Marlborough Gallery
54
34
Inc.,
[sic]
New York,
1974,
23
on canvas, 108'
Oil
x40'A"
New
Buffalo,
York, Gift of
New York
Seymour Knox
to present owner,
1958
Exhibitions:
8,
1958-
New
Haven,
May18-July21, 1968
Museo Nacional de
Aires,
Bellas Artes,
Buenos
Gallery, Oct.
23-Nov.
References:
p. 53,
P- 35, fig.
Irving Sandler,
Painting:
ism,
News
color repr.
New
xiv,
231, repr.
55
24
Abstract Painting No. 7A. 1953
on canvas, 108
101.6cm.)
Oil
40" (274.4
Provenance:
the artist
Betty Parsons Gallery,
New
York
Exhibitions:
Whitney Museum
of
New
York, 1953
American
Art,
New
New
in
York)
Museum of Art, Dec. 3-31; Contemporary Arts Center, Cincinnati, Jan. 22Feb. 25, 1962; The Cleveland Museum of
Art, Mar. 23-Apr. 10; California Palace of
Baltimore
seum
The Museum
of
Modern
Art,
New
New
York
York, 1966-67,
72
Reference:
Ad
p. 40, repr.
56
Reinhardt,
picture," Art
57
25
Black Painting. 1960-65
Oil
on canvas, 60
60" (152.4
152.4 cm.)
Ad
Provenance:
the artist
Estate of the artist
The Pace
Gallery,
to present owner,
New
York
1976
Exhibitions:
Galerie
Iris
Clert, Pans,
AD REINHARDT
1963
Institute of
Contemporary
Art,
London,
New
York, paintings,
58
26
Abstract Painting. 1958
on canvas, 108x40"
(274.4x1 01 .6 cm.)
Oil
Ad
New York
Provenance:
the artist
Estate of the artist
to present
owner
59
27
No. 10. 1959
on canvas, 108x40"
(274.4x101.6 cm.)
Oil
CANVAS/108 x 40
Lent by The Pace Gallery,
New
York
Provenance:
the artist
Betty Parsons Gallery,
New York
owner
Exhibitions:
Fair,
and
Museum
First
60
of Art,
New
Generation, Paintings
1,
1965,
28
Painting. 1956-60
on canvas, 108x40"
(274.4x101.6 cm.)
Oil
Ad
Reinhardt/1956-60
Lent by Marlborough Gallery
New
Inc.,
York
Provenance:
the artist
Estate of the artist
to present
owner
Exhibitions:
1962
Art,
New
Marlborough Gallery
Inc.,
New
York,
Ad
March 1970,
p. 25, no.
61
29
Abstract Painting No. 18. 1956
Oil
Brown
Baker,
New York
Provenance:
the artist
Betty Parsons Gallery,
New York
1956
Exhibitions:
New
York,
Ad
Museum
of Art,
Rhode
Island School of
Brown
New
Haven, 7 wo
New
York, 1966-67,
93
Museum
of Art,
Selection
Sept. 14-Nov.
Institute of
1 1
Contemporary
Art, University
62
1974
1973-
30
Black Painting. 1952-54
Oil
on canvas, 54
(137.2
137.2
cm
54"
.)
Provenance:
the artist
Estate of the artist
to present
owner
Exhibitions:
Dwan
Ad
Reinhardt:
New
York, 1966-67,
no. 82
63
31
on canvas, 72 x 48"
(182.9x121.9 cm.)
Oil
Ad
Reinhardt/1954
Lent by Marlborough Gallery
New York
Provenance:
the artist
Estate of the artist
to present
64
owner
Inc.
32
Ultimate Painting No. 19. 1953-60
on canvas, 43 x 43"
(109.3x109.3 cm.)
Oil
Provenance:
the artist
to present
owner
Exhibition:
1,
1969,
Modern
Art,
New
of
The
Museum
York
65
66
33
Abstract Painting. 1963
on canvas, 60 x 60"
(152.4x152.4 cm.)
Oil
Provenance:
the artist
to present
owner
Exhibition:
67
34
Abstract Painting. 1963
on canvas, 60 x 60"
(152.4x152.4 cm.)
Oil
Title
Gift
of Friends of Art
Provenance:
the artist
Betty Parsons Gallery,
New York
Exhibitions:
1 1 1
New
York, 1966-67,
Painting
July
14-Aug.
folder
68
69
70
Selected
One-Man
Exhibitions
New
Ad
Selected Bibliography
"ALL-OVER PAINTING," It is, no. 2, Autumn 1958, pp. 72-78. Transcript of panel
Studio International,
pp. 98-100
York,
Iris
Clert, Pans,
artist
AD REINHARDT
Dwan
Ad
Reinhardt:
Graham
Gallery,
New
ings, black,
Stable Gallery,
New
New
York, paint-
/( is,
New
York,
Ad
Rein-
"New
38-44
no. 5, Spring
The
New
York Commentary,"
York Times,
p.
It is,
no. 5, Spring
Snow,
3,
XI,
19
no.
Zen Art,"
1960, pp. 62-64
vol.
acteristics of
Hilton Kramer,
Geom-
to
hardt," Portfolio
1965
3,
"What Happened
Tillim,
de Kooning, Ad Reinhardt
Elaine
Sidney
Dore Ashton,
Cecil Taylor,
Phyllisann Kallick,
Aldo Tambellini
Ad
Michael
"New York
Fried,
Reinhardt,
"Ad Reinhardt on
his art,"
pp. 265-269
Letter," Art
One Work,"
58-59
David Sylvester, "Blackish," New Statesman, vol. 79, June 12, 1964, p. 924
pp. 95-101
Marlborough Gallery
Inc.,
New
Ad
York,
Ad
Priscilla Colt,
Eindhoven, Dec.
15,
Abbemuseum,
May 22 July
2;
Museum
"New
Lucy Lippard,
Barbara Rose,
May 4,
Writings of
1965, pp.
Hilton Kramer,
Inc.,
New
York,
Ad
Ad
McConathy
Reinhardt,
The Selected
New
York, 1975
Humor," The
New
York Times,
vol.
CXVI,
Reinhardt," Art
in
America,
Ad
vol. 64,
Mar.-
Marlborough Gallery
ed., Art-as-Art:
Ad
des
McConathy and
Oct. 20,
52-53
the artist
Reinhardt:
VIII,
"Notes on Ad Reinhardt,"
REINHARDT
or
News,
72-73
vol. 65,
Irving Sandler,
"REINHARDT: The
Purist
40-47
71
Photographic Credits
Works
in
the Exhibition
Color
Exhibition 80/1
New
David Allison,
22
Press, Inc. in
Geoffrey Clements:
18
cat. no.
p.
14 right
p.
Bevan Davies:
Courtesy
Lillian H.
Hague: pp. 14
cat. no. 21
Inc.,
New
Robert
E.
cat.
22,26,27
nos. 15,
New
left,
15
20
left,
left
New
York:
E.
16
left,
Robert
E.
p.
Inc.,
19 right
Robert
12
left,
17
left,
19 top
pp.
left
Katz:
p.
Courtesy The
12 right
p.
Museum
of
Modern
20 bottom
Art,
Art,
New
York:
p.
Museum
of
20 right
Joseph Szaszfai:
F. J.
cat. no.
12
Thomas Photography,
Los Angeles:
Courtesy The
Museum
New
16 right
York:
p.
of
Modern
8, 24,
Art,
70
cat. no. 11
Wyehouse
Inc.,
New
9,
Otterlo,
The Netherlands:
19 bottom
p.
14,24
Walter Rosenblum, courtesy Rita
Reinhardt:
John
New
Buffalo,
cat.
Robert
E.
New
Museum
DC:
cat. no. 2
Otto
E.
cat.
New
York:
Wyehouse
8, 17,
72
of
Meyer, Washington,
25
Inc.,
New
New
courtesy Rita
Museum
of
American
Wyehouse
Inc.,
Waggaman,
Courtesy Whitney
Art,
no. 10
New
Reinhardt: frontispiece
F.
p.
Inc.,
New
York:
p.
17 right
The Solomon
R. Guggenheim Foundation
on the occasion of the exhibition Ad
Reinhardt and Color.
of
left
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The Solomon
R.
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