Kenneth Noland

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Kenneth Noland (April 10, 1924 – January 5, 2010) was an American painter.

He was one of America's most well-known color field painters, but he was regarded as an abstract expressionist in the 1950s and as a minimalist painter in the early 1960s.

Noland was a founder of the Washington Color School movement.

He was honored by a major retrospective at the Solomon R. Guggenheim Museum in New York in 1977 and later toured the Hirshhorn Museum and Sculpture Garden in Washington, D.C., and the Toledo Museum of Art in Ohio.

Noland's Stripe Paintings on display at the Tate in London in 2006 were on display.

Early life and education

Kenneth Clifton Noland, son of Harry Caswell Noland (1896-1975), a pathologist, and his partner, Bessie (1897-1980), was born in Asheville, North Carolina. He had four children: David, Bill, Neil, and Harry Jr.

After finishing high school, Noland joined the United States Air Force in 1942. Noland, a veteran of World War II, profited from the G.I. Bill will research art at his home state, North Carolina, at the University of Black Mountain College. Noland studied with Ilya Bolotowsky, a professor who introduced him to neoplasticism and Piet Mondrian's work at Black Mountain, where two of his brothers also studied art. Noland also investigated Bauhaus theory and color under Josef Albers and became interested in Paul Klee, specifically Klee's sensitivity to color.

Personal life

Noland was married to:

Noland had an affair with artist and socialite Mary Pinchot Meyer in the 1960s.

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Career

In 1948 and 1949 Noland worked with Ossip Zadkine in Paris, and had his first exhibition of his paintings there in 1949. After returning to the U.S., he taught in Washington, D.C. at Catholic University (1951–1960) and the Institute of Contemporary Arts. In the early 1950s he met Morris Louis in D.C. while teaching night classes at the Washington Workshop Center for the Arts. He became friends with Louis, and after being introduced by Clement Greenberg to Helen Frankenthaler and seeing her new paintings at her studio in New York City in 1953, he and Louis adopted her "soak-stain" technique of allowing thinned paint to soak into unprimed canvases.

Most of Noland's paintings fall into one of four groups: circles (or targets), chevrons, stripes and shaped canvases. His preoccupation with the relationship of the image to the containing edge of the picture led him to a series of studies of concentric rings or bullseyes, commonly referred to as targets, which, like the one reproduced here called Beginning from 1958, used unlikely color combinations. This also led Noland away from Morris Louis in 1958. In 1964, he was included in the exhibition Post-Painterly Abstraction curated by Clement Greenberg, which traveled the country and helped to firmly establish color field painting as an important new movement in the contemporary art of the 1960s. Noland pioneered the shaped canvas, initially with a series of symmetrical and asymmetrical diamonds or chevrons. In these paintings, the edges of the canvas become as structurally important as the center. During the 1970s and 1980s his shaped canvases were highly irregular and asymmetrical. These resulted in increasingly complex structures of highly sophisticated and controlled color and surface integrity.

Instead of painting the canvas with a brush, Noland's style was to stain the canvas with color. This idea sought to remove the artist through brushstrokes. This made the piece about the art, not the artist. He emphasized spatial relationships in his work by leaving unstained, bare canvas as a contrast against the colors used throughout his paintings. Noland used simplified abstraction so the design would not detract from the use of color.

Noland's students included the sculptor Jennie Lea Knight, and painter Alice Mavrogordato.

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