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Home , Augustus Vincent Tack, David Mirvish Gallery, Isaac Witkin, Kenneth Noland, Kikuo Saito, Leonard Bocour

Kenneth Noland: A Retrospective

zrt Digitized by the

in 2012 with funding from Solomon R. Guggenheim Museum Library and Archives

http://www.archive.org/details/kennethnolandretOOwald

AQQCnUcl The following works in the checklist are not included in the exhibition:

cat. nos. 7-9, 27, 30, 42, 44, 58, 63, 66, 67, 70, 71, 74, 75, 80-85, 90, 94-96, 101, 103, 104, 107, 116, 117, 122

The following works have been added to the exhibition:

Annual. 1966

Acrylic on canvas, 35 x iziW

Private Collection

Untitled. 1969

Acrylic on canvas, 9 x 96"

Collection of the artist

Flare. 1976

Acrylic on canvas, 65 XA x 89V4"

Collection of the artist

Moon Ray. 1976

Acrylic on canvas, 63 XA x 84%"

Collection of the artist

Vault. 1976

Acrylic on canvas, 65%" x 82%"

Collection of the artist

cat. no. 56 should read Shade. 1966 : A Retrospective

by Diane Waldman

This project is supported by a grant from the National Endowment for the Arts in Washington, D.C., a Federal Agency.

The Solomon R. Guggenheim Museum, New York Noland, 1976

Published by The Solomon R. Guggenheim

Foundation, New York, in collaboration with

Harry N. Abrams, Inc., New York, 1977. ISBN 0-89207-009-9 Library of Congress Card Catalogue Number 77-70424

All Rights Reserved

Printed in Japan The Solomon R. Guggenheim Foundation

PRESIDENT Peter O. Lawson-Johnston

TRUSTEES H. H. Arnason, The Right Honorable Earl Castle Stewart, Joseph W. Donner, Mason Welch Gross, Eugene W. Leake, Frank R. Milliken, A. Chauncey Newlin, Mrs. Henry Obre, Albert E. Thiele, Michael F. Wettach

The Solomon R. Guggenheim Museum

director Thomas M. Messer

staff Henry Berg, Deputy Director

Susan Halper, Executive Assistant; Vanessa Jalet, Secretary to the Director.

Louise Averill Svendsen, Curator; Diane Waldman, Curator of Exhibitions; Margit Rowell, Curator of Special Exhibitions; Angelica Zander Rudenstine, Research Curator; Linda Konheim, Curatorial Administrator; Linda Shearer, Assistant Curator; Carol Fuerstein, Editor; Mary Joan Hall, Librarian; Ward Jackson, Archivist; Susan Ferleger, Clair Zamoiski, Curatorial Assistants.

Mimi Poser, Public Affairs Officer; Miriam Emden, Members' Representative; Carolyn Porcelli, Public Affairs Coordinator.

Jane E. Heffner, Development Officer.

Agnes R. Connolly, Auditor; Kurt Struver, Business Officer; Philip Almeida, Restaurant Manager; Elizabeth McKirdie, Business Assistant; Darrie Hammer, Katherine W. Briggs, Information.

David Roger Anthony, Technical Officer; Orrin H. Riley, Conservator; Lucy Belloli, Associate Conservator; Dana L. Cranmer, Technical Manager; Elizabeth M. Funghini, Cherie A. Summers, Associate Registrars; Saul Fuerstein, Preparator; Scott A. Wixon, Operations Coordinator; David Mortensen, Carpenter; Robert E. Mates, Photographer; Mary Donlon, Assistant Photographer; Lola T. Fiur, Photography Coordinator.

Peter G. Loggin, Building Superintendent; Guy Fletcher, Jr., Assistant Building Superintendent; Charles F. Banach, Head Guard. Lenders to the Exhibition Mr. and Mrs. Harry W. Anderson, Atherton, Dr. and Mrs. Paul A. Tunick, New York Mr. and Mrs. Alvin L. Ukman, Irving Blum, New York The Weisman Family Collection Carter Burden, New York Andy Williams Private Collection

Lewis Cabot Lydia and Harry L. Winston Collection (Dr. Anthony and Sheila Caro and Mrs. Barnett Malbin, New York) Jennifer Cosgriff, New York Mr. and Mrs. Bagley Wright Marquess of Dufferin and Ava, Renee and Maurice Ziegler, Joanne du Pont, New York Artco International, York Mr. and Mrs. Roy Friedman, Chicago New Artcounsel, Inc., Mr. and Mrs. Charles Gilman, Jr., New York Arts and Science Museum, Statesville, Arthur and Carol Goldberg, New York Mr. and Mrs. Ronald K. Greenberg, St. Louis Des Moines Art Center Graham Gund The Edmonton Art Gallery, Edmonton, Canada Joseph Helman, New York Fogg Art Museum, Harvard University, William Hokin, Chicago Cambridge, Lewis M. Kaplan Associates Limited The Solomon R. Guggenheim Museum, New York Dr. T. E. Krayenbuehl, Oberreiden Hirshhorn Museum and Sculpture Garden, Mr. and Mrs. Jonathan Lambert Smithsonian Institution, Washington, D.C. Mr. and Mrs. Algur H. Meadows Emanuel Hoffmann-Fondation, Kunstmuseum the Dallas and Museum of Fine Arts Collection, Washington, D.C. Kunstsammlung Nordrhein-Westfalen, Diisseldorf Mrs. Anne Mirvish, The Metropolitan Museum of Art, New York Mr. and Mrs. , Toronto The Museum of , New York Mr. and Mrs. D. Murchison, Dallas John New Art Collection

Mr. and Mrs. S. I. Newhouse, Jr. Cornelia Noland, Washington, D.C. Galerie Beyeler, Basel Kenneth Noland Andre Emmerich Gallery, New York

Jules Olitski Kasmin Limited, London

Mr. and Mrs. Joseph Pulitzer, Jr., St. Louis , Toronto Robert A. Rowan Collection Rutland Gallery, London Mrs. Hannelore Schulhof Galerie Bogislav von Wentzel, Hamburg Mr. and Mrs. Eugene M. Schwartz Peter Sharp, New York Michael Steiner, New York Marc and Livia Straus, Boston Dr. and Mrs. William Tannenbaum, Chicago Horton R. and Chiyo T. Telford Collection

Dr. and Mrs. Frederick L. Tunick, New York Table of Contents Lenders to the exhibition 4

Preface and Acknowledgements 7 by Thomas M. Messer

Kenneth Noland 9 by Diane Waldman

Chronology 38

Works in the exhibition

Checklist 44

Color illustrations 49

Black and white illustrations 120

Exhibitions and Reviews I46

Bibliography 157

Noland and Caro with Olitski sculp- ture, South Shaftsbury, 1965 Preface and Acknowledgements

Olitski and Noland, South Shaftsbury, 1965 Few contemporary artists have drawn as deeply charged with competence and skill. Orrin tion will travel to the Hirshhorn Museum and as Kenneth Noland from a great variety of Riley, Saul Fuerstein and Cherie Summers Sculpture Garden, Smithsonian Institution, and sources or translated such a wealth of mate- were most directly involved in the technical the , both in Washing- rial into a more independent and personal ex- and preparatory aspects of the exhibition and ton, D.C, as well as other institutions for which pression, as is so cogently argued in Diane are therefore entitled to our special gratitude. a schedule has not yet been determined. Waldman's text in this catalogue. His teachers, Particular thanks are due to Mrs. Waldman's To all those mentioned, to the lenders who Albers and Bolotowsky, older masters like Ce- assistant Clair Zamoiski, who aided in all are listed separately and to Kenneth Noland zanne, Picasso, Mondrian, and more directly stages of the exhibition, and Carol Fuerstein, himself, I herewith extend the Guggenheim

Klee and Matisse, the seminal intermediary fig- who edited the catalogue and worked on all Museum's sincerest thanks. ure of Pollock, as well as his friends and col- phases of documentation for the publication. leagues Frankenthaler, , David On Mrs. Waldman's behalf I would like to Thomas M. Messer, Director

Smith and Caro, served Noland in his search thank, in addition to those cited above, the The Solomon R. Guggenheim Museum for forms and images that ultimately became family and friends of the artist, among them uniquely and unmistakably his own. Noland Neil and Harry Noland, , Clem- developed his mature work in separate series, ent Greenberg, Michael Steiner, Jim Wolfe and each possessed of a conspicuous identity: the Willard Boepple, whose enthusiasm has been

concentric circles, cat's-eyes, chevrons, dia- invaluable. Mrs. Waldman also wishes to ac-

monds, stripes, plaids, and his most recent knowledge the following galleries and individ- shaped canvases. Paradoxically, such a self-im- uals: Andre Emmerich Gallery, New York and posed restriction to a number of basic themes Ziirich; David Mirvish Gallery, Toronto; Wad- creates an unexpected wealth of imagery in dington and Tooth Galleries Limited, London; Noland's case. Kasmin Limited, London; Leo Castelli Gallery, Despite the clarity of his imagery and the New York; Galerie Wentzel, Hamburg; Blum/ sensuous appeal of his surfaces, Kenneth No- Helman Gallery, New York; Lawrence Rubin

land's work is not easily comprehended. The of M. Knoedler and Co., New York; Nicholas selection of paintings, the structuring of the Wilder Gallery, Los Angeles; John Berggruen, exhibition and the interpretation of Noland's San Francisco; Robert Murdock; Charles oeuvre in a catalogue essay therefore could be Cowles and Kenworth Moffett. Mrs. Waldman

undertaken only by one as qualified as Diane is particularly grateful to Martha Baer of Ac- Waldman, the Guggenheim Museum's Curator quavella , who arranged her

of Exhibitions. Mrs. Waldman worked closely first meeting with the artist in 1971. with the artist and derived great benefit from The Kenneth Noland retrospective could

his wisdom, kindness and intelligence and not have taken place without the full coopera-

enthusiastic collaboration. The responsibility tion of lenders in this country and abroad or

inherent in the mounting of an artist's first without the greatly valued financial support major retrospective in a New York show posed of the National Endowment for the Arts in

complex problems for the Guggenheim's ad- Washington, D.C. It is due also to the for-

ministration as well as for its curatorial and bearance of the former and the generous aid technical departments. These tasks were dis- of the latter that a major portion of the exhibi- Harry Noland, Sr., far left, c. 19x1

Kenneth Noland, right, in Egypt, 1944 Kenneth Noland The third of four sons, Kenneth Noland was of materials and the materiality of paint he ex- born on April 10, 1924, in Asheville, North perienced at the time. Next to his father, the Carolina. On his father's side, the family had most important influence on the artist in his by Diane Waldman settled in North Carolina a few generations be- early teens was his brother Harry, four years

fore, while his mother's family, Elkins, had his elder, who introduced him to both jazz and originally come from West Virginia. Asheville, literature. Harry, regarded by Kenneth as the with a population of approximately 50,000 real intellectual in the family, had been a pho- people, was both a rural mountain town and tographer in high school, taught during World

a resort. It harbored fashionable spas and san- War II and received his M.A. at the American itariums; particularly notable among the latter University in Washington, D.C. The youngest

was one in which Zelda Fitzgerald was treated. brother, Neil, is a sculptor who often assists The narrowness and complacency of ordinary Kenneth with many facets of his work.

rural life was offset by these institutions which, In 1942, at the age of eighteen, Noland was incidentally, were a source of support for the drafted into the army and elected to serve in

middle class, to which Noland's family be- the Air Force as a glider pilot and cryptogra- longed. Noland considers himself fortunate to pher. His decision to join the Air Force was have grown up in a town in the South that prompted, in part, by the example of his father

was at once primitive and sophisticated. who had been an "early bird," one of the first His grandfather's business was the model for one hundred or so who learned to fly (fig.). the funeral home of Horse Hines in Thomas As children, Kenneth Noland and his brothers Wolfe's Look Homeward Angel. Although had ridden in these early planes, and the ro- neither his mother or father went to college, manticism he attached to flying from die days to members of his father's family did. His grand- of these youthful adventures attracted him father on his mother's side was a blacksmith the Air Force. Although Noland spent most who could make anything— violins, watches of his time in the Air Force in the , as well as the wrought iron objects he pro- in flyers' pools at numerous air bases, toward in Egypt duced for a living. the end of the War he was stationed

At a very early age, all of the Noland chil- and Turkey (fig.). Ashe- dren were exposed to art by their mother, an After the War Noland returned to amateur musician who played the piano, and ville. He had decided to attend art school and about Black father, a Sunday painter of landscapes and still- had heard from his brother Harry Mountain, North lifes who had studied with a woman artist who Mountain College, in Black miles from was an Impressionist. When Noland was thir- Carolina, which was only twenty brothers teen or fourteen, he was taken by his father to Asheville. Kenneth, together with his Black Mountain on the National Gallery in Washington and he re- Harry and Neil, attended members being impressed with Monet. His the G.I. Bill. Department father allowed him to use his professional art- , head of the Art the school's driving ist's materials, a rare opportunity for a child. at Black Mountain, was arrived at Black Mountain in He still retains a vivid impression of the sense force. When he i933> direct from the , Albers brought with him an encyclopedic view of twentieth- century art that had not before been avail- able to even the most avant-garde artists in America. Only , who had opened his own school in New York in 1933, had a first-hand experience of the vast range of European that rivaled Albers' own knowledge. At Black Mountain Albers contin- ued to advocate the pedagogical approach of the Bauhaus curriculum. Black Mountain be- came the fulcrum of avant-garde activities in

America and included among its faculty such singular and diverse personalities as Willem de Kooning, , Jack Tworkov, Buckminster Fuller, and John Cage. Albers was on sabbatical when Noland ar- rived in 1946, but he did study with him for one semester in 1947. Noland became familiar with Albers' color theories and Bauhaus prin- Noland, Untitled, 1947. Collection Harry and Christa Noland ciples in general but ultimately rejected them as too rigid and "scientific." During his two years, 1946-48, at Black Mountain Noland studied primarily with , whom he credits as being his most important teacher there. Noland says "Bolotowsky took us back At Black Mountain Noland was primarily ber of the New York based American Abstract to Impressionism when we were all beginners interested in pure abstraction. He has described Artists, a group founded in 1936 and oriented and through Cubism into neo-plastic art and his work of the period to be abstract neo- towards , was in touch Surrealism." 1 Bolotowsky, although involved plastic painting of a "Mondrian-Bauhaus" with Mondrian and sympathetic to the artist's with many concerns similar to Albers' ap- orientation as filtered through the influence theories. Robert Motherwell speaks of Mon- peared to Noland to be more open, more of Bolotowsky and Albers. See, for example, drian's: "formulation of color relations arising a humanist than Albers. Yet despite Albers' Untitled, 1947 (fig.). But it was Bolotowsky, from a division of space. He uses color and absence during most of Noland's stay at Black rather than Albers, who introduced Noland to space to communicate feeling ... a definite and Mountain and the fact that Noland took the expressive possibilities of color. Noland has specific and concrete poetry breaks through his ". ." 2 exception to his doctrinaire teaching, it is un- since described Bolotowsky as . . coming out bars. . . To Mondrian, the function of the deniable that Albers' influence was all per- of Mondrian . . . painted in color." artist was to express the felt quality of reality vasive at the school and surely left its mark on Mondrian's influence was undoubtedly con- without referring to the natural forms of the Noland. veyed by Bolotowsky, who, as a charter mem- outside world. As Mondrian said:

10 What capitivated us at first does not hold us land could best express his color sensibility

afterwards. If one has loved the surface of with the circle: it was both a specific and a things for a long time, one will finally look general form. Noland, again unlike Mon- for something more. This "more," however, drian who limited himself to horizontals, ver-

is already present in the surface one wants ticals and straight edges, loves the irregular to go beyond. Through the surface one sees edge, the diagonal, the curve, the sphere, used

the inner side of things; it is as we regard singularly or combined. Mondrian structured the surface that the inward image takes asymmetrical compositions within symmetrical

shape in our souls. This is the image we are formats. Noland, however, is fundamentally to represent. For the natural surface of things concerned with symmetrical centered organiza-

is beautiful, but the imitation of this surface tion. Mondrian's paintings are about balanced

is lifeless. Things give us everything, their asymmetry; Noland's are about symmetry and representations give us nothing. 3 the center. Although Noland is by no means the purist that Mondrian was, the essential Noland's mature works owe much to Mon- grid structure of Mondrian's art— the demar- drian in their classic purity, chromatic break- cation of the canvas with black bands which down of space and the optical effects of forms often stop short of the edge and create a sensa- which seem to advance and retreat while simul- tion of movement in flat space— and the way taneously occupying a single plane. But the dif- color works within that structure became basic ferences between the two artists are as apparent components in Noland's own work. Thus, the

.is their similarities. In his concentric circle structural function of color became an integral paintings, Noland, unlike Mondrian, conveys part of Noland's painting, a concern which a physical sense of space with expressive brush- could have worked both to his advantage and work, staining, overlapping edges and the illu- disadvantage. By overemphasizing structure sion of diminishing forms created by concentric and sacrificing his inherent interest in color, bands of color. Noland's concentric circles Noland might evolve into a purely geometric more closely resemble Albers' concentric painter, but by eschewing formal concerns and squares (fig.) than they do Mondrian's paint- working exclusively with color he could also Albers, Homage to the Square: ings in their symmetrical organization and severely limit his art. Noland had to find his Apparition, 1959. Collection The their juxtaposition of color. Too, Mondrian's very personal and scrupulous equilibrium of Solomon R. Guggenheim Museum, restriction of color to white, black and the structure and color. New York primaries and structuring of the entire surface The precepts of the Black Mountain pro- with equal emphasis are antithetical to No- gram did not help him effect this synthesis. Nor land's interests of this period. Rather, the iden- did Surrealism, then the pre-eminent artistic tification of and emphasis upon the center of movement in New York, seem to provide a the canvas, effected by means of the circle, and solution. Surrealism, which had enormous im- an expressive and intuitive use of a wide range pact on the first generation of the New York of color assume the greatest importance in School of when Albers this, Noland's first mature body of work. No- was at Black Mountain, was of little interest in

11 North Carolina. The artists of the Bauhaus— Expressionists practiced automatism, a tech- Color had a very special function for Klee: he

Kandinsky, Klee, Schwitters and, of course, nique that encouraged the creation of chance used it not as the means of establishing spatial Albers himself— absorbed the students of No- and random or spontaneous images free from illusionism — as Albers did, for example— but land's time. Only when John Cage and Merce "thought's control." It was this method of to convey mood. Once Klee had discovered Cunningham were in residence at Black Moun- improvisation that liberated artists like Jack- what the true meaning of color was for him, tain, in the summer of 1948, did the Duchamp- son Pollock from the constraints of traditional he noted in his diary on April 16, 1914: oriented wing of Dada have any impact on the painting. For Noland, however, the painterly / now abandon work. It penetrates so deeply students there— and then it primarily effected possibilities of automatism which were later and so gently into me, I feel it and it gives me the work of Robert Rauschenberg. (Rauschen- to prove attractive to him were remote at the confidence in myself without effort. Color berg, in turn, was later the major conduit of time, and only later did the influence of Pol- possesses me. I don't have to pursue it. It will neo-Dada to the younger artists of the New lock's automatism affect him directly. Removed possess me always, 1 know it. That is the York School.) Surrealism itself had little direct from New York and uninterested in the liter- meaning of this happy hour: Color and I are impact at Black Mountain. In York, the ary and representational aspects of Surrealism, New 4 one. I am a painter. Abstract Expressionists cultivated a language unaware of the historic breakthrough of the of signs and symbols which, in Jungian terms, New York School, Noland turned to the one Mondrian's "concrete poetry" and Klee's in- were expressions of a "collective unconscious." painter of the Bauhaus whose genius as a color- tuitive and magical sense of color were the basic

Such leading figures of the New York School ist, use of Cubism in an expressive yet still ab- influences on Noland's painting of this time. as Gorky, Pollock, Rothko, Newman, Gott- stract manner and proto-Surreal fantasy images But the metaphysics of Mondrian and Klee and lieb and Still, among others, developed a body could capture his imagination — . the mythic content of the early Abstract Ex- of primitive imagery which they believed had Like Mondrian, Klee had sought in abstrac- pressionists were alien to the sensibilities of No- universal significance. They substituted these tion a way of reaching beyond the surface of land and other painters of his generation. Only symbols for the Surrealists' Freudian dream natural phenomena. As it was for Mondrian, somewhat later, when he was introduced to the imagery. Gottlieb and Rothko, working closely geometry for Klee became the means by which work of Jackson Pollock, was Noland drawn together in the 1940's, dedicated themselves to he could reduce natural phenomena to a few to more active paint handling, a more visceral the development of mythic content in their fundamental elements— point, line, plane, solid, concern for the very process of making a paint- paintings. Removed from their primitive con- sphere — and reconcile these basic forms with ing that led to his own breakthrough. text, however, the Abstract Expressionists' a belief in a highly metaphysical truth. Klee In the Fall of 1948 Noland took advantage symbols lost the connective tissue crucial to rarely painted pure abstractions, however. of the G.I. Bill to visit "to find out more their original meaning and use; they became, Mondrian's impassioned regard for the strin- about art" and to study with the sculptor Ossip instead, virtually abstract signs without mythic gencies of a totally abstract system of horizon- Zadkine, who had taught at Black Mountain significance. It is interesting to speculate that tals and verticals was alien to Klee, for his work College in 1945 before Noland was there. Zad- the Abstract Expressionists actually were always remained rooted in nature. While Mon- kine was teaching at the Academie de la Grande moved to introduce primitive forms for their drian's oeuvre is marked by a singularity of Chaumiere but also gave small private classes formal rather than their mythical values. concept, Klee's is exceptionally varied stylistic- in his studio which Noland attended. Noland Indeed, after a relatively brief period of experi- ally. Klee was a romantic and a mystic, and his made sculpture in class but also rented rooms mentation, all of the artists in question aban- work differs from the organized intellectual in a series of small pensions in Paris— in the doned mythical signs for a virtually abstract and literary programs of the Dadaists and Sur- Hotel Stanislav, rue Stanislav, rue Fleurus, imagery. realists: his imagery springs from his own in- near Gertrude Stein, and rue d'Assas— where he Like the Surrealists before them, the Abstract ner, very personal vision. lived and painted on his own, with Zadkine's

12 criticism and advice. Noland thought that Zad- In Paris Noland became aware of Matisse. Moreover, many of the best European artists ". Matisse's kinc, like Bolotowsky, was . . very committed impact on Noland's early work, es- had been in the United States during the War. to art and very idealistic about teaching and a pecially in the area of color, became as signifi- He thought that: very, very generous sympathetic man." Zad- cant as that of Klee. As Noland has stated: There was no life really going on in art ... 1 kine's strong Cubist orientation proved prob- / got onto Matisse when I was in Paris and just had an idea that there was more going lematical to Noland, however, as it conflicted realized that I was going to have to revise on in the United States. 1 wanted to get back with the formal training in abstraction he had my thinking about how to go about making to see what was going on over here . . . they received at Black Mountain and was, even at pictures. Up until that time . . . it was com- knew about Picasso very much and about this early stage in his development, antithetical ing out of of the Bauhaus-Cubist Matisse and Mho. But they knew nothing to his innate sensibility. kind, and I realized that I had to really learn about Paul Klee or Mondrian. And over here In Paris Noland became friendly with a few how to paint. I think it has something to do we had known about Mondrian and Klee artists, notably Arthur Secunda, who intro- very simply with how to use materials in a and assumed that they were of equal stature duced him to , then studying kind of hand way. The Cubist abstract way with the so-called French School of paint i>ig. musicology, and Shinkichi Tajiri and Paul En- of painting was more like a process of pre- gland, the latter also a student of Zadkine. En- In any event, he felt that his exposure to ab- disposition, like you planned and you con- gland had been given a one-man exhibition at straction at Black Mountain had prepared him ceived it beforehand. To paint out of the Galerie Creuze and helped arrange No- for a more radical form of art than existed in Matisse, or to use color, you had to learn land's own show there in the Spring of 1949. Paris. He returned to the States in the sum- how to use the materials. Although there were many other Americans in mer of 1949 and moved to Washington, D.C., Paris on the G.I. Bill at that time — including To organize an abstract painting, Noland where his parents were living, and remained

Ellsworth Kelly, Jack Youngerman, Sam Fran- believed that it was necessary to reject Cubist there until 1961. cis, Jules Olitski and Paul Jenkins— Noland did structure, which was essentially graphic and In the Fall of 1949-50 he began to work at not get to know them until well after his return was based on light and dark and which even the Institute of Contemporary Arts, first as a to the States. Noland's exhibition at Creuze Mondrian had been unable to discard. His student-teacher under the G.I. Bill and then consisted of paintings done in Paris which con- ambition was to transform a graphic structure full time, teaching painting and drawing. This tinued to reflect the influence of Klee. Although into a color structure, with Matisse and Klee job enabled him to support himself and to

Noland felt that public reaction to this show his masters. He was drawn to Miro's abstract continue to paint. His teacher at the ICA was was essentially non-existent, in a review in the forms, handling of materials and tactility. In an Englishman, Robin Bond, who had taught

April 29, 1949 issue of the International Herald an attempt to free himself from Bolotowsky, at the A. S. Neil School at Summerhill and was Tribune, "Art News in Paris," the critic John Albers and Mondrian, he painted some Picas- influential in developing interest in art and art

Devoluy noted the artist's strength as a colorist, soesque post-Cubist neo-classical figures and education in Washington. When Bond left the ". citing his . . almost barbaric color arrange- Matisse-like still-lifes. ICA, Noland took over his job. Noland was ments combined with 'graffiti' suggesting ani- After a stay of only a year in Paris Noland indebted to Bond for encouraging his interest mals, huts and/or cathedrals." Noland has was anxious to return to the States. Like most in Klee and for introducing him to Reichian stated that the show was important to him, Americans in France at the time, he did not get therapy. Noland remained in Reichian treat-

even though it did not reach a wide audience, much involved with French cultural life. He ment for about nine years; he stresses the im-

because it allowed him to see his pictures hung felt that the Americans, unlike the French art portance of this and subsequent therapy on his

publicly in an exhibition space instead of in his students, wanted to find out about European life and on the development of his work, for he

studio. art without actually continuing in its tradition. feels strongly that art, no matter how abstract,

13 Noland, In the Garden, c. 1951. The Noland, Untitled, 1951-52. Collection Phillips Collection, Washington, D.C. Harry and Christa Noland

reflects one's view and experience of life and example it presented to Noland of centered also consciously adapted Klee's materials such people. shapes. The organization of a minimum num- as watercolor and pastel and the highly tex-

Noland's interest in Klee was reinforced by ber of forms for maximum effect is paralleled tured often coarse supports which emphasized frequent visits to the Klee room at the Phillips in Noland's own later work. But even more the physicality so important to him. His devel-

Collection in Washington. And his painting of important for Noland is Klee's extraordinary oping passion for color was encouraged by this period continued to reflect Klee's influ- color sense, unparalleled among his contempo- other painters he saw at : ence, which is especially evident in works like raries, with the singular exception of Matisse. there Noland viewed with interest the percept-

In the Garden, c. 1952 and Untitled, 1951-52. The juxtaposition of Arab Song's soft but lu- ual and optical effects of the Impressionists

(figs.). The latter, in particular, is more than minous pastels, the use of a single narrow and was especially taken with the American casually related to Klee's Rolling Landscape, band of black in the upper third of the paint- painter Augustus Vincent Tack.

1938 (fig.). Noland's innate feeling for the cir- ing as counterpoint to these tones, and the Noland spent the summer of 1950 at Black cle and the center is noticeable in a Klee-like obvious texture of the burlap support are Mountain College, where he met and became painting such as Untitled, 1950 (fig.). Klee's adapted with stunning results in Noland's bril- friendly with Paul Goodman, who taught writ-

Arab Song (fig.) is significant in part for the liant circle paintings in the late 1950's. Noland ing, and Clement Greenberg, with whom he

14 Klee, Rolling Landscape, 1938. Noland, Untitled, 1950. Collection Klee, Arab Song, 1932. The Phillips Collection The Solomon R. Harry and Christa Noland Collection, Washington, D.C. Guggenheim Museum, New York

15 developed a close friendship. He also met who was visiting for a few days. Frankenthaler, who was studying with Hans Hofmann in Provincetown, was Noland's only personal link to New York Abstract Expression- ism at the time. She did not, however, directly influence Noland's work during this period as he continued to absorb the impact of Klee. Later that year Noland met David Smith through Cornelia Langer, once Smith's student at Sarah Lawrence. The close friendship that developed between the two artists lasted until the sculptor's death in 1965. Their relation- ship was reinforced by Cornelia's marriage to Noland and her own friendship with Smith's second wife, Jean Freas. From Smith Noland learned the value of working in series and keep- ing large quantities of materials at hand so that he would feel free to experiment with them. Noland began to draw intensively in both abstract and figurative modes: many of the drawings reflect Smith's influence. At about this time Noland began to recognize Pollock's importance and to introduce elements of this painter's work into his Klee-like canvases, as in Untitled, c. 1952-53 (fig.). Pollock's Eyes in the Heat, of 1946 (fig.), was especially impor- tant to Noland, not for its inherent Surrealist imagery or mythic symbolism, which are re- lated to Klee's whimsical ideograms, but for its Noland. Untitled, c. 1952.-53. Vincent Pollock, Eyes in the Heat, 1946. gestural emphasis which revealed the process Melzac Collection, Washington, D.C. Collection Peggy Guggenheim Foundation, Venice of the act of painting. Noland has stated that his ambition was to create a new kind of abstract painting. He had already abandoned Cubist graphic structure and dark and light values and had evolved a language of color out of Matisse and Klee. The freedom, heroic scale and the replacement of drawing by gesture of Pollock's work would ultimately provide No-

16 land with the final elements he needed to syn- thesize his new and utterly unique expression. The ICA dissolved around 1951, and the ceramicist Alexander Giampietro, who had taught at both the ICA and Catholic Univer- sity, helped Noland obtain a job at the latter institution. Noland worked there for about -"*•-; M nine years, primarily teaching figure drawing and fundamentals of design. In addition to his job at Catholic University, in order to be able to support his family and still continue paint- ing, Noland taught night classes intermittently r from 1952 to 1956 at the Washington Work- shop Center of the Arts. In 1952 Noland met Morris Louis when both began to teach at the Workshop Center at about the same time. They formed a very close relationship that broke off in 1955 but was resumed about one and one-half years before

Louis' death in 1962. Noland and Louis saw each other frequently, generally two or three Frankenthaler, Mountains and Sea, lot times a week, talked a and became "paint- 1952. Collection of the artist (On Loan ing buddies." to the , Washington, D.C.)

When I first met Morris he was very inter-

ested in Jackson Pollock, and so was I. . . .

He had arrived at this independently. I had

arrived at it mostly through having had con- experience as follows: "We were interested in Starting in 1953 Greenberg and David Smith tact with Clement Grecnberg. There was Pollock but could gain no lead to him. He was visited Washington about two or three times a idealism, personal idealism kind of involved too personal. But Frankenthaler showed us a year. They got together at various times with in that. ... By comparisons and by discus- way — a way to think about, and use color." 5 Noland and Louis to talk about art. The friend- sion and so forth it was mutually benefitting. Upon their return to Washington, Noland and ships that formed had a profound influence on During a visit to New York in early April Louis experimented together with staining with Noland, who was considerably younger than of 1953, Noland introduced Louis to Green- color directly into raw canvas for a period of the others. Noland also went to New York berg, who took them to Helen Frankenthaler's two or three weeks, sometimes even working whenever he could, visiting about twice a year, studio. There they saw her 1952 poured stain on the same painting. After this intense period sometimes in the company of Louis. In New painting Mountains and Sea (fig.), among of joint experimentation, which Louis and No- York Greenberg took Noland to see paintings others. Noland and Louis were deeply im- land called "jam painting," they began work- and to parties and introduced him to many of pressed by her work. Noland later spoke of the ing again on their own. the major New York School artists.

17 Noland, Untitled, c. 1955. Collection Harry and Christa Noland

In 1953-54 Noland began to experiment land primarily used Magna until 1962, when paintings, even more essential than in Pollock, with plastic-based rather than oil paints. He he changed to Aqua-Tec. Noland began to in that Noland's process must work completely started to use Magna, which is compatible with favor acrylic-based paint because it is possible if the image is not to fail -entirely. If the tech- oil but has acrylic-resin as a binding agent. to stain it directly into raw canvas— at this time nique and image did fail, the paintings were When they met, Louis had already been using he was using cotton duck— without the prim- discarded. Magna, which he had obtained from his friend, ing essential when employing oil paint. The Noland's paintings of the years 1953-56 are . Indeed, Louis was the first stain technique and the nature of the medium characterized by continual experimentation. artist to stain with Magna. At this time No- had important ramifications. The method made He tried both a de Kooningesque Abstract Ex- land also began to mix dry pigment, given to it difficult for Noland to alter or re-work a pressionism and the stain technique that had him by David Smith, with water-based plastic color since it caused the paint quality to change. so impressed him in New York. But there was mediums. This kind of mixture was later com- It was this fact that later led Noland to describe too much for the young Noland to successfully mercially manufactured under various names his canvases as "one-shot" paintings. Process assimilate into his work at this early date, and such as Aqua-Tec and Liquitex. However, No- was to become a vital component of Noland's his paintings of the time demonstrate no dra- matic breakthrough (fig.)- The more mature Louis, however, shortly thereafter began to evolve his brilliant series of Veils, of which an early example is Breaking Hue, 1954 (fig.)- No- land produced abstractions with all-over Pol- lock-like articulation, canvases with landscape feeling like those of Frankenthaler and works that show the influence of Still or Rothko. Paint is applied thickly with the brush or fingers; paint is poured or stained in thin washes. In searching for new ways to apply paint, organ- ize the surface and escape the limitations of previous abstraction, Noland was trying to dis- cover his personal style. In this respect, Noland has acknowledged that living in Washington helped him as well as Louis; their distance from New York gave them perspective on the de Kooning- type of Abstract Expressionism dominant there. Noland's position in Wash- ington allowed him to remain cognizant of what was happening in New York yet realize that he did not wish to paint in the manner of his contemporaries there. His detachment prompted him to experiment and ultimately de- velop his own independent expression. Noland explained his and Louis' reservations about Abstract Expressionism;

. . . the thing that bothered me about the Ab- stract Expressionists, or bothered me about the way fainting had been, was the fact that

painters had usually gotten set in a way of

working. . . . We figured that the best way to Louis, Breaking Hue, 1954. Collection arrive at making art that was more personal Museum of Fine Arts, Boston to was get into a process of changing. . . . that was a lesson we learned from Abstract Expressionism: that we used to make changes

and so learned to recognize that not just changing from one picture to another pic-

19 Noland, Untitled, c. 1956. Collection Sybil and Robert Meyersburg, Noland, In a Mist, Collection 1955. Bethesda, Maryland Cornelia Noland, Washington, D.C.

20 lure, but the necessity for at some point tain choice of color, both circular motif and the exterior of the circles. Color is, of course, a throwing everything into question and going square format are harbingers of a new direc- vital factor which can enhance or alter the

back to the necessity to just re-handle the tion in Noland's work. The circle as a motif optical effects of motion in circles. Newton, materials again. and square canvas as a format are beginning to Maxwell and Duchamp, among others, ex- assume greater urgency. Expressionist features perimented with color and discs. Their inves- By this time, Noland's work was included in a are increasingly suppressed, despite Noland's tigations, as well as others', reinforce the prem- number of seminal group shows. For example, lingering need to allow the process of pouring ise that the circle, in itself, infers motion. No-

Greenberg visited Washington and selected and staining an active and highly emotional land wishes to infer rotary (that is, spinning) three paintings by Louis and one by Noland for presence in his painting and to avoid at all movement, while maintaining color equilib- a group exhibition, Emerging Talent, which he costs the rigid geometry of Albers. rium. He explains that he puts the soft or was organizing for the Kootz Gallery in New Clearly, the circle was a much more satisfy- ragged painting on the outer band to make the York, held in January 1954. Besides Noland and ing form than the square for Noland. The circle transition to the outer canvas surface gradual

Louis, the other participants in the exhibi- is related to the cosmos, while the square is instead of abrupt, to cushion the intensity of tion were Herman Cherry, , Paul most closely associated with man and man- the color on the canvas. This concern is unique

Georges, Cornelia Langer, Saul Leiter, An- made forms like architecture. The circle stands and is opposite in intent and effect from that of thony Louvis, Sue Mitchell, Philip Pearlstein, for eternity, the square, a symbol of the four Albers, who used the square to maintain a static and Theophil Repke. On a visit to New York elements in ancient times, represents material- balance and interacting color to create illusory

Noland took several paintings to the Poin- ity and infinity. Because it has neither begin- motion. Noland appears in this connection to dcxter Gallery. Betty Parsons called them to ning nor end, the circle has, since antiquity, have been impressed by Kandinsky's color

Dorothy Miller's attention. Dorothy Miller se- been symbolic of natural phenomena, organic theories as expressed in his Concerning the lected Noland's In a Mist (fig.) for The growth, mysticism and divinity. One of the Spiritual in Art, Kandinsky had concluded that 's traveling exhibition, oldest of mathematical figures, the circle has certain colors, such as blue, recede, while Young American Painters, which circulated in been used in architecture since prehistoric others, such as yellow, advance, despite the the United States from 1956 to 1958. Other times (in prehistoric huts, Moslem arches, fact that they may fill equal areas — for ex- artists in the show included Richard Dieben- Claude-Nicolas Ledoux' spheres and Buck- ample, a circle. Kandinsky did not concentrate korn, Fllsworth Kelly, Elaine de Kooning, Ste- minster Fuller's geodesic domes); in religion, on the mechanics of motion but rather on the phen Pace and Sam Francis. for example, as a symbol of totality and in the metaphysics of form and color. Noland was

Noland's circle paintings had begun to form of the mandala. It occurs in nature, as in able to derive from these and other theories emerge gradually by 1956, when the Modern's the growth rings of a tree. of early twentieth-century abstraction the show started its circulation. Even in an ex- Whereas the square is essentially a static realization of an elemental form as a sublime tremely gestural work like Untitled, c. 1956 figure (unless turned on end to form a dia- reality.

(fig.), Noland's sense of the center is apparent. mond), the circle is dynamic. Any equilibrium Noland's first one-man exhibition in New

A painting like Globe, 1956 (cat. no. 3), reveals the circle maintains is dependent upon second- York was held at the Tibor de Nagy Gallery characteristic features of the circle series: a ary elements: a dot or circle placed at exact in 1957, when he was thirty-three. Noland was square support contains a centered circle sur- center creates a sensation of stasis; motion and bringing paintings to New York around this rounded by washes of color and a large amount countermotion are inferred by another circle time in search of a gallery, and Helen Franken- of raw canvas. Although this painting is still placed off center within a symmetrical form. thaler, who was showing at de Nagy, "put in a largely expressionistic and lacks definition in Concentric rings create a pattern of energy in good word" for him. James Schuyler described the jagged contour of the circle and the uncer- which movement radiates from the interior to the show in Art News:

21 Noland's first one-man show of oils in New York was a breath of spring in the depths of winter. For instance, Bedspread: a smeared

white cloud, flat and dense, fringed at bot- tom by black strokes, at the top by blue and white, on either side by a band of green of

< i«& willows about to leaf. Globe eliminated the mmtwu n i»;^ \)M&. middle plane: a black circle that did not •*<

quite join floated free of the canvas, stained and freckled with the clear diffusion of peb- bles under water. Elmer's Tune was divided into three panels whose summing up was a continuous appeal to the eye, not to the ruler. And Opal, with drawn twinges (or tweaks) under the thin washes of oil: birds

flying: refractions in a milk opal: opal chips floating in glycerine. The show satisfied any criteria for the Abstract-Impressionist mode and for tune detectives, the influences were there to detect. But the best tune was No- land's own, changing from painting to painting, always musical to the eye, like the stream of warmed silver paint in his Royal Envelope/'

Other critics noted Noland's distinctive use ". of color; one cited combinations of . . green,

pinkish gray and electric blue . . . milky, overlapping tints of blues, pinks, purples and ." 7 greens. . . Shortly thereafter Noland began his concen- tric circle paintings, which are generally con- sidered to be his first mature works. By 1957-58 Noland, Bedspread, c. 1955-56. he had gradually eschewed painterliness in fa- Collection Cornelia Noland, vor of hard-edged, centered motifs such as Washington, D.C. discs, cruciform patterns, lozenge shapes. The paintings of 1958-59 feature concentric bands of color of varying widths which appear to move outward from the canvas center to its

22 edges. Canvas is left unpaintcd along the edges structure. It seems evident that Matisse figured Several writers have described Noland "dis- of the support as well as in bare bands between prominently in this aspect of his development. covering the center" one day while walking the painted bands of the circles. Until 1961 the Matisse's hedonistic color sensibility— his jux- around one of his canvases which was on the outer band of the circle often retains an uneven taposition of pure vibrant color into separate floor, where, like Pollock, he often worked. Pol- painterly edge reminiscent of Abstract Expres- but contiguous zones — inspired Noland to lock and the Abstract Expressionists in general sionist gesture, as in That, 1958-59 (cat. no. 9). strengthen his own palette: he was thus able to were fundamentally concerned with all-over This trail of freehand brush drawing at the reinforce Klee-like delicate nuance with Ma- painting. Noland, however, in a radical break outermost ring is rendered by staining without tisse-like intensity. Although Noland had been with this tradition, rejected even surface articu- impasto. Occasionally paintings of this period an avid admirer of Matisse from his early days lation and instead emphasized the center of the feature stars, crosses, for example, William, in Paris, he was not as quick to absorb the canvas. This dramatic innovation became a

1 960 (cat. no. 19), pinwhcels, as in Corn Sweet, French master's lessons as he was to learn from basic component of his work. The circle was, 1961 (cat. no. 20), or armature-like motifs, but Klee. There were no doubt several reasons for of course, the ideal form with which to focus the circles dominate. Noland painted a few this, the most important of which probably on the center. canvases with a centered floral motif, for ex- was that Matisse's color was bound to lines, In October of 1959 Noland showed a group ample, Time's Motion, 1959 (cat. no. 13), shapes and contours of representational form. of concentric circle paintings for the first time which were influenced by Louis' Veils. How- This was a problem for Noland because he in his one-man exhibition at French and Com- ever, they preceded Louis' Florals, begun in wanted to eliminate the vestigial elements of pany in New York. Greenberg, who had be- i960, and probably influenced them. Green- drawing and representation in his painting. come artistic advisor to the gallery in 1958, berg was of the opinion that Louis' "art would However, he was able to adapt Matisse's color helped Noland choose and hang the show. have evolved anyhow . . . towards intenser and without its concomitant drawing when he dis- Among the paintings in the exhibition were more opaque color, and vertical stripings were covered the concentric circle, a neutral form Ex-Nihilo, 1958, cat. no. 7), and Lunar Epi- already emerging from under his 'veils' in the which he could shape by means of color alone. sode, 1959 (cat. no. 10), which illustrate the years previous. Noland's influence served, how- Noland's working method at this time has progression of his development: the later can- ." 8 ever, to speed their emergence. . . been described as follows: vas is far more defined than the earlier. Noland When Noland began his first important also experimented with double circles which works, the concentric circles, he moved ahead . . . sometimes he would start to work di- closely resemble one another in format but not of Louis in several major respects, not the least rectly on the canvas or sometimes he would color. He later cut these in half, for example, of which was in the realm of technique. Louis begin by mixing up about 40 jars of Magna. This and That (cat. no. 9), Half and And Half. double had shown Noland how to lay down a thin size . . . Then he would dip a Q-Tip into some In Alliance (fig.), Noland again used a and minimize the use of a ground; but Noland jars and put some rings of color down on circle motif, but here the circles do not resem- was the first to employ unsized canvas, a prac- paper. This enabled him to see color rela- ble one another and, in fact, appear to owe a tice Louis adapted in his Floral series. Even tions. From there he went to the paintings. certain debt to Adolph Gottlieb's "burst" con- more significant was Noland's breakthrough Six foot paintings were made on sawhorses, figurations, which he would have known by in the area of color. Value remained an intrin- larger ones on the floor. After marking the this time. Noland also experimented briefly sic feature of Louis' work at this time. In that center of the paintings, he used circular with the tondo format, eliminating the outer Louis was involved with value as well as color shapes such as dinner plates or hoops to corners of a few circle paintings, for example, and structure, he relates to Pollock, Picasso, draw the rings in pencil. The rings were Tondo, 1958-59 (fig.). His use of the tondo was Cezanne. Noland, however, eliminated value painted free-hand with brushes. The center by no means unique— Robert Delaunay had 9 in favor of an exclusive concern with color and one was always painted first. employed it in such works as Disc, 1912., Bolo-

23 Noland, Alliance, i960. Collection Noland, Tondo, 1958-59. Collection Mr. and Mrs. Fayez Sarofim Mr. and Mrs. Joseph Slifka

24 towsky and later in his protractor back," restricted in saturation and limited to a series experimented with this form, as had No- few narrow bands. Spaces between bands are land himself in the early 1950's. Eliminating enlarged and the outside band of the circle al- the corners of the canvas did not satisfy No- most touches the canvas edge. Thus the inert land, for he wished to identify the frontality wedges of raw canvas left by the earlier cen- and flatness of the image in relation to the pic- tered circles are eliminated and the problem of ture plane. He was not interested in making figure-ground relationship is solved. The two an object out of the image by building out the earlier paintings have a dense inner center and painting's surface or playing on different levels an active outer edge which cause the image to of reality, as Johns had in his targets and flags, seem to spin centrifugally, a characteristic of or by identifying the image with the support, the canvases of 1958-60. However, Noland as Stella had in his black paintings. The first creates an entirely different effect in works time Noland had seen a Johns target, Target of 1961-62., such as Spring Cool and Eyre (cat. with Four Faces (fig.), was in reproduction on no. 27). Here the illusion conveyed is of cen- the cover of Art News in January 1958, and he tripetal movement activated by a relatively later saw others at Castelli in 1959; he also saw small center, as a pebble produces ripples in a Stella black paintings in 1959. He rejected pond. In these later paintings, Noland sets up a these alternatives and instead concerned him- series of color contrasts which charge the en- self totally with flatness, achieved not by shap- tire surface of the canvas. He was later to adapt ing the canvas but by enlarging the circle as this device most effectively in such all-over much as possible within the limits dictated by horizontal stripe paintings as Via Tradewind, the square canvas. The dimensions of the sup- 1968 (cat. no. 80), and Via Lime, 1968-69 (cat. port were generally based on a six by six foot no. 90). module. However, the actual size was deter- In 1962 Noland began his cat's-eye pictures, mined after the painting was stretched. The in which his concentric rings are replaced by an final proportions were sometimes, but not al- ellipsoid or oval which as a rule contains a ways, perfectly square. That Noland was able smaller oval or circle as in New Problem, 1962 to make highly successful and explicit state- (cat. no. 25). These motifs, which almost reach Johns, Target with Four Faces, 1955. ments about flatness and still retain the impact the sides of the support, are oriented horizon- Collection The Museum of Modern of his image and the originality and expressive- tally vertically are at first placed in the or and Art, New York. Gift of Mr. and Mrs. ness of his color is illustrated in paintings like middle of square canvas field. Soon, however, Robert C. Scull.

Turnsole, 1961 (cat. no. 22) and Spring Cool, Noland reduced the size of the motif. Subse-

1962 (cat. no. 26). quently he placed the shape above or below the Noland continually experimented with painting's central horizontal axis. He con- color, technique and variations on the circle tinued to center various unusual symmetrical

motif. For example, in Circle, 1958 (cat. no. 4), forms, such as diamonds which contain circu- .\nc\ Virginia Site, 1959 (cat. no. 14), color is lar motifs, or to symmetrically dispose curved

highly saturated and extremely dense, but in shapes near the edges of a square canvas (figs.).

Spring Cool and Turnsole, color is "layed He had begun painting in the sides and corners

25 Noland, Shield, 1961. Collection Noland, Advert, 1963. Collection Dartmouth College Museum and Dartmouth College Museum and Galleries. Gift of the artist. Galleries. Gift of the artist.

of the circle works in 1961 but often left areas Although Newman had attempted to use a Noland's prime concern. Noland pioneered in of unpainted canvas in the rings of the circle centered stripe in such paintings as Onement 1, the use of color as area, color as sensation, itself. Now, however, in the cat's-eye paintings, 1948 (fig.), it tended to restrict the spatial im- color as a tangible entity, color without a mys- the entire surface is covered with paint, flooded plications of his work by bisecting and flatten- tique, color as the very basis of painting. with a single color. In the cat's-eye canvases a ing—or neutralizing— the surface, and he Nevertheless, the cat's-eye paintings clearly lozenge-like shape is integrated into a larger moved his "zips" off-center in order to activate reveal an important, albeit indirect debt to field: in this respect these paintings bear an af- the entire canvas. Because Newman's stripe Newman. To a lesser extent, in their painterli- finity to the work of Barnett Newman. Noland was often fudged at the edge, it created a sensa- ness and the placement of their motifs, they maintains that he had not seen any of New- tion of advancing and retreating space while also reflect Noland's awareness of Rothko and man's work before 1959 and then only in simultaneously asserting the totality of the Gottlieb. The examples of Rothko, Gottlieb reproduction. To be sure, Newman only oc- field. Newman usually restricted his palette to and Still, as well as Newman, encouraged No- casionally used circular motifs in his earlier one or two colors— rarely did he use as many land's aspirations and confirmed his feelings work, as in Pagan Void, 1946 (fig.), and it was as three— and in general sacrificed color to about abstract art. Noland, like many young the introduction of the "zip" or vertical stripe, space. For space, the "arena" of the New York artists maturing in the late 1950's and early not the circle, onto a large field that became his School, rooted in metaphysics, was the basic 1960's, felt a distinct kinship as well as a healthy

central obsession. component of Newman's art. But color was rivalry with Newman. Although the cat's-eye

26 Newman, Pagan Void, 1946. Collection Annalee Newman

paintings do not outwardly resemble New- chevron-shaped motif, and by 1963 his chev- man's canvases, Noland restricts his palette in ron series emerged. In these works V-shaped them, as Newman did, and moves the relatively bands of color fan out symmetrically from a quiescent cat's-eye motif around the painting, central vertical axis. The organizational focus from direct center to the top or bottom reg- shifts from the center or near-center of the can- isters of the canvas, much as Newman moved vas, where most of his other motifs were the zip across the length of his field. Although placed, to mid-point of the bottom edge of the the cat's-eye paintings lack both the expres- picture, where the tips of the early chevrons are sionistic vitality and optical vibrations of the anchored. The chevrons mark a dramatic shift earlier circle paintings, they radiate a quiet for Noland from the curved edges of circles Newman, Onement I, 1948. self-confidence, an aura of detachment and and ovals to the straight edge. Examples of Collection Annalee Newman luminosity that recalls the work of the first such early chevrons are Dusk and Sun Dried: generation of the New York School at its best. Japanese Space, both 1963 (cat. nos. 31, 34). In In the spring of 1961 Noland moved from some chevrons of the period, for example, Blue Washington to the Chelsea Hotel in New York. Horizon and East West, both 1963 (cat. nos.

At the Chelsea he began to experiment with a 30, 32.), the tips and sides of the outer bands of

27 Louis, Alpha-Pi, 1961. Collection The Metropolitan Museum of Art, New York, Arthur H. Hearn Fund, 1967

the motif are cut off by the bottom and sides of finitely shaped Vs. Indeed, Noland's regard for triple V, but Noland's chevrons are so thor- the canvas: the chevron thus does not appear to structure, apparent from the time of the first oughly integrated with the square or rectangle spring from the bottom center of the canvas. circle paintings, is nowhere more evident than of the support they always remain two-dimen- And we do not seem to perceive the entire in his chevron series. These chevrons are inter- sional motifs on flat surfaces: they never take motif, but rather a portion of it which is deter- esting in comparison to Louis and Stella. on the object-quality, with all its concomitant mined by the shape and size of the support. They reveal that Noland, like Mondrian and problems, of Stella's shaped canvases.

The chevrons may have been influenced by Matisse, conceives of color as area and is not After the first chevrons, Noland made cer- Louis' use of the diagonal in his Unfurls (for nearly as dependent upon Pollock's method of tain changes: he began to suspend the bands example, Alpha Pi, fig.), which preceded them. paint application as Louis was. Although the from the upper right and left-hand corners of

If they were inspired by Louis, Noland's chev- configurations in Stella's paintings of 1963, the support and raise their tips above the bot-

rons are nevertheless characteristically original, such as Valparaiso Red (fig.), bear a startling tom edge of the canvas so that the motif no

a brilliant series of paintings in which he reas- resemblance to the atypical double V-shaped longer covered the entire field. As a result of

serts centrality and symmetry. Louis' Pollock- motif of Noland's Passage, 1963 (fig.), they are, this new formulation, unpainted areas are left like meandering diagonal ribbons of color however, based on an entirely different ap- in the bottom corners of the picture, and raw cascading down the sides of the canvas are far proach. Stella shapes the edge of Valparaiso canvas re-emerges as a prominent feature in less assertive, less structured than Noland's de- Red to conform to the configuration of his Noland's work. The elimination of the paint-

28 Noland, Passage, 1963. Collection Tougaloo College, Tougaloo, Misssissippi

, Valparaiso Red, 1963. Blum/ an Gallery, New York

29 Noland, Tropical Zone, 1964. Collection of the artist

erly gesture which characterized the circles in looking for a place outside New York for Although Noland continued to use the chev- favor of more incisive shape and more intense about three years, and the thought of living near ron into 1966, he had become dissatisfied with impacted color in the chevrons represents a David Smith at Bolton Landing, ninety minutes restricting himself entirely to centering the new departure for Noland. Noland's color now away, pleased him. His decision to leave New motif in a square by 1964. This year he began became stronger perhaps in response to the ag- York was prompted in part by Smith's ex- experimenting with several alternatives, the gressiveness of New York painting of the early ample, and his choice of location was in- most dramatic of which was the eccentric or 1960's. His colors, at maximum intensity, fluenced also by the fact that Bennington asymmetrical chevron as in Bend Sinister, aligned one next to another, are tightly locked College, with its stimulating social and cultural Sarah's Reach, ijth Stage and Trans Shift, all within the bands of the chevron, subject to the milieu, was nearby. This move, in turn, affected 1964 (cat. nos. 38, 42, 45, 47). Noland attempts pressure of the contiguous areas of raw canvas Anthony Caro, whom Noland had met and be- in these paintings to eliminate the inertia and the rectangular support. Shape in the chev- come friendly with in 1959: Caro decided to created by the areas of raw canvas which are rons, as in all phases of Noland's work, is an move his wife Sheila and sons Tim and Paul, left in the four corners of a square support by extremely important element; its primary func- from England to Bennington where they stayed, a symmetrical chevron. In these asymmetrical tion, however, is to serve as a vehicle for color except for brief intervals, until 1965. The re- chevrons, a dramatic thrust toward the right or expression. lationship between Noland and Caro has re- left-hand side of the painting replaces the cen-

Noland bought Robert Frost's farm in South mained, to this day, a vital and dynamic friend- tral focus of movement of the symmetrical

Shaftsbury, Vermont, in 1963. He had been ship, on both a personal and intellectual level. motif, and there is a shift to generally larger

30 proportions, more optical effects of brighter, Noland, Absorbing Radiance, more limited numbers of colors and rectangu- 1964. Collection Anthony and Sheila Caro lar rather than square proportions. Noland compensated for eccentric form by altering the balance of his colors, the proportions of his bands and the shape of the support. He used fewer colors, widened his bands and some- times reduced their number. The resulting effect is of heightened drama. Two transitional works, Tropical Zone and

Absorbing Radiance, both 1964 (figs.), present another variation on the chevron theme. In the former, two elongated chevrons meet in the center of a long horizontal field, while in the latter a diamond-shape is placed within a square. These formulations, however, left areas of bare canvas, just as the symmetrical chevrons in a square field did. Noland's only remaining alternative was to shape the canvas itself to conform to the interior motif. Noland accom- plished this, not by cutting the canvases, but by turning squares on end. Thus bare canvas was eliminated as a working element of the paint- ing. Examples of such diamonds are And Again, Halfway, both 1964, and Saturday Night, 1965 (cat. nos. 36, 50, 53). The bands of the chev- rons in these diamonds parallel the edges of the supports. The motifs of these narrow bands of fully saturated color which are stacked to- gether in these paintings very much resemble those of the earlier chevrons in square formats. The use of the diamond represents a new de-

parture for Noland, but it is not a new format, for both Bolotowsky and Mondrian, among

others, had experimented with it. In paintings

such as Arctic Diamond, 1947 (fig.), Bolotow- sky's image works against the diamond shape of the support: the composition, clearly based Bolotowsky, Arctic Diamond, 1947. upon a rectangular grid, has simply been cut Collection of the artist

31 Mondrian, Composition in Black and Grey, 1919. Museum of Art: The Louise and Walter Arensberg Collection

Mondrian, Composition I A, 1930. Collection The Solomon R. Guggen- heim Museum, New York: The Hilla Rebay Collection

off by the diagonal edges of the paintings. Mon- the shape. In all three late works, the elements by their opposite variant, the attenuated needle drian's resolution is far more complex. In num- within the square interact with the diamond in diamonds, which were based on a two by eight erous examples as early as 1918-19, his a completely resolved viable manner. Even in foot module. Noland produced the needle dia- rectilinear composition is organized and totally such a complex and dynamic late painting as monds in two different ways: he either cut integrated within the diagonal boundaries of Victory Boogie Woogie, 1943-44, one senses them out of already painted rectangular hor- the canvas. His image is complete; there is no that each interior element clearly acknowl- izontal fields or shaped them before he started sense of the edge cutting off part of the com- edges the exterior shape of the diamond. to paint. The needle diamonds are something position. In some early paintings, such as Com- Once Noland started to explore the diamond- of an anomaly in Noland's oeuvre insofar as position in Black and Gray, 1919 (fig.) and shaped support, he began to play with the pos- the narrowness of the format often constricts Composition in Diamond Shape, 1918-early sibilities of the chevron motif. He produced his flexibility with color. Nevertheless, in such 1919, his grid structure parallels the contours several broadened diamonds, powerful works paintings as Shift, 1966, Dry Shift and Deep of the diamond. In other works, such as Com- in which the interior chevron configuration Pillot, both 1967 (cat. nos. 59, 61, 62), the re- position with Blue, 19x6, Fox Trot A, 1930, or conformed exactly to the shape of the support. strictions of shape reinforce the impact of the

Composition iA, 1930 (fig.), he severely re- Most notable among these are Grave Light, succinct but resonant color. The exaggeratedly duces his strictly horizontal and vertical in- 1965, and Dark Sweet Cherry, 1966 (cat. nos. narrow format seems to have allowed Noland terior configuration to meet the challenge of 51, 57). These fuller diamonds were followed in the most successful of these works, as well as

32 ." in the related horizontal stripe paintings dis- edge between water and land . . and that this he ever had before. As Noland said, "These

is cussed below, to use the optimum range of col- landscape element reflected in the horizontal paintings . . . are the payoff ... No graphs; ors without diminishing the integrity of each stripe paintings he developed late in 1965-66, no systems; no modules. No shaped canvases. individual color, to identify color with field. while he was experimenting with the needle Above all, no thingness, no objectness. The

Despite his successful use of the shape, No- diamonds. Approach, 1966 (cat. no. 56), is a thing is to get that color down on the thinnest land did relatively few diamond paintings and transitional stripe painting of the period. It is conceivable surface, a surface sliced into the even while employing this format he was ex- composed of four horizontally aligned equally air as if by a razor. It's all color and surface, perimenting with other alternatives to the spaced bands. Its motif is related to the interior that's all." chevron. He was not particularly drawn to configurations of the diamonds and, although The circles were done freehand, and most of the diamond because he found its use incon- its support is rectangular, it is still based on the chevrons were painted freehand or with sistent with his central interest in color. To the two by eight foot module of the diamonds. rollers. It was not until Noland started to de- reiterate a major premise of Noland's art: the Many of the later resolved horizontal stripes velop the horizontal stripes that he began to primary function of shape is to serve as the are even more elongated. Some, like Kind, employ tape to achieve a straight edge. The vehicle for color. The more neutral the shape 1968-69, and Each, 1969 (cat. nos. 77, 93) are use of tape in these paintings produced an the greater freedom it allows for color expres- extremely exaggerated in proportion and mea- effect of precision not present in the circles and sion. Thus certain exterior shapes, such as the sure six inches by eight feet. Noland discussed chevrons with their looser freehand edges. But diamond, or interior configurations, such as his feeling about scale and explained the ap- Noland worked out his initial concept free- cat's-eyes, are too assertive for Noland and im- peal of these extreme proportions: hand even in the stripes, as he explains: pinge upon and limit his use of color. It is / had one picture that seemed to have a very When I begin to make a change from one because of his abiding concern with color and good proportion — that six-inch by eight- kind of painting to another I usually go back his concept of shape as carrier of color that

foot size— that offered me the possibility of to very loose type painting . . . fairly rough Noland works in series: in a given series he can having a range of scales of color, or depth and fairly loose in order to put it together, work out many different alignments of color . . . going very deep in space to very shallow as it were, by hand. And then as I can get on in unvarying neutral motifs. in space to very flat in space. And it just to a certain size or scale or spatial or tactile In every series his concerns are the same:

felt . . . good . . . I've done that quite a few thing, then I can begin to set the process and

/;/ all the different kinds of pictures that I times. Like the majority of the first circle then get at that sense of what that kind of

I look . make for that possible range of size, paintings were six-foot square. . . It ivas painting, or what those kinds of paintings

scale, color. . . . When you play hack and something that was physical to me I guess. are going to be like.

forth between the arbitrariness and the So at different points I had located an actual Once the format of the stripes had been de- strictness of the conditions of making pic- size that I will repeat because I can extend termined, Noland began to apply his paint in tures it's a very delicate threshold back and many variances of scale or focus in that size. a variety of ways — with rollers, with a brush, forth. . . . But you can plan the conditions But on the other hand I'm always moving a squeegee or a sponge. He used many methods

for color ahead . . . you can get together . . . around in actual sizes. to achieve the thickness or thinness, mattness all the frames of reference that will get you In this horizontal stripe series, as in the dia- or sheen that he wanted a color to have. Colors into the condition of using color in relation monds, Noland attempted to deal with the varied in consistency, some buttery, some as to shape, to size, to focus, to depth, to tac- problem of the unactivated expanses of bare "thin as water. All those ranges give you a tility. canvas presented by the chevrons. The hori- difference of paint quality, give you a range of ". Noland has noted that he likes . . that zontal stripe gave him greater freedom than color." The nature of the painting, the place-

33 merit and proportions of a particular color in equivalent of the plucking of taut violin strings. as the stripes explicitly limit it at top and relation to the whole determined the specific In yet other canvases, like Via Tradewind and bottom. Two related paintings, Double Zone method of application. Vista, both 1968 (cat. nos. 80, 86), Noland and Mexican Camino, both 1970 (cat. nos. 97, By 1967 the horizontal stripe paintings had limits the optical effects of his color by group- 99), retain the larger proportions of the 1967 become exceptionally long and were comprised ing them in large clusters and restricting them stripes. Color here is intense but subdued, and of bands of varying thicknesses and as many to a single pale value range. This prevents the Noland counters the effect of its unimpeded as thirty hues, often dramatically interspersed colors from jumping, as they had in earlier lateral sweep by investing the field with texture. with areas of bare canvas. Via Blues, 1967 (cat. works, and also allows for a reading both The modulation of the field in relation to color no. 71) and Transvaries, 1968 (cat. no. 89), across and up and down the surface of the and proportion in these paintings represents are examples of such complex works. There is painting with minimum disruption. This kind Noland at his best. no doubt that use of tape in these canvases of pale, pastel painting reaches its most sub- Noland's working method in the stripe paint- enhances the effect of tautness and creates an lime level in Trans Echo, 1968 (cat. no. 88), in ings differed somewhat from his procedure in uninterrupted band of color which runs from which color has been reduced as far as pos- the diamonds which, as has been discussed, one end of the support to the other. Although sible—to white. These light-flooded works are were often cut out of rectangular horizontal the interplay of colors in these works tends related in their visual effects to the luminous stripes. Noland, with the aid of the assistants sometimes to be overly optical and thus dis- canvases of the Impressionists. he began to use in 1967, stapled a length of rupts the flatness of the image, they are entirely At one point in 1968 Noland appeared to be canvas to the floor. Then he painted the field, successful as all-over paintings. In fact their emptying the centers of his paintings: in can- adding stripes at top and bottom. The canvases even surface articulation rivals Pollock's own vases of this year like Warm Above, Via Flow were then stretched and finally Noland cropped all-over painting. (cat. no. 79) and Dawn-Dusk (cat. no. 87), them, considerably reducing or even eliminat-

Noland continued to use his all-over stripe white is either the middle of the field or the ing some of the stripes. In many instances No- motif after 1967 but made certain modifica- main feature of the composition. Intense and land cut several paintings from a single large tions. In Via Lime, 1968-69 (cat. no. 90), for glowing color is confined to narrow clusters of horizontal field. But cropping was always the example, he retains the consistent surface ar- stripes at the top and bottom of the painting. last step that determined not only size but ticulation of the earlier stripe canvases but re- The effect achieved is very different from that the ultimate success of each work. This final stricts his palette radically: the entire field is of paintings like Stellar Wise and April Tune, cropping, the equivalent of the tuning of a composed of many evenly spaced bands of pale both 1969 (cat. nos. 91, 94), Prime Venture and musical instrument, has become an essential gray, gray-blue, gray-green, gray-lavender and Space Jog, both 1970 (cat. nos. 100, 103). component of much of Noland's recent work. lavender on raw canvas, set off by a very In these later works Noland continues to clus- Around the time Noland was developing the narrow band of lime at the bottom of the sup- ter narrow stripes at the top and bottom edges horizontal stripe paintings, he and Caro de- port. This single narrow lime band charges of the canvas, but here he fills the center of cided to buy materials from the David Smith the entire twenty-foot long field. In several the field with a single luscious color. Despite estate. Noland began to make sculpture, a

other paintings a field of a single color is inter- this important point of contrast, the narrow practice which he has continued to the present.

rupted by a much smaller number of widely stripes serve the same vital function in both the The first pieces, influenced by Smith and Caro,

spaced thin bands of electrifying hues. These earlier and later paintings of this type: they were of stainless steel and were subsequently narrow regularly disposed lines, like the hori- contain the central field of color. In 1969-70 reworked. In general, the development of No-

zontal bands of at least thirty hues in the early Noland shortened his canvases, and the result- land's sculpture parallels that of his paint-

stripes, trigger an interaction between color ing compactness of the support serves to im- ing; in the instance of the shaped canvases,

and field and set up a tension that is the visual plicitly contain the field of color at each side, it precedes it. The first sculpture Noland was

34 a

sufficiently satisfied with to exhibit was Jenny, an Olitski-like edge. Although the edge is

1970, composed of oak, brass, cor-ten and stain- curved, it clearly relates to the boundary of the

less steel. The horizontal and vertical structure canvas; although it is linear, it asserts itself as and the use of a variety of materials make this painterly gesture— as in the early expressionist

piece the sculptural equivalent of the plaid circles — rather than as drawing; although it re-

paintings Noland began in 1971. sembles Olitski's formulation, it is unmistak- Noland had experimented with vertical for- ably Noland's motif. mats while he was working on the horizontal Noland was relatively uncomfortable with stripe canvases. He did not, however, start to the rectangular format, which he found too

use vertical supports with regularity until he confining, and soon began to adjust his plaids

developed his plaid paintings. Noland's prece- to the shape of squares or rectangles, circles

dent for the plaid motif was Mondrian, who and diamonds. The crisscrossing lines, surface

had used it to great effect in paintings like Netv paint treatment and, what were for Noland,

York City I, 1941-42. Noland, however, cut aberrant rectangular proportions of the earlier

several plaid paintings such as And Bines, Bines plaids had created indeterminate spatial effects.

Intentions, Lift in Abeyance, Tipperary Blue, But in paintings like Under Color and Another all 1971 (cat. nos. 106, 107, in, 113), from a Time, both 1973 (cat. nos. 116, 118), colors are single large field just as he had done with the relatively opaque, proportions are based on the

horizontal stripes. These vertical plaid paint- square, and the symmetry of the diamond re-

ings are characterized by vertical and horizon- asserts itself as a classical frontal form of im- tal bands that crisscross and overlap— placable order and restraint. In Another Time, formulation Noland had never before at- 1973, a particularly successful painting, the tempted. They are as a rule smaller and marked crisscrossed lines no longer suggest a plaid but by looser paint application than the horizontal form a horizontal and vertical grid structure stripes. The plaids allowed Noland to experi- framed by the diamond-shaped support.

ment with a more painterly surface, for which Prompted in part by his experience of mak- he used varnish, gel and other emulsions, to ing sculpture, Noland began to move away bleed and overlap colors and in general to free from rectangular supports. After the plaids he himself from the restrictions imposed by the experimented with several shapes and numer- horizontal stripes. In 1972-73 Noland confined ous surface effects. He tilted rectangles off axis the intersecting bands to the edges of his and shaped his interior configurations to con-

canvases and filled the centers with vaporous form to the resulting slight asymmetry. In these

colors that to a degree resemble the atmos- paintings motifs not unlike those in the uncan- pheric hues of Olitski's spray paintings, for ex- nily predictive Snn Dried: Japanese Space of

Olitski, Lovely Scream, 1966. Private ample, Lovely Scream, 1966 (fig.). Although 1963 (cat. no. 34) fan out to create subtle Collection Noland did not use a spray-gun, he was able spatial effects. By 1975 Noland was slicing to achieve much the same effect as Olitski did his canvases, much as he cut wedges out of with his pale, luminous, misty washes of color. huge sheets of cor-ten for his sculpture. No-

In several paintings he went so far as to create land's first step in making the shaped paintings

35 is to tape off areas he calls "rays," which fan deliberately suggests spatial ambiguity with The rational and the felt, distilled form and out in various directions on a large canvas irregular shapes and eccentric colors. These sensuous color intermesh to create a magic rectangle. Then he chooses his colors, generally canvases may perhaps seem to be related to presence. His space is color. His color is space. offbeat purples, yellows, blues, grays, browns, the chevrons which, although contained within Color is all. beiges. After he applies his paint he either squares or rectangles, were definitely shaped. sprays or buffs them with an electric buffer to However, the chevrons only inferred shape surface textures to balance while these paintings are themselves shape. achieve a variety of Notes the shape of the "rays." Then he cuts the rec- These works are less rigidly defined than one tangle into variously shaped paintings. In part would expect, given their pronounced shapes 1. Quoted in Paul Cummings, unpublished inter- because he works on the floor and paints from and Noland's penchant for geometric forms. view with Kenneth Noland, tape recorded at the

artist's studio, 2.1 , de- all sides of the canvas, Noland does not decide They are, in fact, far less specific than the December 9 and 1971, on posit at Archives of American Art, New York. which is bottom and which top until the paint- shaped canvases of Stella or Kelly. The lack of All quoted remarks by Noland, unless otherwise ing is hung. He had often changed the orienta- regularity in the external shapes of Noland's noted, are from this interview tion of earlier paintings, such as circles or dia- canvases suggests that he is as uninterested in 2. Robert Motherwell, "Notes on Mondrian and monds, once they were installed. This final making objects of his paintings as he was in Chirico," VVV, New York, no. 1, June 1941, decision regarding orientation is a vital factor the late 1950's. is far more concerned with He pp. 59-60 in the success or failure of Noland's work. the idea of shape as space in an illusionistic 3. Quoted in Michel Seuphor, ": By Noland began to shape extremely sense. These works are about space, as were 1976 1914-1918," Magazine of Art, May 1952., p. 2.17 eccentric canvases. Now the canvases only the horizontal stripe paintings. The shaped 4. The Diaries of Paul Klee, Berkeley and Los An- remotely suggest the rectangles from which canvases are in this sense the alternatives, the geles, 1964, translated by Max Knight, Pierre B. they were cut. In a painting like Burnt Beige, successors to the horizontal stripe paintings. Schneider and R. Y. Zachary, p. 297

(cat. no. 1 19), the only element that even The lateral extension of the central field of the 1975 5. Quoted in James McC. Truitt, "Art— Arid D.C. vaguely recalls the upper edge of a rectangle is horizontal stripes has become the shaped space Harbors Touted 'New' Painters," The Washing- a narrow dark band at the top of the support. of the new canvases. The luminosity of stacked ton Post, December 21, 1961, p. A20

This band, incidentally, is reminiscent of the stripes has been succeeded by the opalescent 6. Jfames] S[chuyler], "Reviews and Previews," Art black one in Klee's Arab Song (fig.)— each surface and texture of "rays" of color. Opacity, News, vol. 55, no. 10, February 1957, p. 10 stripe serves to anchor the painting that con- transparency, tactility, scale, size, inherent in 7. J[erome] R. M[ellquist], "Kenneth Noland," tains it to the wall. Noland's dark band is the the stripe paintings take on a new dimension Arts, vol. 31, no. 5, February 1957, p. 65 one stable element in an arrangement that sug- in the shaped canvases. 8. Clement Greenberg, "Introduction," Norman gests movement. Each shape is the result of Noland ranks with Delacroix and the Im- Mackenzie Art Gallery, University of Saskatche- Regina, Three New American Painters: careful proportioning of color. The bands in pressionists among the great color painters wan, Louis, Olitski, Noland, exhibition catalogue, the most recent works do not fan out as they of the modern era. Unquestionably heir to 1963, n.p. did in the beginning; they are heavier, denser, Matisse and Klee in the realm of color ex- 9. Jeanne Siegel [introduction!, Visual Arts Gal- chunkier and turn in upon themselves, much pression, he is to his generation what they lery, School of Visual Arts, New York, Kenneth as the circle turns in upon itself. In fact, in the were to their own. Noland's search for the Noland: Early Circle Paintings, exhibition cata- most successful of these works, the cumulative ideal Platonic form has crystallized into an art logue, 1975, n.p. movement of the bands is circular. In such in which color and form are held in perfect 10. Quoted in Philip Leider, "The Thing in Painting

paintings as Burnt Beige, Ova Kay, both 1975, equilibrium. The spare geometry of his form Is Color," , August 25, and Lapse, 1976 (cat. nos. 119-121), Noland heightens the emotional impact of his color. 1968, p. 22

36 Andre Emmerich Gallery, New York, one-man exhibition, T966

National Gallery of Ganada, Modern America)! Painting, Summer 1969

Andre Emmerich Gallery, New York, one-man exhibition, 1967

37 Chronology 1924-42

Born April 10, 1924, in Asheville, North Carolina. Father, amateur painter, mother, amateur musi- All quoted remarks by Noland are cian. Third of four sons. from an unpublished interview with Paul Cummings, taped at the artist's Attends public school in Asheville.

studio, December 9 and 2 r, 1971.

For more information concerning 1942-46

the exhibitions cited in this chronol- Glider pilot and cryptographer in U.S. Air Force. ogy, see the complete one-man and Serves primarily in U.S. but also stationed in Egypt, group exhibitions lists, pp. 146-156. Turkey.

1946-48

On G.I. Bill, attends , Black Mountain, North Carolina, near Asheville.

Concentrates on art but also studies music. Studies primarily with Ilya Bolotowsky, acting head of Art Department, while Josef Albers, head of Art

Department, is away on sabbaticals. Exposed by Bolotowsky to Piet Mondrian in particular among European geometric abstractionists. Develops in- terest in Paul Klee. Through Bolotowsky meets HillaRebay, Director of Museum of Non-Objective Painting, New York, who grants him, as well as other Black Mountain students, small monthly sti- pend for art supplies for several months.

Studies one semester in 1947 with Albers: becomes familiar with his color theories, Bauhaus principles.

Among others Noland studies with at Black Moun- tain in summer 1948 were John Cage and Peter Left to right, Olitski, Greenberg, Ken- Grippe. Faculty at this time also included: Elaine worth Moffett, Noland and Willard and Willem de Kooning, Buckminster Fuller, Merce Boep'ple, 1976 Cunningham and Richard Lippold.

1948-49

Fall To Paris on G.I. Bill to study with sculptor Ossip Zadkine. Meets Arthur Secunda who introduces him to Wil- liam Rubin.

Sees and is influenced by work of Henri Matisse, Joan Miro and Pablo Picasso.

38 Summer 1949 1951 enrolls for summer course under Gallery, Philadelphia. One-man exhibition. April zyMay j Dubin G.I. Bill at Catholic University, studies life-drawing Galcrie Raymond Creuzc, Paris. First one-man ex- Fall with Noland. works painted hibition. Consists of Klee-influenced Begins teaching at Catholic University, Washing- October in Paris. ton, D.C, where he remains about nine years. Noland organizes show for David Smith at Catho- Summer Teaches figure drawing, design fundamentals. lic University, later mounts exhibitions there for Returns to United States, settles in Washington, Louis, Lee Krasner-Herman Cherry (joint presenta- D.C. 1952 tion) and Gene Davis. Teaches night classes at Washington Workshop One-man show at Dubin Gallery, Philadelphia; 1949-50 Center of the Arts, Washington, D.C, intermit- participates in group exhibitions, Catholic Univer- tently until 1956, when school dissolves. Fail sity; Washington Workshop Center. Student-teacher under G.I. Bill at Institute of Con- Meets and becomes close friends with Morris Louis Greenberg, David Smith begin to visit Washington temporary Arts, Washington, D.C; subsequently when both begin to teach at Washington Work- two or three times a year: intense relationship teaches painting and drawing there full-time until shop Center. Dialogue between them lasts until evolves among Noland, Louis, Greenberg, Smith. about 1 95 1. Louis' death. Noland visits New York every five months or so. Studies at ICA with Englishman Robin Bond who Meets Friedel Dzubas in New York. reinforces his interest in Klee. Noland replaces 1953-54 Paints Klee-Pollock like canvases, for example, Un- Bond when latter leaves ICA. Experiments with Magna. Louis, however, was titled, c. 1952-53 (fig., p. 16). probably the first artist to stain with Magna. No- Meets at ICA. April 6-zj land begins mixing dry pigment, given to him by Painting of period continues to reveal strong Klee The Museum of Art, 20th Annual Ex- David Smith, with water-based plastic medium. influence, for cx^nple, Untitled, 1950 (fig., p. 15). hibition: Maryland Artists. Noland's Images in- This type of mixture later commercially manu- cluded. Morris Louis also represented. factured as Aqua-Tec, Liquitex, etc. Primarily uses 1950 Magna until 1962, when he changes to Aqua-Tec. Included in Phillips Collection, Washington, D.C, Summer Paintings by Some Washington Artists, summer; Experiments with forms, imagery, methods of ap- Studies at Black Mountain College. Among teach- group show, Washington Workshop Center. plication: produces all-over abstractions reminis- ers there: Paul Goodman, Clement Greenberg, cent of Pollock, paintings with Frankenthaler-like Theodoros Stamos and Leo Amino. 1953 landscape feeling, canvases influenced by de Koon- ; paint applied thickly in Abstract Beginning of significant relationship with Green- enters Catholic University, ing, Expressionist manner with brush or fingers or berg, which continues until present. Meets Helen studies there with Noland. or stained in thin washes. Frankenthaler when she visits Black Mountain poured April 3-5 briefly. Noland and Louis visit New York. Noland intro- 1954

/ V, ember 3-22 duces Louis to Greenberg. Louis introduces Noland January 11-30 Watkins Gallery, American University, Washing- to Leonard Bocour. Friday Noland, Louis and Kootz Gallery, New York, Emerging Talent. Or- ton, D.C. First one-man exhibition in United States. Greenberg go to Harry Jackson's studio; Louis and ganized by Greenberg. Among other participants: Saturday going to Paul Feeley, Louis, Philip Pearlstein. Meets David Smith through Cornelia Langer. No- Noland spend rest of day, part of galleries, see Franz Klines, Pollocks, among other land and Smith develop close friendship which lasts Meets Adolph Gottlieb during course of exhibition. work. Next morning they go to Frankenthaler's until Smith's death in 1965. 1955-56 studio on visit arranged by Greenberg. Here they Sees Jackson Pollock's Eyes in the Heat, 1946 (fig., Expressionist paint see her poured stain painting, Mountains and Sea, Continues alternating Abstract p. 16). staining, as, for example, in Un- 1952 (fig., p. 17), among others. Upon return to application with Untitled c. (fig., Marries Cornelia Langer; they have three children, Washington, Noland and Louis experiment to- titled, c. 1955 (fig., p. 18) and 1956 Lyndon, Bill and Cady. gether with stain technique. p. 20).

39 1956 October 14-November 16 May Tibor de Nagy Gallery, New York. Second one- Greenberg in his "Louis and Noland," Art Interna- Noland by now painting centered pictures, for ex- man exhibition there. Paintings include Lavender tional, vol. 4, no. 5, pp. 2.6-29, declares Louis and ample, Untitled, c. 1956 (fig., p. 20), Circle paint- Blue, Mitosis, Nero, Outskirts, The Seasons. Noland the two artists he considers "serious candi- ings gradually emerge, for example, Globe, 1956 dates for major status" among all the younger (cat. no. 3). Meets Raymond Parker in New York. Americans. The term "color painting" appears in Takes paintings to Poindexter Gallery, York. New print for the first time in this article. 1958-59 Betty Parsons calls them to Dorothy Miller's atten- tion. Centered flower-like motifs appear in such paint- May 3-31 Galerie Neufville (later Galerie Lawrence), ings as Crystal, 1959, Time's Motion, (cat. no. Paris, Visits Pollock in Springs, Long Island. 1959 New American Painting. Among other participants: 13). Briefly experiments with tondo format, for ex- September Kelly, Louis, Parker, Robert Rauschenberg, ample, Tondo, 1958-59 (fig., p. 24). Lud- Young American Vainters. Traveling exhibition. wig Sander, Stella, Jack Youngerman. Organized by Dorothy Miller, The Museum of 1959 November 1-21 Modern Art, New York, begins circulation in January ly-Marcb 8 Galleria Dell'Ariete, Milan. One-man exhibition. United States. Noland's In a Mist, 1955 (fig., p. 2.0), Corcoran Gallery of Art, Washington, D.C, Paintings include Crystal, Ellipsis, Probe, Via, all included. Among other participants: Richard Dieb- Twenty-Sixth Biennial Exhibition Contempo- 1959, Catherine, 1959-60, Empyrion, i960. enkorn, Sam Francis, . of rary American Painting. Noland's Royal Envelope included. Noland also represented in Corcoran Bi- Late 1960-61 1957 ennial 1963, 67, 75. Bands in concentric circle paintings narrowed, Divorced from Cornelia Langer. May placed further apart resulting in wider areas of un- January 2-19 Meets Jules Olitski during installation of Olitski's painted canvas between them, for example, Turn- Gallery, Tibor de Nagy New York. First one-man first one-man exhibition at French and Co., New sole, 1961 (cat. no. 22). Painterly remnants along exhibition in New York. Paintings include Globe, York, May 8-30. edges of circles eliminated. 1956, Bedspread (fig., p. 12), Elmer's Tune, Opal, October 14-November 7 Meets Leslie Waddington in New York. Royal Envelope. Show sparsely attended, little French and Co., New York. One-man exhibition. noted in press. Meets in New York. First showing of concentric circle canvases. Paint-

ings include Ex-Nihilo, 1958 (cat. no. 7) Lunar Epi- March 14-April 1 1957-58 sode, 1959 (cat. no. 10). Andre Emmerich Gallery, New York. First of many Work gradually becomes more geometric, hard regular one-man exhibitions here. Paintings in- Meets Frank Stella during course of exhibition. edged. Increasingly employs centered motifs such clude Bloom, (cat. no. 17), Blush, Cycle, Fjord, Meets Barnett Newman during year. as discs, cruciform patterns, lozenges. Montana Sun, Nieuport, Rhyme, Teeter, all i960. October-December Noland and Louis join then new Emmerich Gallery

1958 Anthony Caro visits United States and Mexico, is when French and Co. contemporary painting de- introduced to Noland in Washington by V. V. Ran- partment closes after it exists slightly more than Paints concentric circle canvases, generally con- kine. Beginning of close relationship between No- one year. sidered first mature works. Other works of this land and Caro that continues until present day. time feature crosses, stars, pinwheel or armature- April 1 S-May ij like motifs, but circles dominate by far. Produces Meets Richard Smith. The New Gallery, , Benning- double motifs; later cuts most into two separate ton, Vermont. One-man exhibition. Organized by paintings, for example, This, That (cat. no. 9), both i960 E. C. Goossen. Paintings include Epicenter, 1958, 1958-59, Half, And Half, both 1959. Bloom, i960, Polyhedra, i960, Easter, 1961. January 5- 21 January 32 -February 22 , Washington, D.C. One- April 2s-May 2j Jefferson Place Gallery, Washington, D.C. One- man exhibition. Paintings selected from 1959 one- Galerie Neufville, Paris. One-man exhibition. Paint- man exhibition. man show at French and Co., New York. ings include Lunar Episode, 1959

40 October 18-December 31 Spring 1964 York, Moves from Washington to New York; lives at The Solomon R. Guggenheim Museum, New Eccentric or asymmetrical chevrons in which V is Hotel. American Abstract Expressionists and Imagists. Chelsea placed off-center. Starts to modify canvas shape to Organized by H. H. Amason. Noland's A Warm Sees Frankenthaler and Robert Motherwell. coincide with motif: begins transition from chevron

Sound in a Cray Field, 1 961, included. in square format to diamond-shaped Summer canvases. Rents house at Bolton Landing, paints there. Meets Spring 1961-62 Lawrence Rubin. Olitski and Caro, living in Vermont, are in close contact with Noland. Greenberg, William Rubin December n, 1961 -February 4, 1961 September 7 and David Smith visit there. Whitney Museum of American Art, New York, Death of Morris Louis at age fifty in Washington, Annual Exhibition of 1961: Contemporary Amer- D.C. Meets . ican Painting. Noland's Wotan, 1961, included. Meets John Kasmin. Meets David Mirvish. Noland also represented in Whitney Annual, 1963, 65,67,69,70,72,73. April 22- June 28 1963 Tate Gallery, London, Painting and Sculpture of a Develops chevrons while staying at Chelsea Hotel. Decade, S4-64. Noland's Breath, 1959, included. 1962 Motif centered, suspended from top edge of canvas. April 2 j- June 7 Begins cat's-eye series, for example, New Problem, Buys Robert Frost farm, South Shaftsbury, Ver- Los Angeles County Museum, Post Painterly Ab- 1962 (cat. no. 25). 1961-63 also paints circles, mont; moves there. straction. Organized by Greenberg. Noland's Cycle, lozenges, diamonds, rounded off squares, all forms Meets Alan Solomon. i960, Neiv Problem, 1962, Cadmium Radiance, related to cat's-eye motif. 1965, included. 1 1 -February is Meets . January Norman Mackenzie Art Gallery, Saskatchewan, Summer January ^-February 18 Canada, Three New American Painters: Louis, No- Visits England and meets Tim Scott, David Annes- The , 65th Annual Amer- laud, Olitski. Organized by Greenberg. Noland's ley, , Phillip King, William Tucker ican Exhibition: Some Directions in Contemporary Rest, 1958, Cift, New Problem, both 1962, in- and . Painting and Sculpture. Noland's Amusement cluded. Blues, 1961, included. Noland also represented in June 20-October 18 April XXXII Biennale, Venice. United States section or- Chicago Annual 1970, 72, 76. One-man exhibitions: Kasmin Limited, London, ganized by Solomon. Noland's Turnsole, 1961, (cat. March opened April 18: first of several exhibitions here no. 22), Karma, 1963, Trans Flux, 1963 (cat. no. Galerie Charles Lienhard, Zurich. One-man ex- includes Breath, 1959 (cat. no. 15), Corn Sweet, 35), Sarah's Reach, 1964 (cat. no. 42), Tropical hibition. Paintings include: Lunar Episode, Mesh Paris, April included. 1 96 1 (cat. no. 20); Galerie Lawrence, Zone, 1964 (fig., p. 30), among others

( ,it. 1 Point, no. 1 ), all 1959. 23-May 16: includes William i960 (cat. no. 19), Other American participants: Jasper Johns, Louis,

A larch 10-May 1 ; Hub, 1961, Rose, 1961; Andre Emmerich Gallery, Claes Oldenburg, Rauschenberg, Stella. Whitney Museum of American Art, New York, New York, April 23-May 18: includes Blue-Green October y-November 1 Geometric Abstraction in America. Noland's Paint- Confluence, Blue Horizon (cat. no. 30), Blue Veil, Centro de Artes Visuales, Instituto Torcuato Di ing, [958, included. Flush, Yellow Half, all 1963. Telia, Buenos Aires, Premio Nacional e Intema-

March 30- April 10 May 1 9-September is cional. Noland receives international prize, Di Galerie Alfred Schmela, Diisseldorf. One-man The Jewish Museum, New York, Toward a New Telia. exhibition. Abstraction. Organized by Solomon. Noland's

Spread, 1958 (cat. no. 8), Lake, 1959, Sunshine, \pril 2 1 -October 21 1961, Lebron, 1962, Hover, 1963 (cat. no. 33). Seattle Fine Arts Pavillion, Seattle World's Fair, Art 1964-65 Since 7910.' American and International. Organized August reduce number of by Sam Hunter. Noland's Reverberation, 1961, Conducts Emma Lake Artist's Workshop, Univer- Begins to attentuate diamonds, neutral colors. included. sity of Saskatchewan, Canada. bands, experiment with

41 1965 continues to do to present. James Wolfe becomes 1968 sculpture assistant. Stylistic development of sculp- February 4-March 7 May 1 6-June 16 ture in general parallels that of painting. The Jewish Museum, New York. First one-man The Metropolitan Museum of Art, New York, museum exhibition. Organized by Solomon, hung Fall Kenneth Noland, Morris Louis, Anthony Caro. by Noland. Thirty-seven paintings include Chalice, Teaches this semester at Bennington, substituting Noland's Via Blues. Coarse Shadow, both 1967 -1 1959, Turnsole, 1961, Spring Cool, 1962. (cat. no. for Olitski. (cat. nos. , 76), included. z6), Air, Mach II, 17th Stage, (cat. no. 45), Trop- September 2 1 -November 17 June i~-October 6 n al '/.one, all 1964. The Solomon R. Guggenheim Museum, New York, Museum Fridericianum, Kassel, 4. Document,!. No- 11 / ebruary -March 16 Systemic Painting. Organized by Lawrence Allo- land's Shift, 1966 (cat. no. 59), Date Line. Magus. David Mirvish Gallery, Toronto. First of numerous way. Noland's Par Transit, 1966, included. Open End, Shadow Line, all [967, included. one-man exhibitions here. November 8-26 July ^-September 8 February 2 yApril 25 Nicholas Wilder Gallery, Los Angeles. First one- The Museum of Modern Art, New York, The Art

I he Museum of Modem Art, New York. The Re- man exhibition in Los Angeles. of the Real: USA 1948-1968. Organized by Coos- sponsive Eye. Org. inized by William C. Seitz. No- sen. Noland's Turnsole. 1961, Resta, 1968, in-

land's And Again, 1 (cat. no. included. cluded. 964 36), 1966-c- April zyMay 30 Novcmber 79, 1966-January 15, 1967 1968-69 Fogg Art Museum, I larvard University, Cambridge, Stedelijk Museum, , Vormen van de Massachusetts, Three American Painters: Kenneth Meets Willard Boepple who subsequently assists Klenr. Noland's Amusement Blues, 1961, Early Fall, Noland Inles OHtski Frank Stella. Organized by on sculpture. 1963, Transwest, 1965, included. Michael Fried. Noland's Across, Golden Day, Half Develops several modifications of horizontal stripe Way (cat. nos. 49, 50), Karma, all [964, among motif. Stripes confined to top and bottom edges; main Others included. 1967 center a single . Introduced to Michael Steiner by Richard Bellamy. June ij-September y 1969 Washington Gallery of Modern Art, Washington, Marries Stephanie Gordon. D.C.,T'he Washington Color Painters. Organized by Keeps Vermont farm but moves back to New York. Experiments with many colors, widths of stripes Gerald Noland's Tropical '/.one, Nordland. 1964, March 18- April 2- within one work. Begins using tape to achieve included. Art Gallery, University of California, Irvine, New straight edges of horizontal stripes; continues this Noland wins Citation Award from Brandeis Uni- York: The Second Breakthrough, i<) 5-9-7964. Or- practice to present. Brother Neil, young artists versitj Creative Arts Awards. ganized by Solomon. Noland's Outbound, [961, and Stewart Waltzer become assistants. Via Media, 1963, Five, 1964, included. Meets Roger Williams.

1 ate [965-66 April 5-30 February 24- April 19 Lawrence Rubin Gallery, New York. One-man ex- Simultaneously develops needle diamonds, for of Corcoran Gallery Art, Washington, D.C., Thirti- hibition. example, Untitled, 1966 (cat. no. which he 68), eth Biennial Exhibition of Contemporary American continues to paint until [967, and horizontal stripe Painting. Noland's Horizontal Site, 1965, Pause, 1969-70 canvases. Either cuts diamonds out of horizontal 1966, included. He receives Corcoran Copper rectangles or paints on diamond-shaped supports. October 16, 1969-E'ebruary 1, 1970 Medal, William A. Clark Prize of $500.00 for Pause. Cuts related paintings out of horizontal striped The Metropolitan Museum of Art, New York. New fields. November 1 ^-December 30 York Painting and Sculpture: 1 940-1970. Organ- National Museum, Dublin, Rose '67: The Poetry ized by Henry Geldzahlcr. Noland's Teton Noir. of Vision. Organized by Jean Leymarie, Willem 1961, Bend Sinister, Embrown (cat. nos. 38, 40), 1966 Sandberg and James Johnson Sweeney, Chairman, Mach II, 17th Stage, all 1964, Trans Median, Dawn- Noland and Caro buy materials from David Smith for the Royal Dublin Society. Noland's Swing, Dusk (cat. nos. 78, 87), Trans Median II, all 1968, estate. Noland begins making sculpture, which he [964, among others included. Via Time (cat. no. 90), 1968-69.

42 Divorced from Stephanie Gordon. 1972-73 1976

Further develops plaid series: uses horizontal as Shows recent shaped canvases in one-man exhibi- '970 well as vertical formats. tions, Galerie Andre Emmerich, Zurich (October May 9-November 13); Galerie Daniel Templon, Paris

1973 1 Caro works at Noland's Vermont studio while No- (October 16-November 1) ; Galerie Wentzel, Ham- land continues painting horizontal stripe series September --October zo burg (November 13, 1976-January 29, 1977). there. Galerie Andre Emmerich, Zurich. First one-man October zj-November 16 exhibition here. Castelli September 1 ^-November i Leo Gallery, New York. Firsr one-man Albright-Knox Art Gallery, Buffalo, Color and exhibition at this gallery. Includes Another Choice, 1973-74 Field 1890-1970. Organized by Priscilla Colt. No- Burnt Beige (cat. no. 119), Lapse (cat. no. 121), Paints land's Nightwood, Ring, both 1964, Vista, 1968 plaid compositions on square, rectangular, Mid-Morning, all 1976. circular and diamond-shaped canvases. Night Plum, 1970, included. Exhibition travels in 1977 United States. 1974 January Moves back to Vermont. Elected to American Academy and Institute of 1970-71 Arts and Letters. Makes stainless steel sculpture, Homage: David December 1 z, 1970-February 7, 1971 Smith. Begins working in cor-ten steel, for example, Sculpture exhibited for first time, when Jenny, 1970, Ridge, Shadow. is shown in Whitney Annual. January ij-Marcb 10 1971 Museum of Fine Arts, Houston, The Great Decade of American Abstraction: Modernist Art 1960- Invited to Tel Aviv by Tel Aviv Foundation of 1970. Organized by E. A. Carmean, Jr. Noland's I iterature and Art, sponsored by Mrs. Abba Eban. Split Spectrum, 1961, 17th Stage, 1964, Go, 1965, Begins work on sculptures Vermont, completed Dawn-Dusk, 1968, Appearance, 1970, included. 1973, an d Loom, completed 1974. Gives Vermont to city of Tel Aviv. 1975

February zs- April 18 Starts series of irregularly shaped canvases. Experi- Whitney Museum of American Art, New York, The ments with hanging rectangles tilted off vertical Structure of Color. Organized by Marcia Tucker. axis. Introduces "rays," bands of irregular width Noland's Via Token, 1969, included. which cross canvas at various angles. Experiments with new color combinations, techniques.

-72. 1 971 January 6-31 School of Visual Arts Gallery, New York. One- Vertical plaid pictures: forms and colors are over- man exhibition of early circle paintings. Organized lapped, application looser, canvases smaller than by Jeanne Siegel. Paintings include Rocker, in horizontal stripe paintings. Cuts several plaid 1958, (cat. no. Mandarin, 1961. paintings, such as And Blues, Blue Intentions, Lift 5), in Abeyance and Tipperary Blue, 1971 (cat. nos. May 106, 107, in, 113), from one large field. Michael Williams begins to assist Noland in his

April 14-May 21 studio. Museum of Fine Arts, Boston, Abstract Painting Fall :n the '70's: a Selection. Organized by Kenworth Visits Australia and New Zealand as guest lecturer, Moffett. Noland's Double Ending, Sun Bouquet, then travels to Bora-Bora, Bali, Japan, Hong Kong Noland and his children, Lyndon, Bil Yemen's Heritage, all 1972, included. and other areas in Far East. and Cady, 1965

43 Works in the Exhibition 15

Study in Color Relationships, No. i. Spread. 1958 Breath. 1959 Early 1950's Oil on canvas, 117 x 117 Oil on canvas, 66 x 66" Dimensions are given in inches. Collage with oil on paper, 9 x 9V2" Height precedes it'idth. Dimensions New York University Art Collec- Collection Mr. and Mrs. Joseph for the highest and widest points Collection Arts and Science Mu- tion, Gift of William S. Rubin, 1964 Pulitzer, Jr., St. Louis are cited for irregularly shaped seum, Statesville, North Carolina 16 canvases. *2 Magic Box. * denotes ivork is not illustrated. That. 1958-59 1959

Study in Color Relationships, No. z. 3 Acrylic on canvas, 81% x 8i /4" Acrylic on canvas, 93 x 93" t denotes work is not in exhibition. Early 1950's Collection Illustrations follow checklist. Color Collection Mr. and Mrs. David The Metropolitan Mu- Oil on paper, 11V2 x 11V2 reproductions precede black and Mirvish, Toronto seum of Art, New York, Purchase white illustrations. Collection Arts and Science Mu- 1977, Funds of Anonymous Donor seum, Statesville, North Carolina 10 17 Lunar Episode. 1959 3 Bloom, i960 Oil on canvas, 70V2 x 68V2" Globe. 1956 Acrylic on canvas, 67 x 67V2" Collection Mr. and Mrs. Charles Acrylic on canvas, 60 x 60 Gilman, Jr., New York Collection Kunstsammlung Collection Cornelia Noland, Nordrhein-Westfalen, Diisseldorf Washington, D.C. 11 18 Mesh. 1959 4 Whirl, i960 Oil on canvas, 65% x 63%" Circle. 1958 Acrylic on canvas, 70% x 69 V2" Collection Mr. and Mrs. Alvin L. Acrylic on canvas, 96 x 96" Ukman, Chicago Collection Des Moines Art Center, Andy Williams Private Collection Coffin Fine Arts Trust Fund, 1974 12 19 5 Round. 1959 Rocker. 1958 William, i960 Acrylic on canvas, 92 x 91"

Acrylic on canvas, 54V2 x 54V2" Acrylic on canvas, 82. Vs x 8i'/s" Collection Mr. and Mrs. Algur H. Collection Peter Sharp, New York Meadows and the Dallas Museum Collection of the artist of Fine Arts u 20 Untitled. 1958 13 Corn Sweet. 1961 Time's Motion. Acrylic on canvas, 60 x 60" 1959 Acrylic on canvas, 337s x 33% Acrylic on canvas, 70 x 71" Collection The Lannan Foundation, Private Collection Palm Beach Collection Mr. and Mrs. Ronald K.

Greenberg, St. Louis 21 Inner Way. 1961 Ex-Nihilo. 1958 14 Acrylic on canvas, 82 x 82" Acrylic on canvas, 64V2 x 71V2" Virginia Site. 1959 Collection Graham Gund Acrylic canvas, x 70" Collection of the artist on 70 Collection Joseph Helman, 44 New York 22 z-9 35 41

Turnsole. 1961 Winter Sun. 1962 Trans Flux. 1963 Magenta Haze. 1964

Acrylic on canvas, 94% x 94Vs" Acrylic on canvas, 69% x 69 V2" Acrylic on canvas, 102 x 164" Acrylic on canvas, 70V2 x 70V2"

Collection The Museum of Collection Emanuel Hoffmann- Lent by Rutland Gallery, London Private Collection Modern Art, New York, Fondation, Kunstmuseum Basel Blanchette Rockefeller Fund, 1968 36 42.

3° And Again. 1964 Sarah's Reach. 1964 2.3 Blue Horizon. 1963 Acrylic on canvas, 69 x 69" Acrylic on canvas, 94V8 x giv^" Winter Sun. 1961 Acrylic on canvas, 72 x 72" Collection Mr. and Mrs. Bagley Vincent Melzac Collection, Acrylic on canvas, 33V2 x 33V2" Vincent Melzac Collection, Wright Washington, D.C. Private Collection Washington, D.C. 37 43 3i Prime Course. 14 Baba Yagga. 1964 1964 Burnt Day. 1961 Dusk. Acrylic on canvas, 104" 1963 Acrylic on canvas, 64 x 66V4" 91 x Acrylic on canvas, x 45" Acrylic on canvas, x 74" Rutland Gallery, London 45 94 Lydia and Harry L. Winston Lent by Private Collection, London Collection Hirshhorn Museum and Collection (Dr. and Mrs. Bamett 44 Sculpture Garden, Smithsonian Malbin, New York) 15 Institution, Washington, D.C. Summertime. 1964 New Problem. 1961 38 Acrylic on canvas, 70 x 70" 32. Bend Sinister. 1964 Acrylic on canvas, 71 x 73" Collection Artco International, East-West. c. 1963 Acrylic on canvas, 92% x 156%" New York Private Collection 3 Acrylic on /s canvas, 70 x 69V2" Collection Hirshhorn Museum and 45 26 Vincent Melzac Collection, Sculpture Garden, Smithsonian 17th Stage. Washington, D.C. Institution, Washington, D.C. 1964 Spring Cool. 1962 Acrylic on canvas, 93 V2 x 80V2" Acrylic on canvas, 96 x 96" 33 39 Collection Carter Burden, The Weisman Family Collection Hover. 1963 Half Time. 1964 New York

Acrylic on canvas, 69 x 69" Acrylic on canvas, 69-% x 69%" 46 Collection Fogg Art Museum, Collection Dr. T. E. Krayenhuehl, Eyre. [962 3-64. 1964 Harvard University, Cambridge, Oberreiden Acrylic on canvas, y6 x 96" 72" Massachusetts, Purchase- Acrylic on canvas, 72 x Collection Mr. and Mrs. John D. Louise E. Bettens Fund 40 Collection Dr. and Mrs. William Murchison, Dallas Embrown. 1964 Tannenbaum, Chicago 34 Acrylic on canvas, 101 x 144" ti8 47 Sun Dried: Japanese Space. 1 963 Collection Mr. and Mrs. David Target. 1961 Trans Shift. 1964 Acrylic on canvas, 63V2 x 63V2" Mirvish, Toronto Oil on canvas, 21 '/: x 21 V2" Acrylic on canvas, ioox 113V2 Collection Mr. and Mrs. John D.

Collection Mrs. Taft Schreiber Murchison, Dallas Collection Mr. and Mrs. S. I.

Newhouse, Jr.

45 "

t48 "54 t6i 69

Bridge. 1964 Plunge. 1965 Dry Shift. 1967 Must. 1966

Acrylic on canvas, 89 x 98" Acrylic on canvas, 46 x 46" Acrylic on canvas, 96 x 24" Acrylic on canvas, 48 x 96"

Collection The Davidson Family, Collection Mrs. Anne Mirvish, Collection Mr. and Mrs. A. Alfred Collection The Edmonton Art Toronto Toronto Taubman Gallery, Edmonton, Canada, Westburne International Industries 62 49 55 and Gallery Fund DeepPillot. 1967 Golden Day. 1964 Largesse. 1965 *7° Acrylic on canvas, 96 x 24" Acrylic on canvas, 72 x 72" Acrylic on canvas, 48 x 48" Solar Edge. 1966 Lent Kasmin Limited, London Private Collection Collection Mr. and Mrs. Roy by Acrylic on canvas, 96 x 24" Friedman, Chicago 63 5° Collection Jennifer Cosgriff, 56 Strand. 1966 New York Half Way. 1964 Approach. 1966 Acrylic on canvas, 61 x 104' Acrylic on canvas, 72 x 72." 71 Acrylic on canvas, 22 x 96" Private Collection Collection of the artist Via Blues. 1967 Private Collection "-64 Acrylic on canvas, 90% x 264' "50a Blue Shift II. 1966 Robert A. Rowan Collection Three-Thirty. 1964 Dark Sweet Cherry. 1966 Acrylic on canvas, 24 x 96" V4 Acrylic on canvas, 45I4 x 4 5 Acrylic on canvas, 56 x 70" Collection of the artist Private Collection Powder. 1967 Collection Mr. and Mrs. David *<\5 Acrylic on canvas, 24 x 96" Mirvish, Toronto 5> Pause. 1966 Collection Anthony and Sheila Caro Grave Light. 1965 58 Acrylic on canvas, 36 x 192" Acrylic on canvas, 102. x 204" "73 Sound, c. 1966 Collection Anthony and Sheila Caro Robert A. Rowan Collection Rainbow. 1967 Acrylic on canvas, 30 x 216" '66 Acrylic on canvas, x 204" Collection Joanne du Pont, 35 52 Warm and Cool. 1966 New York Collection of the artist Nobid. 1965 Acrylic on canvas, 24 x 96" Acrylic on canvas, 46 x 46" 59 *74 Collection of the artist Collection Mr. and Mrs. David Shift. 1966 The Time. 1967 Mirvish, Toronto 67 Acrylic on canvas, 24 x 96" Acrylic on canvas, 67 x 151" Approach. 1966 Collection Marc and Livia Straus, Collection of the artist 53 Boston Acrylic on canvas, 96 x 22" Saturday Night. 1965 Private Collection 75 Acrylic on 60" 60 canvas, 60 x Seamline. 1967 Shade. Private 1966 68 Collection Acrylic on canvas, 24 x 96 Acrylic on canvas, 24 x 96" Untitled. 1966 Collection Lewis Cabot Collection Mr. and Mrs. David Acrylic on canvas, 96 x 24" Mirvish, Toronto Private Collection

46 * *8 76 3 90 97 Coarse Shadow. 1967 Via Mojave. 1968 Via Lime. 1968-69 Double Zone. 1970

Acrylic on canvas, 90 x 276" Acrylic on canvas, 45V2 x 122" Acrylic on canvas, 72V2 x 240" Acrylic on canvas, 79 x 192"

Collection Mr. and Mrs. Eugene M. Collection of the artist Lent by Andre Emmerich Gallery, Private Collection Schwartz New York

:'8 4 T98 91 77 Via Peach. 1968 Intent. 1970 Kind. 1968-69 Stellar Wise. 1969 Acrylic on canvas, 48V2 x 142.V2" Acrylic on canvas, 10 x 144" Acrylic on canvas, 10 x 144" Acrylic on canvas, 50% x 102" Collection of the artist Collection William Ehrlich, Collection Artcounsel, Inc., Boston Collection Mrs. Hannelore Schulhof New York *8 5 78 Via Shimmer. 1968 99 Trans Median 1. 1968 And None. 19(39 Mexican Camino. Acrylic on canvas, 60-% x nzVs" 1970 Acrylic on canvas, 84V2 x 84V2" Acrylic on canvas, 6V2 x 102" Acrylic on canvas, x 164" Collection of the artist 44 Lent by David Mirvish Gallery, Collection Lewis Cabot Collection Mr. and Mrs. Harry W. Toronto :: 86 Anderson, Atherton, California

Vista. 1968 93 79 100 Each. 1969 Acrylic on canvas, 58V2 x 150" Via Flow. 1968 Prime Venture. Acrylic on canvas, 10 x 144" 1970 Collection Mr. and Mrs. Bagley Acrylic on canvas, x 148" 54 Acrylic on canvas, 63 X x 1 14" Wright Lent by Galerie Bogislav von Collection Graham Gund Wentzel, Hamburg Collection Renee and Maurice 87 Ziegler, Zurich 80 Dawn-Dusk. 1968 94 Via Tradewind. 1968 101 April Tune. 1969 Acrylic on canvas, 31 x 142" Acrylic on canvas, X 1 14" Greek Vision. 1970 53 Acrylic on canvas, 65% x 12.4V6" Private Collection Collection Dr. and Mrs. Frederick L. Acrylic on canvas, 107V2 x 240" Collection The Solomon R. Tunick, New York, and Dr. and 88 Guggenheim Museum, New York Private Collection Mrs. Paul A. Tunick, New York Trans Echo. 1968 102 : 95 Ki Acrylic on canvas, 90 x 360" Inner Green. 1969 Regal Grey. 1970 Trans Pale. 1968 Lent by Kasmin Limited, London Arcylic on canvas, 97% x 29" Acrylic on canvas, 61V4 x 114 Vcr) lie on canvas, 30 x 168" 89 Collection of the artist Lent by Kasmin Limited, London Collection Lewis Cabot Transvaries. 1968 ''103 Si 96 Acrylic on canvas, 59 x 147" Dawn's Road. 1970 Space Jog. 1970 Via A. M. 1968 Collection Marquess of Dufferin Acrylic on canvas, 59 x 114 Acrylic on canvas, 74 Ys x 126 Acrylic on canvas, 54V2 x 99" and Ava, London Collection Irving Blum, New York Lent by David Mirvish Gallery, Collection of the artist Toronto

47 4

"104 1 1 1 118

Summer's Brown. 1970 Lift in Abeyance. 1971 Another Time. 1973

1 /' Acrylic on canvas, 65 x 1 14" Acrylic on canvas, ioo'/S x 24 Acrylic on canvas, 72 x 72"

Collection Irving Blum, New York Lent by Andre Emmerich Gallery, Lent by Andre Emmerich Gallery, New York New York ,:'io5 112 tlT9 LiftOff. 1970 Plaid's Time. 1971. Burnt Beige. 1975 Acrylic on canvas, 75V2 x 138" Acrylic on canvas, 103 x 14V2" Acrylic on canvas, 95 Vi x 112" Collection Mr. and Mrs. Jonathan Lambert Private Collection Collection Dr. and Mrs. John M. Shuey 106 "3 tl20 lilucs Intentions. 19^1 Tipperary Blue. 1971 Ova Ray. ig - Acrylic on canvas, 107 x 39V2" Acrylic on canvas, 98V2 X4i%" ^ Acrylic on canvas, n:x 112" Collection Joanne du Pont, Lent by Galerie Beyeler, Basel New York Courtesy Leo Castelli Gallery,

1 New York 1 1 107 Rising and Palling. 1972. 121 And Blues. 1971 Acrylic on canvas, 84' ! x 1 51V2" Lapse. 1976 Acrylic on canvas, 107 x 16" Courtesy Andre Emmerich Acrylic on canvas, 76 x 139V2" Collection Joanne du Pont, Gallery, New York New York Private Collection

ft 1 5 108 122 Golden Space. 1973 Grey Pioneer. 1971 Splay. 1976 Acrylic on canvas, 79V2" diameter

1 ' ':" Acrylic on canvas, ioi'/i x 45" Acrylic on canvas, 104 x 1 1 Collection of the artist Private Collection Collection William Hokin, Chicago 116 109 123 Under Color. 1973 Sutter's Mill. 1971 Ridge. Acrylic on canvas, 72 x 72" 1975 Acrylic on canvas, 91-% x 31 Vi" Cor-ten steel, 69 x x 120" Lent by David Mirvish Gallery, 234 Collection Michael Steiner, Toronto Collection of the artist New York "117

1 10 Lorraine. 1973 Until Tomorrow. 1971 Acrylic on canvas, 84" diameter Acrylic on canvas, 93% x 86" Collection Lewis M. Kaplan Private Collection Associates Limited

48 Globe. 1956

Acrylic on canvas, 60 x 60"

Collection Cornelia Noland, Washington, D.C.

49 Circle. 1958

Acrylic on canvas, 96 x 96"

Andy Wiliiams'Private Collection

50 Rocker. 1958

Acrylic on canvas, 54V2 x 54V2"

Collection Peter Sharp, New York

51 Untitled. 1958

Acrylic on canvas, 60 x 60"

Collection The Lannan Foundation, Palm Beach

52 That. 1958-59

Acrylic on canvas, 81% x 81%"

Collection Mr. and Mrs. David Mirvish, Toronto

53 Lunar Episode. 1959

Oil on canvas, 70V2 x 68V2"

Collection Mr. and Mrs. Charles

Oilman, Jr., New York

54 I I

Mesh. 1959

Oil on canvas, 65 54 x 63%"

Collection Mr. and Mrs. Alvin L. Ukman, Chicago

55 2

1

Round. 1959 Acrylic on canvas, 92 x 92"

Collection Mr. and Mrs. Algur H. Meadows and the Dallas Museum of Fine Arts

56 13 Time's Motion. 1959

Acrylic on canvas, 70 x 71"

Collection Mr. and Mrs. Ronald K.

Greenberg, St. Louis

57 14

Virginia Site. 1959

Acrylic on canvas, 70 x 70"

Collection Joseph Helman, New York

vX f6

Magic Box. 1959

Acrylic on canvas, 93 x 93"

Collection The Metropolitan Mu- seum of Art, New York, Purchase 1977, Funds of Anonymous Donor

59 Bloom, i960

Acrylic on canvas, 67 x 67V2"

Collection Kunstsammlung Nordrhein-Westfalen, Diisseldorf

60 1

zo

Corn Sweet. 1 96

Acrylic on canvas, 33% x 33%7/„"

Private Collection

61 21

Inner Way. 1961

Acrylic on canvas, 82 x 82'

Collection Graham Guild

62 22

Turnsole. 1961

Acrylic on canvas, 94V& x 94%"

Collection The Museum of Modern Art, New York, Blanchette Rockefeller Fund, 1968

63 2-3

Winter Sun. 1961

Acrylic on canvas, 33V2 x 33V2"

Private Collection

64 Burnt Day. 1962.

Acrylic on canvas, 45 x 45"

Private Collection, London

65 2-5 New Problem. 1962.

Acrylic on canvas, 71 x 73"

Private Collection

66 z6

SpringCool. 196Z

Acrylic on canvas, 96 x 96 The Weisman Family Collection

67 30 Blue Horizon. 1963

Acrylic on canvas, 72 x jz"

Vincent Melzac Collection, Washington, D.C.

68 3i

Dusk. 1963

Acrylic on canvas, 94 x 74"

Collection Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.

69 V-

East-West. c. 1963

Acrylic on canvas, 70 -Vs x 69V2"

Vincent Melzac Collection, Washington, D.C.

70 33 Hover. 1963

Acrylic on canvas, 69 x 69"

Collection Fogg Art Museum, Harvard University, Cambridge, Massachusetts, Purchase- Louise E. Bettens Fund

71 34 Sun Dried: Japanese Space. 1963

Acrylic on canvas, 63 Vi x 63 V2"

Collection Mr. and Mrs. John D. Murchison, Dallas

35

Trans Flux. 1963

Acrylic on canvas, 102 x 164"

Lent by Rutland Gallery, London

72 73 36

And Again. 1964

Acrylic on canvas, 69 x 69"

Collection Mr. and Mrs. Bagley Wright

74 37 Baba Yagga. 1964

Acrylic on canvas, 64 x 66!4"

Lydia and Harry L. Winston Collection (Dr. and Mrs. Barnett Malbin, New York)

75 76 38

Bend Sinister. 1964

Acrylic on canvas, 92.% x 156%"

Collection Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.

39 Half Time. 1964

Acrylic on canvas, 69M x 69%"

Collection Dr. T. E. Krayenbuehl, Oberreiden

77 78 4 o Embrown. 1964

Acrylic on canvas, 101 x 144"

Collection Mr. and Mrs. David Mirvish, Toronto

4'

Magenta Haze. 1 964

Acrylic on canvas, 70V2 x J0V2"

Private Collection

79 4 1 Sarah's Reach. 1964

x Acrylic on canvas, <)4 k x^iVs"

Vincent Melzac Collection, Washington, D.C.

80 43 Prime Course. 1964

Acrylic on canvas, 91 x 104"

Lent by Rutland Gallery, London

SI 44 Summertime. 1964

Acrylic on canvas, 70 x 70"

Collection Artco International, New York

82 45 ijtb Stage. 1964

Acrylic on canvas, 93V2 x 80V2"

Collection Carter Burden, New York

83 46

3-64. 1964

Acrylic on canvas, 72 x yz"

Collection Dr. and Mrs. William Tannenbaum, Chicago

47

Trans Shift. 1964

Acrylic on canvas, 100 x 113V2"

Collection Mr. and Mrs. S. I.

Newhouse, Jr.

84 85

5i

Grave Light. 1965

Acrylic on canvas, 102 x 204

Robert A. Rowan Collection

5* Nobid. 1965

Acrylic on canvas, 46 x 46"

Collection Mr. and Mrs. David Mirvish, Toronto

87 53 Saturday Night. 1965

Acrylic on canvas, 60 x 60

Private Collection

SS 56

Approach. 1966

Acrylic on canvas, zz x 96

Private Collection

89 57 Dark Sweet Cherry. 1966

Acrylic on canvas, 56 x 70"

Collection Mr. and Mrs. David Mirvish, Toronto

90 5«

Sound, c. 1966

Acrylic on canvas, 30 x 216"

Collection Joanne du Pont, New York

91 59

Shift. 1966

Acrylic on canvas, 14 x 96"

Collection Marc and Livia Straus, Boston

60

Shade. 1966

Acrylic on canvas, Z4 x 96"

Collection Mr. and Mrs. David Mirvish, Toronto

92 t6i

Dry Shift. 1967

Acrylic on canvas, 96 x 24"

Collection Mr. and Mrs. A. Alfred Taubman

62

Deep PMot. 1967

Acrylic on canvas, 96 x 24"

Lent by Kasmin Limited, London

93 63

Strand. 1966

Acrylic on canvas, 61 x 104"

Private Collection

94 71

Via Blues. 1967

Acrylic on canvas,

Robert A. Rowan Collection

95 77 Kind. 1968-69

Acrylic on canvas, 10 x 144"

Collection Artcounsel, Inc., Boston

96 78

Trans Median I. 1968

Acrylic on canvas, 84V2 x 84V2"

Lent by David Mirvish Gallery, Toronto

97 79 Via Flow. 1968

Acrylic on canvas, 54 x 148"

Collection Graham Gund

98 8o

Via Tradewind. 1968

Acrylic on canvas, 53 x 114

Collection Dr. and Mrs. Frederick L. Tunick, New York, and Dr. and Mrs. Paul A. Tunick, New York

"" 90

Via Lime. 1968-69

Acrylic on canvas, yzVi x 240"

Lent by Andre Emmerich Gallery, New York

100 91

Stellar Wise. 1969

Acrylic on canvas, 50% x ioz"

Collection Mrs. Hannelore Schulhof

wmmm

101 9 6 Dawn's Road. 1970

Acrylic on canvas, 59 x 114"

Collection Irving Blum, New York

102 97 Double Zone. 1970

Acrylic on canvas, 79 x 192"

Private Collection

103 t?8

Intent. 1970

Acrylic on canvas, 10 x 144"

Collection William Ehrlich, New York

104 99 Mexican Camino. 1970

Acrylic on canvas, 44 x 164" Collection Mr. and Mrs. Harry W. Anderson, Atherton, California IOO

Prime Venture. 1970

Acrylic on canvas, 63% x 114"

Collection Renee and Maurice Ziegler, Zurich

106 io6

Blues Intentions. 1971

Acrylic on canvas, 107 x 39V2"

Collection Joanne du Pont, New York

107

And Blues. 1971

Acrylic on canvas, 107 x 16"

Collection Joanne du Pont, New York

107 io8

Grey Pioneer. 1971

Acrylic on canvas, ioi'/i x 45"

Private Collection

108 109

Sutter's Mill. 1971

Acrylic on canvas, 91-% x 31V2"

Collection Michael Steiner, New York

109 no

Until Tomorrow. 1971

Acrylic on canvas, 93% x 86"

Private Collection

1 1 14

Rising and Falling. 1972

Acrylic on canvas, 84'^ x 151V2"

Courtesy Andre Emmerich Gallery, New York

110 Ill t"5 Golden Space. 1973

Acrylic on canvas, 79V2" diameter

Collection of the artist

I

112 1x6

Under Color. 1973

Acrylic on canvas, 71 x 71"

Lent by David Mirvish Gallery, Toronto

113 9

t r 1

Burnt Beige. 1975

Acrylic on canvas, 95 \'i x 112

Collection Dr. and Mrs. John M. Shuey

114 1"I20

Ova Ray. 1975

Acrylic on canvas, 112x112"

Courtesy Leo Castelli Gal'ery, New York

115 Acrylic on can

Private ( ollection

Uo 122.

Splay. 1976

Acrylic on canvas, 104 x 111V2"

Collection William Hokin, Chicago

117 123

Ridge. 1975 Cor-ten steel. 69 x m \ 120" Collection of the artist

IIS m S* 3. -T* •N N \ in Pi* }:& .'•>' V 1 $ wsa

j m <\ - *.

'lvMiiiri \* . hi mmm K

& 7 Ex-Nihilo. 1958

Acrylic on canvas, 64V2 x 71V2"

Collection of the artist

120 Spread. 1958

Oil on canvas, 117 x 117" New York University Art Collec- tion, Gift of William S. Rubin, 1964

121 15

Breath. 1959

Oil on canvas, 66 x 66"

Collection Mr. and Mrs. Joseph

Pulitzer, Jr., St. Louis

122 Whirl, i960

Acrylic on canvas, 70% x 69 V2

Collection Des Moines Art Center, Coffin Fine Arts Trust Fund, 1974

.

123 19

William, i960

Acrylic on canvas, 82V6 x 81V&"

Collection of the artist

E H

124 -7

Eyre. 1961

Acrylic on canvas, 96 x 96

Collection Mr. and Mrs. John D. Murchison, Dallas

125 ti8

Target. 1962

x Oil on canvas, 21 V2 x i.\ /i

Collection Mrs. Taft Schreiber

126 ^9

Winter Sun. 1961

Acrylic on canvas, 69 M x 69V2"

Collection Emanuel Hoffmann- Fondation, Kunstnmseum Basel

127 t48

Bridge. 1964

Acrylic on canvas, 89 x 98"

Collection The Davidson Family, Toronto

I2S t49 Golden Day. 1964

Acrylic on canvas, 72. x 72.'

Private Collection

129 5°

I hilj Way. 1964

Acrylic on canvas, 72. x 72"

Collection of the artist

130 55 Largesse. 1965

Acrylic on canvas, 48 x 48"

Collection Mr. and Mrs. Roy Friedman, Chicago

131 67

Approach. 1966

Acrylic on canvas, 96 x 22"

Private Collection

Untitled. 1966

Acrylic on canvas, 96 x 24"

Private Collection

132 69 Must. 1966

Acrylic on canvas, 48 x 96"

Collection The Edmonton Art Gallery, Edmonton, Canada, Westburne International Industries and Gallery Fund

75 Seamline. 1967

Acrylic on canvas, 24 x 96"

Collection Lewis Cabot

133 87 8S

I). in ii Dusk. [968 Trans Echo (detail). 1968

A( n In on canvas, w x 141" Acr) lie on canvas, 90 x 360"

Privati < < >]ltt turn I ent by Kasmin Limited, London

134 BM>»i»v

n wwa wiuu* i»>TrOTa*MiM

^S

BjISSrSSWWBT^^MBBM

135 8 9

Transvaries. 1968

Acrylic on canvas, 59 x 147"

Collection Marquess of Dufferin and Ava, London

' M l

136 93 Each. 1969

Acrylic on canvas, 10 x 144"

Lent by Galerie Bogislav von Wentzcl, Hamburg

137 94

April Tune. 1969

Acrylic on canvas, 65% x 124%

Collection The Solomon R. Guggenheim Museum, New York

138 95 Inner Green. T969

Arcylic on canvas, 97% x 29"

Collection of the artist

139 101

Greek Vision. 1970

Acrylic on canvas, 107V2 x 240

Private Collection

140 102

Regal Grey. 1970

Acrylic on canvas, 6iVi x 114

Lent by Kasmin Limited, London

141 1

1 1

Lift in Abeyance. 19 71

Acrylic on canvas, ioo'4 x 24 lA"

Lent by Andre Emmerich Gallery, New York

112

Plaid's Time. I97 1 -

Acrylic on canvas, 103 x 14V2"

Private Collection

142 "3

Tipperary Blue. 1971

Acrylic on canvas, 98 V2 x 41%"

Lent by Galerie Beycler, Basel

143 i [8

Another Time. 1973

Acrylic on canvas, yz x 72."

Lent by Andre Emmerich Gallery, New York

144 School of Visual Arts, New York, one-man exhibition, 1975

Leo Castelli Gallery, New York, one-man exhibition, 1976

145 Exhibitions and Reviews l Group Exhibitions and Reviews Young American Painters. Organized by The Mu- seum of Modern Art, New York. Traveled to: Watkins Gallery, American University, Washington, Southern University, Carbondale, Septem- D.C., 22- Annual Spring Purchase Exhibition, April ber 24-October 14,1956; Michigan State University, May 20, 195 1. Catalogue with unsigned essay East Lansing, November 14-December 4; Carle- The , 20th Annual Ex- ton College, Northfield, Minnesota, February 1-21, hibition: Maryland Artists, April 6-April 27, 1952. 1957; University of Manitoba, Winnipeg, March Catalogue 1-22; University of Florida, Gainesville, April 5- 26; Marshall College, Huntington, West Virginia, The Phillips Collection, Washington, D.C, Paint- May 10-31; San Francisco Museum of Art, July 9- ings by Some Washington Artists, Summer 1952 August 4; , Oregon, August The Washington Workshop Center of the Arts, 13-September 15; University of Washington, Seat- Washington, D.C. [Group Exhibition], 1952 tle, October 1-22; Long Beach Municipal Art Cen- Leslie Judd Portner, "Auction Friday; a Calfee ter, California, November 7-28; Tucson Fine Arts Show." The Washington Post, November 16, Association, January 12-February 2, 1958; Atlanta p. L 1952, 4 Public Library, February 20-March 13; Lauren Catholic University, Washington, D.C. [Group Ex- Rogers Library and Museum of Art, Laurel, Mis- hibition], 1953 sissippi, March 30-April 20; Western Michigan Leslie Judd Portner, "Two More Worthwhile College, Kalamazoo, May 5-26; Kansas State Shows," The Washington Post, June 21, 1953, Teachers College, Pittsburg, Kansas, June 10-July 1 p. 6l Jefferson Place Gallery, Washington, D.C. [Group

The Washington Workshop Center of the Arts, Exhibition], 1957 Washington, D.C. [Group Exhibition], 1953 Leslie Judd Portner, "D. C. Gets A New Kind Leslie Judd Portner, "The Workshop and the of Gallery," The Washington Post and Times

Watkins," The Washington Post, February 1, Herald, October 13, 1957, p. E7 1953. P-SL The Baltimore Museum of Art, The Maryland Re- Kootz Gallery, New York, Emerging Talent, Janu- gional Exhibition: Paintings, Sculpture and Crafts ary 11-30, 1954 by Artists of Maryland, Delaware and The District Carlyle Burrows, "Art Review," New York Her- of Columbia, March 24-April 21, 1957. Catalogue Regional Most ald Tribune, January 24, 1954, Section 4, p. 8 Kenneth B. Sawyer, "Current Stimulating Sun, Baltimore, March James Fitzsimmons, "A Critic Picks Some Prom- One," The 31, 1957, p. 2 ising Painters," Art Digest, vol. 28, no. 8, Janu- ary IO-II 15, 1954, pp. Modern Design Shop, Washington, D.C, Modem Stuart Preston, "Gallery Variety," The New York Design Show, 1958 Times, January 17, 1954, Section 2, p. 11 "Big Pictures Fit in Little Rooms," The Washing- ton Post, January 28, 1958, p. B5 The Art Department of Catholic University, Wash- ington, D.C, j Directions, March 3-31, 1954 Corcoran Gallery of Art, Washington, D.C, Twenty-Sixth Biennial Exhibition of Contempo- Corcoran Gallery of Art, Washington, D.C, Col- rary American Painting, January 17-March 8, 1959- lecting for Pleasure, May 15-September 23, 1956. Catalogue Catalogue Kenneth B. Sawyer, "Art Notes: Stimulating National Arts Club, New York, Metropolitan at Show the Corcoran," The Sun, Baltimore, July Young Artists Show, December 9, 1959-January 7, 29, 1956 i960

146 Galerie Ncufville, Paris, New American Painting, Whitney Museum of American Art, New York, May 3-May 23, 1963. First shown at Kootz Gallery, May 3-May 31, i960 Geometric Abstraction in America, March 20-May New York, March 26-March 30, 1963. Catalogue 1962. Catalogue with essay by Gordon with essay by Andre Emmerich Gallery, New York, New Works 13, John Sam Hunter Max Kozloff, "Art," The Nation, April 21, 1962, by the Artists of the Gallery, May 24-June 30, i960 The Jewish Museum, New York, Toward a New pp. 364-366 Marlborough Fine Art Ltd., London, New New Abstraction, May 19-September 15, 1963. Cata- Irving Sandler, "In the Art Galleries," The New York Scene, October-November 1961 logue with individual essays on each artist repre- York Post, April 15, 1962, magazine section, sented; Noland essay by Alan R. Solomon Michael Fried, "Visitors From America," Arts 12 p. Leslie Judd Ahlander, "Gotham is Alive with Magazine, vol. 36, no. 3, December 1961, pp. 38- Summer Art," The Washington Post, June 40 Seattle Fine Arts Pavilion, Seattle World's Fair, Art 23, g6 Since American and International, April 21- 1963, p. Jasia Reichardt, "Modern Art in London: New 1950, Michael Catalogue with essay by Fried, "The Confounding of Confu- New York Scene at New London Gallery," October 21, 1962. Sam sion," Arts Yearbook Hunter. Traveled in part to: , 7, 1964, pp. 37-45 Apollo, vol. lxxiv, no. 441, November 1961, , Waltham, Massachusetts, No- Republic of San Marino, 4th San Marino Biennale, P- 157 vember 21-December 23, 1962; The Institute of July 7-September 20, 1963 The Solomon R. Guggenheim Museum, New York, Contemporary Art, Boston, as American Art Since American Abstract Expressionists and Imagists, Oc- Kasmin Limited, London, The 118 Show, August 1950, with separate catalogue with essay by Sam tober 18-December 31, 1961. Catalogue with essay 9-c. September 13, 1963 Hunter reprinted from Seattle catalogue by H. H. Arnason "Seattle World's Fair: Art' Since 1950: Amer- Philadelphia Museum of Art, Philadelphia Collects Lawrence Alloway, "Easel Painting at the 20th Century, October 3-November Cat- ican," Artforum, vol. 1. no. 4, September 1962, 17, 1963. Guggenheim," Art International, vol. V, no. 10, alogue pp. 30-36 Christmas 1961, pp. 26-34 New Directions in American Painting. Organized Barnard College, York, Paintings Young by Emily Genauer, "Isms Die in Their Fashion," New by The Poses Institute of Fine Arts, Brandeis Americans, 1962 Univer- New York Herald Tribune, October 15, 1961, sity, Waltham, Massachusetts. Traveled to: Mun- Section 4, p. 10 Norman Mackenzie Art Gallery, University of Sas- son-Williams-Proctor Institute, Utica, New York, Jack Kroll, "American Painting and the Convert- katchewan, Regina, Three Netu American Painters: December 1, 1963-January 5, 1964; Isaac Delgado Louis, Nolaud, Olitski, January 11-February ible Spiral," Art Neivs, vol. 60, no. 7, November 15, Museum of Art, New Orleans, February 7-March i96i,pp. 34-37,66,68-69 1963. Catalogue with essay by Clement Greenberg 8; Atlanta Art Association, March 18-April 22; J. B. Gerald E. Finley, "Louis, Noland, Olitski," Art- Whitney Museum of American Art, New York, Speed Art Museum, Louisville, May 4-June 7; Art forum, vol. 1, no. 9, March 1963, pp. 34-35 Annual Exhibition of 1961: Contemporary Amer- Museum, Indiana University, Bloomington, June ican Painting, December 13, 1961-February 4, 1962. Clement Greenberg, "Three New American 22-September 20; Washington University, St. Louis, Catalogue Painters," Canadian Art, 85, vol. xx, no. 3, October 5-30; Institute of Arts, Novem- Lawrence Campbell, "New Blood in the Old May/June 1963, pp. 172-175 ber 10-December 6. Catalogue with essay by Sam

Cross-Section," Art News, vol. 60, no. 9, January Corcoran Gallery of Art, Washington, D.C., The Hunter 38-40 1962, pp. Twenty-Eighth Biennial Exhibition of Contempo- Whitney Museum of American Art, New York, John Canaday, "Whitney Again: The Annual rary American Painting, January 18-March 3, 1963. Annual Exhibition 196): Contemporary American

Show Regulars Along with Twenty-Two New- Catalogue with essay by Hermann Warner Wil- Painting, December n, 1963-February 2, 1964. comers," The New York Times, December 17, liams, Jr. Catalogue 1961, p. ir The Green Gallery, New York, Robert Morris, David Stuart Gallery, New York [Group Exhibi- Vassar College Art Gallery, Poughkeepsie, New , Kenneth Noland, Tadaaki Kuway- tion], 1963 York, Nett' Directions in American Painting, ama, Don Judd, Frank Stella, Darby Bannard, Ells- 1961 San Francisco Museum of Art, Directions—Amer- worth Kelly, May The Art Institute of Chicago, 65th Annual Amer- 1963 ican Painting, 1963 ican Exhibition: Some Directions in Contemporary The Poses Institute of Fine Arts, Brandeis Univer- James Monte, "Directions—American Painting,

Painting and Sculpture, January 5-February 18, sity, Waltham, Massachusetts, Recent Acquisitions: San Francisco Museum of Art," Artforum, vol. 11,

1962. Catalogue The Gevirtz-Mnuchin Collection and Related Gifts, no. 5, November 1963, pp. 43-44

147 e The University of Michigan Museum of Art, Ann Gerald Gassiot Talabot, "La xxxii Biennale de Part One, February 10-March 6, 1965. Catalogue vol. Arbor, The New Formalists: Contemporary Amer- Venise: The 32nd Venice Biennial," Cimaise, The Museum of Modern Art, New York, The Re- 106-122 ican Paintings for Purchase Consideration, January 11, no. 69-70, July-October 1964, pp. sponsive Eye, February 23-April 25, 1965. Traveled 15-February with 9, 1964. Catalogue essay by Rob- Annette Michelson, "The 1964 ," to: City Art Museum of St. Louis, May 20-June 20; ert Iglehart Art International, vol. VIII, no. 7, September 25, Seattle Art Museum, July 15-August 23; Pasadena Quay Gallery, San Francisco, Third Annual New 1964, pp. 38-40 Art Museum, September 25-November 7; The Bal- timore Museum of Art, December York Show, March 19-April 30, 1964 Whitney Museum of American Art, New York, 14, 1965-Janu- ary 1966. Catalogue with essay by William C. James Monte, "Third Annual New York Show, Between the Fairs: zj Years of American Art, 1939- 23, Seitz Quay Gallery," Artforum, vol. II, no. 11, May 1964, June 24-September 23, 1964. Catalogue with p. 1964, 48 essay by John I. H. Baur Institute of Contemporary Arts, Washington, D.C., Art in Washington, closed Tate Gallery, London, Painting and Sculpture of a Kasmin Limited, London [Group Exhibition], July March 1, 1965 Decade, April 28, 1964. Organized 54-64, 22-June 30-September 19, 1964 Krannert Art Museum, Champaign, Illinois, Con- by the Calouste Gulbenkian Foundation. Catalogue Centro de Artes Visuales, Instituto Torcuato Di temporary American Painting and Sculpture 1965, Los Angeles County Museum, Post Painterly Ab- Telia, Buenos Aires, Premio Nacional e Interna- March 7-April 11, 1965. Catalogue with essay by Allen S. Weller straction, April 23-June 7, 1964. Organized by cional, October 7-November 1, 1964. Catalogue Clement Greenberg. Traveled to: Walker Art Cen- with essay by Clement Greenberg, translated from Institute of Contemporary Art, Boston, Painting ter, , July 13-August 16; The Art Gal- English, excerpted from "Modernist Painting," Arts Without a Brush, March 20-April 25, 1965. Cata- lery of Toronto, November 20-December 20. Cata- Yearbook 4, 1961, p. 101; essay by , logue with essay by Sue M. Thurman logue with essay by Clement Greenberg translated from English, excerpted from "Kenneth Providence Art Club, Rhode Island, 1965 Kane John Coplans, "Post-Painterly Abstraction: The Noland," Art International, vol. vm, no. 5-6, Sum- Memorial Exhibition, Critic s Choice: Art Since Long-awaited Greenberg Exhibition Fails to mer 1964, p. 58 Make Its Point," Artforum, vol. 11, no. 12, Sum- World War II, March 31-April 24, 1965. Catalogue Museum of Art, Carnegie Institute, Pittsburgh, The mer 1964, pp. 4-9 with essays by Thomas B. Hess, Hilton Kramer and 1964 Pittsburgh International: Exhibition Con- of Harold Rosenberg Corcoran Gallery of Art, Washington, D.C., Wash- temporary Painting and Sculpture, October 30, University, Cambridge, ington Collects Contemporary Art, April 30-May 1964-January 10, 1965. Catalogue Fogg Art Museum, Harvard 24, 1964. Catalogue Massachusetts, Three American Painters: Kenneth Piazza Cesare Augusto, La Galleria Notizie, Turin, Noland-Jules Olitski-Frank Stella, April 21-May Galerie Renee Ziegler, Zurich, Morris Louis-Ken- Noland e Stella, November 16-December 20, 1964. 30, 1965. Traveled to: Pasadena Art Museum, July neth Noland, June 9-July 15, 1964. Catalogue with Catalogue with essay by Alan R. Solomon re- 6-August 3. Catalogue with essay by Michael Fried essays by Alan R. Solomon and Robert Rosenblum printed from XXXII Biennale Internazionale D'Arte Rosalind Krauss, "A View of Modernism," Art- reprinted from The Jewish Museum, New York, Venezia, Venice, exhibition catalogue, 1964, cited forum, vol. XI, no. 1, September 1972, pp. 48-51 Toward a New Abstraction, exhibition catalogue, above 1963, cited above. "La Galleria 'Notizie di Torino' presenta: Ken- Washington Gallery of Modern Art, Washington, Hans Curjel, "Zurich: Morris Louis-Kenneth neth Noland e Frank Stella," Borsa d'Arte, De- D.C., The Washington Color Painters, June 25-

Noland," Werk, 51 Jahrgang, vol. 8, August cember 1964, p. 4 September 5, 1965. Traveled to: University of

186-188 Texas Art October 3-3 ; Art Gal- 1964, pp. Galerie Bonnier, Lausanne, Arman-Kenneth No- Galleries, Austin, 1 lery, University of California, Santa Barbara, No- Institute of Contemporary Art, Boston, The Bien- land, December 2, 1964-January 29, 1965 vember 16-December 19; Rose Art Museum Gal- nale Eight, June 20-July 26, 1964 G[eorges] Pfeillex], "Lausanne: Parallelement, leries, Brandeis Waltham, Massachu- Arman-Kenneth Noland," Werk, 52 Jahrgang, University, XXXll Biennale Internazionale D'Arte Venezia, setts, January 17-February 20, 1966; Walker Art vol. 3, March 1965, pp. 65-66 Venice, June 20-October 18, 1964. Catalogue with Center, Minneapolis, March 7-April 10. Catalogue essays by G. A. Dell'Acqua, Alan R. Solomon on Detroit Institute of Arts, The Institute Collects, De- with essay by Gferald] N[ordland] the United States section, other authors cember 8, 1964-January 3, 1965. Catalogue Andrew Hudson, "Letter from Washington," Art Gene Baro, "The Venice Biennale," Arts, vol. 38, L. Gallery, J. Hudson Detroit, International '6y. A International, vol. IX, no. 9-10, December 20, no. 10, September 1964, pp. 32-37 Selection from the Pittsburgh 1964 International, 1965, p. 56

148 Elisabeth Stevens, "The Washington Color Stable Gallery and Tibor de Nagy Gallery, New Flint Institute of Art, DeWaters Art Center, Michi-

Painters," Arts Magazine, vol. 40, no. 1, Novem- York, Distillation, September 20-October 8, 1966. gan, The First Flint Invitational, November 4-De- ber 1965, p. 30-33 E. C. Goossen, "Distillation: A Joint Showing," cember 31, 1966. Catalogue

Artforum, vol. v, no. 3, November 1966, pp. 31- Kunsthalle Basel, Held Kelly Mattmiiller Noland Stedelijk Museum, Amsterdam, Vormen van de 33 Olitski Pfabler Plumb Turnbull, June 26-September Kleur, November 19, 1966-January 15, 1967. Cata- in Dutch and English essay A. L. 5, 1965.N Catalogue with essay by Arnold Riidlinger The Solomon R. Guggenheim Museum, New York, logue with by W. C. H. "Basel: Signale Held, Kelly, Mattmiiller, Systemic Painting, September 21 -November 27, Beeren. Traveled to: Wiirttembergischer Kunstver- Noland, Olitski, Pfahler, Plumb, Turnbull," 1966. Catalogue with essay by Lawrence Alloway ein Stuttgart as Formen der Farbe, February 18- separate essay Werk, 52 Jahrgang, vol. 8, August 1965, pp. Lawrence Alloway, "Background to Systemic," March 26, with catalogue with by 179-180 Art News, vol. 65, no. 6, October 1966, pp. 30-33 Dieter Monisch; Kunsthalle Bern, April 14-May 21, with separate catalogue with essays by Beeren and Hilton Kramer, " 'Systemic' Painting: An Art for Kasmin Limited, London, 118 Show, August 12- H.S. Critics," The New York Times, September 18, September 18, 1965 J.-Ch. A., "Formen der Farbe— Shapes of Col- 1966, p. D33 our," Werk, 54 Jahrgang, vol. 6, June 1967, p. Stratton Arts Festival, Stratton, Vermont, Painting Robert Pincus-Witten, " 'Systemic' Painting: A Sculpture, 383. and September 30-October 12, 1965. Well-Chosen View is Presented by Lawrence Catalogue with essay by E. C. Goossen Alloway," Artforum, vol. v, no. 3, November Corcoran Gallery of Art, Washington, D.C., }oth 1966, pp. 42-45 Biennial Exhibition of Contemporary American San Francisco Museum of Art, Colorists 1 950-1965, Painting, February 24-April 9, 1967. Catalogue October 15-November 21, 1965. Catalogue with The Larry Aldrich Museum, Ridgefield, Connecti- with essay by Hermann Warner Williams, Jr. essay by Anita Ventura cut, Selections from the John G. Powers Collection, Gene Baro, "Washington and Detroit," Studio September 25-December 11, 1966. Catalogue with Whitney Museum of American Art, New York, International, vol. 174, no. 891, July/August essays by Larry Aldrich and John G. Powers 1965 Annual Exhibition: Contemporary American 1967, pp. 49-51 Painting, December 8, 1965-January 30, 1966. Whitney Museum of American Art, New York, Art Andrew Hudson, "The Biennial: Corcoran's Catalogue of the United States: 1670-1966, September 28-N0- 30th Exhibition Proves Value of Experiments," The New Brunswick Museum, Saint John, Canada, vember 27, 1966. Catalogue with essay by Lloyd The Washington Post, February 26, 1967, p. Gi Frankenthaler, Noland, Olitski, January 7-30, 1966. Goodrich Andrew Hudson, "Washington: An 'American

Traveled to: The Norman Mackenzie Art Gallery, Salon' of 1967," Art International, vol. XI, no. 4, Noah Goldowsky, New York, 5, October 15-No- University of Saskatchewan, Regina; The Mendel April 20, 1967, pp. 73-79 vember 12, 1966 Art Centre, Saskatoon, Saskatchewan; The Con- Krannert Art Museum, Champaign, Illinois, Con- federation Art Gallery and Museum, Charlotte- Two Decades of American Painting. Organized by temporary American Painting and Sculpture 1967, town, Prince Edward Island. Catalogue with essay The International Council of The Museum of March 5-April 9, 1967. Catalogue with essay by to: National by J. Barry Lord Modern Art, New York. Traveled The Allen S. Weller Barry Lord, "Three American Painters Tour Museum of Modern Art, , October 15-No- vember National Museum of Mod- Institute of Art, Boston, Direc- Canada," Canadian Art, vol. xxm, no. 3, July 27, 1966; The Contemporary New 1966, p. 50 ern Art, Kyoto, December 12, 1966-January 22, tions in Collecting, Part One: Museum Acquisi- 1967, with catalogue partially in Japanese, partially tions, April 8-May 14, 1967. Traveled to: The The Larry Aldrich Museum, Ridgefield, Connec- in English with essays by Lucy R. Lippard, Waldo Berkshire Museum, Pittsfield, Massachusetts, July ticut, Brandeis University Creative Arts Awards, Rasmussen, Irving Sandler, G. R. Swenson; Lalit 5-July 25, 1967. Catalogue 1957-1966: Tenth Anniversary Exhibition, April Kala Academy, New Delhi, March 25-April 15, 17-June 26, 1966. Catalogue. Citation award, 1965, Detroit Institute of Arts, Form, Color, Image, April with separate catalogue in English with essays by granted to Noland n-May 21, 1967. Catalogue with essay by Gene Lippard, Rasmussen, Sandler, Swenson; National Carroll Baro Reece Museum, East Tennessee State Uni- Gallery of Victoria, Melbourne, June 6-July 8; Art versity, Johnson City, Black Mountain College, Gallery of New South Wales, Sydney, July 17-Au- University of California, Irvine, A Selection of April 26-June 30, 1966. Catalogue with essay by gust 20, with separate catalogue with essays by Lip- Paintings and Sculptures from the Collections of Robert S. Moore, Jr. pard, Rasmussen, Sandler, Swenson Mr. and Mrs. Robert Rowan, May 2-21, 1967.

149 Catalogue with Jeanne Siegel, "Documenta IV: Homage to the Traveled to: San Francisco Museum of Art, June z- Alan R. Solomon for the USIA. R. Solomon. Traveled to: Institute of Americans?" Arts Magazine, vol. 43, no. 1, Sep- July 2, 1967. Catalogue essay by Alan Contemporary Art, Boston, December 15, 1967- tember/October 1968, pp. 37-41 Fondation Maeght, Saint-Paul de Vence, France, January 10, 1968. Catalogue with essay by Alan R. Frank Whitford and Robert Kudielka, "Docu- Dix ans d'art vivant 1955-1965, May 3-July 23, Solomon menta IV: a critical review," Studio International, 1967. Catalogue vol. 176, no. 903, September 1968, pp. 74-78 Frankfurter Kunstverein, Frankfurt, Kompass New Metropolitan Museum, Tokyo, Ninth Japanese In- The Museum of Modern Art, New York, The Art York: Malerei nach 194s aus New York, December ternational Exhibition, May 10-30, 1967 of the Real: USA 1948-1968, July 3-September 8, 30, 1967-February 11, 1968. Catalogue in German 4- Catalogue with essay by E. C. Goossen. Trav- Kasmin Limited, London, 118 Show, August and English with essays by E. Rathke and Jean 1968. September 7, 1967 Leering eled to: Centre National d'Art Contemporain, Paris, as L'Art du reel: USA 1948-1968, November Washington Gallery of Modern Art, Washington, David Mirvish Gallery, Toronto, Caro, Noland, 14-December 23, 1968, with catalogue in French D.C., Art for Embassies Selected from the Wood- 1967 with essay by Goossen; Kunsthaus, Zurich, as Der ward Foundation Collection, September 30-N0- Paul Russell, "Toronto: Caro, Noland," Artscan, Raum in der Amerikanischer Kunst 1948-1968, vember 1967. Catalogue with essay by Henry 5, of Arts Canada, no. 104, January supplement 19-February with separate cata- Geldzahler January 23, 1969, p. 6 1967, logue in German with essay in English by Goossen; 180 Beacon Street, Boston, The 180 Beacon Collec- Galerie du siecle, Montreal, jack Bush, Helen Tate Gallery, London, as The Art of the Real: An tion of Contemporary Art, October 1967. Cata- Erankenthaler, Morris Louis, Kenneth Noland, Aspect of American Painting and Sculpture, 1948- logue with essay by Sam Hunter Jules Olitski, Frank Stella, Robert Murray, Febru- 1968, April 24-June 1, with separate catalogue with Institute of Contemporary Art, University of Penn- ary 1968. Organized in collaboration with David essay by Goossen sylvania, Philadelphia, Selected Works from the Mirvish Gallery, Toronto, and Galerie Agnes Le- Hilton Kramer, "The Abstract and the Real, Collection of Mr. and Mrs. H. Gates Lloyd, Octo- fort, Montreal from Metaphysics to Visual Facts," The New ber 18-November 19, 1967. Catalogue with essay York Times, July 21, p. D31 Fondation Maeght, Saint-Paul de Vence, France, 1968, by Stephen S. Prokopoff L'Art vivant 7965-1968, April 13-June 30, 1968. Philip Leider, "Art of the Real, Museum of Mod- September Museum of Art, Carnegie Institute, Pittsburgh, Catalogue with essay by Francois Wehrlin ern Art," Artforum, vol. vn, no. 1, International Exhibition Con- 1968, p. 68 1967 Pittsburgh of The Metropolitan Museum of Art, New York, Painting and Sculpture, October ," Archi- temporary 27, Kenneth Noland, Morris Louis, Anthony Caro, Robert Melville, "Gallery: 1967-January 1968. Catalogue tectural Review, vol. cxivi, no. 870, August 1969, 7, May 16-June 16, 1968 Andrew Hudson, "The 1967 Pittsburgh Inter- Hilton Kramer, "The Metropolitan Takes pp. 146-148 national," Art International, vol. XI, no. 10, Another Step Forward," The New York Times, Jefferson Place Gallery, Washington, D. C, Jeffer- Christmas 1967, pp. 57-64 May 25, 1968, p. 31C son Place: Ten Years, July 16-August 3, 1968 The Royal Dublin Society, Rose '67: The Poetry of R[ita] S[imon], "Kenneth Noland, Morris Louis, Pasadena Art Museum, Serial Imagery, September Vision, November 13-December 30, 1967. Cata- and Anthony Caro," Arts Magazine, vol. 42, no. 17-October 27, 1968. Traveled to: Henry Art Gal-

logue 8, June/Summer 1968, pp. 56-57 lery, University of Washington, Seattle, November Clement Greenberg, "Poetry of Vision," Art- Santa Barbara Museum of Art, National Gallery of Art, Washington, D.C., Paint- 17-December 22; forum, vol. VI, no. 8, April 1968, pp. 18-21 January 25-February 1969. Catalogue with ings from the Albrigbt-Knox Art Gallery, Buffalo, 23, essays by Coplans Whitney Museum of American Art, New York, New York, May 19-July 21, 1968. Catalogue with John Nicolas Calas, "Art Strategy," Arts Magazine. 1967 Annual Exhibition of Contemporary Painting, essay by Gordon Macintosh Smith & vol. no. March 36-38 December 1967-February 1968. Catalogue 43, 5, 1969, pp. 13, 4, Galerie an der Schoen Aussicht, Museum Frideri- Lucy R. Lippard, "Constellation by Harsh Day- Honolulu Academy of Arts, Signals in the 'Sixties, cianum, Orangerie im Auepark, Kassel, 4. Docu- light: The Whitney Annual," The Hudson Re- 1968. Catalogue with menta: Internationale Ausstellung, June 27-Octo- October 5-November 10, view, vol xxi, no. 1, Spring 1968, pp. 174-182 essay by James Johnson Sweeney ber 6, 1968. Catalogue in two volumes with essays

U. S. Pavilion Expo '67, Montreal, American Paint- by Arnold Bode, Max Imdahl, Jean Leering, Janni Galerie Rudolf Zwimer, Cologne, Kunstmark Koln ing Now, April 28-October 27, 1967. Organized by Miiller-Hauck 1969, October 15-20, 1968

150 Mcintosh Memorial Art Gallery, University of Gallery of Art, Washington University, St. Louis, "Art: From the Brink, Something Grand," Time, Western Ontario, London, Ontario, Kenneth No- The Development of Modernist Painting: Jackson vol. 94, no. 17, October 24, 1969, pp. 78-81 land and Frank Stella: Neiv York Painters, Novem- Pollock to the Present, April 1-30, 1969. Catalogue Philip Leider, "Modern American Art at the ber 1968 with essay by Robert T. Buck, Jr. Met," Artforum, vol. vm, no. 4, December 1969, Palazzo Strozzi, Florence, Contemporary Art Fair, Scudder Gallery, Paul Arts Center, University of pp. 62-65

1968 New Hampshire, Durham, The Rose Art Museum David L. Shirey, "Super-Show," Newsweek, vol. Collection, Brandeis University, at Art Gallery of Ontario, Toronto, Three by Noland; New Hamp- lxxiv, no. 16, October 20, 1969, pp. 80-84 shire, April 14-May 5, 1969. Catalogue with essays Three by Stella, January 4-February 2, 1969. Two Dayton's Gallery 12, Minneapolis, Stella, Noland, by Dirk Bach and Russell Connor catalogues Caro, November 6-December 6, 1969. Catalogue Art Gallery, University of Notre Dame, Notre Vassar College Art Gallery, Poughkeepsie, New with essay by Christopher Finch Dame, Indiana, Selections from the Richard Brown York, Concept, April 30-June ji, 1969. Exhibition Pasadena Art Museum, Painting in New York: assistance. Baker Collection, January 5-February 23, 1969. organized with student Catalogue with 1944 to 1969, November 24, 1969-January 11, Catalogue essays by Lawrence Alloway and Mary Delahoyd 1970. Catalogue with essay by Alan R. Solomon Brockton Art Center, Fuller Memorial, Brockton, Lawrence Rubin Gallery, New York, Stella, Noland Whitney Museum of American Art, New York, Massachusetts, Three Centuries New England and Olitski, closed June 28, 1969 of 1969 Annual Exhibition: Contemporary American Art from New England Museums, January 15- Peter Schjeldahl, "New York Letter," Art Inter- Painting, December 16, 1969-February 1, 1970. March 2, Catalogue with essays by Edouard national, vol. xm, no. 6, Summer 1969, pp. 64-65 1969. Catalogue Du Buron and Bartlett H. Hayes, Jr. Everson Museum of Art, Syracuse, Contemporary Wallraf-Richartz- Museum, Cologne, Kunst der American Painting and Sculpture from the Collec- The Disappearance and Reappearance of the Sechziger ]ahre (Sammlung Ludwig), 1969. Cata- tion of Mr. and Mrs. Eugene M. Schwartz, July 13- Image: Painting in the United States since 1945- logue with essays by Gert von der Osten and November 16, 1969. Traveled to: University Art Organized by International Art Program, National Evelyn Weiss Collection of Fine Arts, Smithsonian Institution. Gallery, State University of New York at Albany, Pasadena Art Museum, Recent Acquisitions 1969, Traveled to: Sala Dalles, Bucharest, January 17- December 3, 1969-January 25, 1970. Catalogue with essay Eugene M. Schwartz 1969. Catalogue with essay by Thomas G. Terbell, February 2, 1969; Museul Banatului, Timisoara, by Rumania, February Galeria Arta, Jr. 14-March 1; de Arts Council Gallery, Belfast, Artists from the Kas- Cluj, Rumania March 14-April 2.; Slovak National The Art Institute of Chicago, 69th American Ex- min Gallery, August 1-30, 1969 Gallery, Bratislava, Czechoslovakia, April 14- June hibition, January 17-February 22, 1970. Catalogue Art Gallery of the University of Pittsburgh Depart- 15; National Gallery, Wallenstein Palace, Prague, with essay by A. James Speyer ment of Fine Arts, The Collection, Sep- July i-August 15; Palais des Beaux-Arts, Brussels, Gasman The Katonah Gallery, Katonah, New York, Color, tember 14-October 10, Catalogue October 21-November 16. Separate catalogue in 1969. February i-March 15, 1970. Catalogue with essay each language with essays by Ruth Kaufman and Waddington Fine Arts, Montreal [Group Exhibi- adapted in part from essays by Michael Fried from John W. McCoubrey tion], September 23-October 11, 1969. Catalogue Fogg Art Museum, Cambridge, Massachusetts, McMaster University, Hamilton, Ontario, by Painters, exhibition catalogue, 5 5, Worcester Art Museum, Massachusetts, The Direct Three American March 1969 cited above, and Clement Greenberg from Image in Contemporary American Painting, Octo- 1965, Art and Culture, Boston, 1961 Neue National Galerie, Berlin, Sammlung Karl ber 16-November 30, 1969. Catalogue with essay Stroher: Ausstellung der Deutschen Gesellschaft by Leon Shulman The Edmonton Art Gallery, Edmonton, Alberta, fur Bildende Kunst, March i-April 14, 1969. Trav- Ten Washington Artists: 1950-1970, February 5- Metropolitan Museum of Art, New York, New eled to: Stadtische Kunsthalle, Diisseldorf, April March 8, 1970. Catalogue with essays by Andrew York Painting and Sculpture: 1940-1970, October 25-June 17. Catalogue Hudson and Helen Jacobson and notes on classes 16, 1969-February 1, 1970. Catalogue with essay conducted by Kenneth Noland Art Gallery, University of California, Irvine, New by Henry Geldzahler; essays by Michael Fried, Cle- York: The Second Breakthrough, 1959-1964, March ment Greenberg, William Rubin, Harold Rosen- School of Fine and Applied Arts Gallery, Boston 18-April 27, 1969. Catalogue with essay by Alan R. berg and Robert Rosenblum, reprinted or revised University School of Fine and Applied Arts, Amer- Solomon from various periodicals. ican Artists of the Nineteen Sixties, February 6-

151 March 14, 1970. Catalogue with essay by H. H. Terry Fenton, "The David Mirvish Opening Living with Art: Selected Loans from the Collec- Arnason Show: Toronto," artscanada, vol. xxvn, no. 6, tion of Mr. and Mrs. Walter A. Netsch, September December 1970/January 1971, pp. 57-58 15-October zi, 1971. Catalogue with essay by UCLA, Los Angeles, Color, February 16-March zz, Walter A. Netsch 1970. Exhibition organized by graduate seminar, Institute of Contemporary Art, University of Penn- Department of Art sylvania, Philadelphia, Two Generations of Color Galerie Rudolf Zwirner, Cologne, Kolner Kunst-

Fainting, October i-November 6, 1970. Catalogue markt '71, October 5-10, 1971 The Art Gallery of Ontario, Toronto, A Selection with essay by Stephen S. Prokopoff from New Acquisitions, March z8-May 3, 1970. The Art Gallery of Ontario, Toronto, Recent Van-

Catalogue with essay by Mario Amaya Museum of Art, Carnegie Institute, Pittsburgh, guard Acquisitions, December 18, 1971-January 9, Pittsburgh International Exhibition Contempo- 197Z. Catalogue with essay by Dennis Young The Solomon R. Guggenheim Museum, New York, of rary Art, October 1970-January 10, 1971. Cata- Selections from the Guggenheim Museum Collec- 30, Whitney Museum of American Art, New York, logue with essay by Leon Anthony Arkus tion: 1900-1970, May i-September 13, 1970. Cata- 1972 Annual Exhibition: Contemporary American logue with essay by Louise Averill Svendsen Whitney Museum of American Art, New York, Painting, January Z5-March 19, 197Z. Catalogue 1970 Annual Exhibition: Contemporary American The Art Museum, Princeton University, New Jer- Mead Art Building, Amherst College, Amherst, Sculpture, December iz, 1970-February sey, American Art Since i960, May 6-Z7, 1970. 7, 1971. Massachusetts, Color Painting, February 4-March Catalogue Catalogue with essays by John Hand, Sam Hunter, 3, 197Z. Catalogue with essay by Carl N. Schmalz Joseph Masheck, "Sorting Out the Whitney An- Michael D. Levin and Peter P. Morrin Museum of Fine Arts, Boston, Abstract Painting in nual," Artforutn, vol. IX, no. 6, February 1971, Dayton's Gallery iz, Minneapolis, New Acquisi- the '70's: A Selection, April 14-May zi, 1972. Cata- pp. 70-74 tions, May 6-June 6, 1970 logue with essay by Kenworth Moffett Corcoran Gallery of Art, Washington, D.C., The Elderfield, Painting Seven- The Baltimore Museum of Art, Washington: John "Abstract in the Vincent Melzac Collection: Modernist American ties," Art International, vol. xvi, no. 6-7, Sum- Twenty Years, May iz-June zi, 1970. Catalogue Art Featuring New York Abstract Expressionism mer 9Z-94 with essays by Arlene Corkery, Ellen Hope Gross 1972, pp. and Washington Color Fainting, December 19, and Diana F. Johnson Hilton Kramer, "The Return of 'Handmade' 1970-January Z4, 1 971. Catalogue with essays by Painting," The New York Times, April 30, 197Z, Museum of Contemporary Art, Chicago, Ellsworth Ellen Gross Landau and Barbara Rose p. dz Kelly, Morris Louis, Kenneth Noland, Frank Stella, Benjamin Forgey, "Now There's a Painting Gap," 3 September iz-October z6, 1970. Organized in col- The Evening Star, Washington, D.C., December Fogg Art Museum, Harvard University, Cambridge, laboration with Dayton's Gallery iz, Minneapolis. 8, 1970, p. cio Massachusetts, American Art at Harvard, April 19- Catalogue with essay by David H. Katzive Paul Richard, "But Not Forgotten," The Wash- June 18, 197Z. Catalogue with essays by Kenyon C. Bolton, III, Peter G. Huenink, Earl A. Powell, III, Albright-Knox Art Gallery, Buffalo, Color and ington Post, December z6, 1970, pp. bi, B3 Harry Z. Rand and Nanette Sexton Field 1890-1970, September 15-November 1, 1970. Galerie Francoise Mayer, Brussels, Selection of 5, Traveled to: Dayton Art Institute, November zo, 1970 The Edmonton Art Gallery, Edmonton, Alberta, 1970-January 10, 1971; Museum of Art, Masters of the Sixties, May 4-June 4, 197Z. Organ- Whitney Museum of American Art, New York, The February 4-March z8. Catalogue with essay by ized in collaboration with David Mirvish Gallery, Structure of Color, February Z5-April 18, 1971. Priscilla Colt Toronto. Traveled to Winnipeg Art Gallery, Mani- Catalogue Edward B. Henning, "Color and Field," Art In- toba, June 15-July 15, 197Z. Catalogue with essay ternational, vol. xv, no. 5, May zo, 1971, pp. Northwood Institute, Cedar Hill, Dallas, Selections by 46-50 from the Collection of Mrs. Harry Lynde Bradley, The Art Museum, Princeton University, New Jer- March zi-April 30, 1971 Tibor de Nagy Gallery, New York, The 1950's Re- sey, European and American Art from Princeton visited: Twentieth Anniversary Exhibition Selec- Deluxe Theater, Houston, The Deluxe Show, Aug- Alumni Collections, May 7-June 11, 197Z. Cata- tions from the Gallery Alumni, September 19-Oc- ust 15-September iz, 1971. Catalogue with essays logue with essays by Edward Fry and others tober 8, 1970 by Steve Cannon, Jefferee Jaines, Simone Swan, Noah Goldowsky Gallery, New York, New Acqui- interview with Clement Greenberg David Mirvish Gallery, Toronto, The Opening, sitions: Paintings by Bannard, Christensen, Diller, September 19-October 10, 1970 The University of Iowa Museum of Art, Iowa City, Noland, Wofford, May 15-June 17, 1972

152 with essay by Clement Greenberg excerpted from Lucy R. Lippard, "New York Letter," Art Inter- L[awrence] Qampbell], "Reviews and Previews," "Louis and Noland," Art International, vol. iv, no. national, vol. IX, no. 1, February 1965, pp. 34-35 Art News, vol. 65, no. 2, April 1966, p. 52 i960 5, The Jewish Museum, New York, Kenne'th Noland, Hilton Kramer, "Art: The Postwar European "Abstract Painting from Paris and the United Scene Documented," The New York Times, Feb- February 4-March 7, 1965. Catalogue with essay States," The Times, London, April 24, 1963, p. 15 ruary by Michael Fried 26, 1966, p. 21 P. "Londres," J. Hodin, Quadrum, xv, 1963, pp. Lfawrence] C[ampbell], "Reviews and Preyiews," Lucy R. Lippard, "New York Letter: Off Color," 161-164 Art News, vol. 64, no. 1, March 1965, p. 12 Art International, vol. x, no. 4, April 20, 1966, Edward Lucie-Smith, The Listener, May 2., 1963 Dfonald] J[udd], "In the Galleries," Arts Maga- PP- 73-75 Norbert Lynton, "London Letter," Art Interna- zine, vol. 39, no. 6, March 1965, pp. 54-55 G. R. Swenson, "New York: The Boundaries of Chaos," Art Artists, vol. no. April tional, vol. VII, no. 5, May 25, 1963, p. 58 Don Judd, "New York Letter," Art International, and 1, 1, 1966, p. 62 Robert Melville, "Exhibitions Painting and Sculp- vol. ix, no. 3, April 1965, p. 74 ture," Architectural Review, vol. 134, no. 797, Stuart Preston, "Jewish Museum has Noland in Nicholas Wilder Gallery, Los Angeles, Kenneth July 1963, p. 58 Noland: Recent Paintings, November 8-26, 1966 Variety," The New York Times, February 5, Kurt Von Meier, "Los Angeles: The New Pure Edwin Mullins, "In Search of a Line," Apollo, 1965, p. 34 vol. lxxvii, no. 15, May 1963, p. 416 Painting," Art International, vol. XI, no. 2, Feb- David Mirvish Gallery, Toronto, Recent Works by ruary 20, 1967, pp. 50-55 Galerie Lawrence, Paris, Kenneth Noland, April 23- Kenneth Noland, February 21-March 16, 1965 David Mirvish Gallery, Toronto, Kenneth Noland: May 16, 1963 Kasmin Limited, London, Kenneth Noland: New 1966-67 Paintings, September 14-October 15, 1967 John Ashbery, "American Gallery in Paris Sells Paintings, April 2-May 2, 1965 Paul Russell, "Exhibition Reviews: Toronto- U.S. Art to Europeans," New York Herald Trib- Letter," Art International, Gene Baro, "London Kenneth Noland," Artscan, supplement to arts- une, Paris, May 2, 1963, p. 7 vol. ix, no. June 68-70 5, 1965, pp. canada, no. 114, November 1967, p. 8 Andre Emmerich Gallery, New York, Kenneth Nigel Gosling, "Art: Surprises from New York," Andre Emmerich Gallery, New York, Kenneth Noland, April 23-May 18, 1963 The Observer, London, April p. 4, 1965, 25 Noland, November 11-30, 1967 Michael Fried, "New York Letter," Art Interna- Robert Melville, "Gallery: The Amazing Contin- Dore Ashton, "New York," Studio International, tional, vol. VII, no. 69-70 5, May 25, 1963, pp. Review, vol. no. uity," Architectural 138, 821, vol. 175, no. 897, February 1968, p. 93 Donald Judd, "In the Galleries," Arts, vol. 37, July 1965, p. 57 A[nita] Ffeldman], "Kenneth Noland," Arts no. 10, September 1963, pp. 53-54 Edwin Mullins, "Art: Most Important Amer- Magazine, vol. 42, no. 3, December 1967/Jan- I[rving] Hfershel] S[andler], "Reviews and Pre- April ican," Sunday Telegraph, London, 11,1965 uary 1968, p. 60 views," Art News, vol. 62, no. 3, May 1963, p. 11 "Six Paintings by Mr. K. Noland," The Times, Max Kozloff, "Art," The Nation, December 18, Galerie Alfred Schmela, Diisseldorf, Kenneth No- London, April 8, 1965, p. 6 1967, p. 668 land, May 22-June 19, 1964 David Thompson, "Art: Provocative New Tal- Hilton Kramer, "Kenneth Noland," The New ent," The Queen, April 7, 1965 Andre Emmerich Gallery, New York, Kenneth No- York Times, November 18, 1967, p. 31 land: New Work, November 10-28, 1964 Robert Wraight, "On the Galleries: Ringing the James R. Mellow, "New York Letter," Art In- Dore Ashton, "Visual Pleasure from Austerity: non-bells," Tatler, April 21, 1965, p. 163 ternational, vol. xii, no. 1, January 20, 1968, pp. 62-64 New York Commentary," Studio International, Andre Emmerich Gallery, New York, Kenneth No- vol. no. February 169, 862, 1965, p. 92 land, February 22-March 13, 1966 John Perreault, "Art: Stripes as Stripes," The L[awrence] C[ampbell], "Reviews and Previews," Dore Ashton, "Conditioned Historic Reactions: Village Voice, November 30, 1967, pp. 21, 26 Art News, vol. 63, no. 8, December 1964, p. 14 New York Commentary," Studio International, Kasmin Limited, London, Kenneth Noland, June 7-

John Canaday, "Straw "Without Bricks," The vol. 171, no. 877, May 1966, p. 206 July 6, 1968 New York Times, November 15, 1964, p. 23 W[illiam] B[erkson], "In the Galleries," Arts Ian Dunlop, "Colourful and Likeable— That's Standard, Max Kozloff, "Month in Review: Abstract Attri- Magazine, vol. 40, no. 7, May 1966, p. 59 Kenneth Noland," Evening June 17, p. tion," Arts, vol. 39, no. 4, January 1965, pp. 48, David Bourdon, The Village Voice, March 10, 1968, 3 50 1966 Alistair Gordon, "Art in the Modern Manner,"

155 1961-1964, March Z9-April 21, 1976. Catalogue hibition of Paintings by Kenneth Noland, January from "Louis and Noland," Art International, vol. 4, with essay by Jeanne Siegel 7-30, 1957 no. 5, i960

Seibu Department Store Art Gallery, Tokyo, Three Jefferson Place Gallery, Washington, D.C. Kenneth Andre Emmerich Gallery, New York, Kenneth

Decades of American Art, June 18-July 20, 1976. Noland, January 31-February 22, 1958 Noland: New Work, March 14-April 1, 1961 Organized by Whitney Musem of American Art, Leslie Judd Portner, "Art in Washington," The Carlyle Burrows, "Noland Art 'Purist'," New New York Washington Post and Times Herald, February 9, York Herald Tribune, March 19, 1961, Section

"American Modems Fail to Stir Tokyo," The 1958, p. E7 4, p. 20 New York Times, July 15, 1976, p. 40 Tibor de Nagy Gallery, New York, Kenneth No- Stuart Preston, "Art," The New York Times, The Solomon R. Guggenheim Museum, New York, land, October 14-November 6, 1958 March 18, 1961, p. 17 Acquisition Priorities: Aspects of Postwar Painting J[ames] S[chuyler], "Reviews and Previews," Art V[ivien] R[aynor], "In the Galleries," Arts, vol. in America, October 15, 1976-January 16, 1977. News, vol. 57, no. 6, October 1958, p. 13 35, no. 8-9, May-June 1961, p. 98 Catalogue Afnita] V[entura], "In the Galleries," Arts, vol. Ifrving] H[ershel] S[andler], "Reviews and Pre- no. 1, October p. 33, 1958, 57 views," Art News, vol. 60, no. 3, May 1961, p. 15 French and Company, Inc., New York, Kenneth Irving Hershel Sandler, "New York Letter," Art 11 One-Man Exhibitions and Reviews Noland: Paintings, October 14-November 7, 1959. International, vol. v, no. 4, May 1, 1961, pp. Catalogue Si-53 Galerie Creuze, Paris, Ken Nolatid, April 23-May Dore Ashton, "Art: An Emphasis on Size," The 5,1949 The New Gallery, Bennington College, Benning- New York Times, October 16, 1959, p. 61 John Devoluy, "Art News in Paris," International ton, Vermont, Kenneth Noland, April 18-May 15, L[awrence] Cfampbell], "Reviews and Pre- Herald Tribune, April 29, 1949 1961. Catalogue with essay by E. C. Goossen views," Art News, vol. 58, no. 6, October 1959, Watkins Gallery, American University, Washing- Galerie Neufville, Paris, Kenneth Noland, April 25- p. 16 ton, D.C., Paintings by Ken Noland, December 3- May 27, 1961 William Rubin, "Younger American Painters," 2.2, 1950 John Ashbery, "Paris Notes," Art International, Art International, vol. IV, no. 1, i960, pp. 24-31 vol. v, no. 5-6, June-August 1961, pp. 42, 92 Dubin Gallery, Philadelphia, 1951 M[artica] S[awin], "In the Galleries," Arts, vol. Galerie Charles Lienhard, Zurich, Kenneth Noland, Dubin Gallery, Philadelphia, closed October 13, 34, no. 2, November 1959, p. 58 March 1962. Catalogue with essay by E. C. Goossen 1952 Martica Sawin, "New York Letter," Art Inter- Galerie Alfred Schmela, Diisseldorf, Kenneth No- Dupont Theater, Washington, D.C., Kenneth No- national, vol. in, no. 9, 1959, pp. io-n land, March 30-April 30, 1962 land, closed December 15, 1952 Jefferson Place Gallery, Washington, D.C, Paint- "Noland Abstractions," The Sunday Star, Wash- ings by Kenneth Noland Selected from His Recent Andre Emmerich Gallery, New York, Kenneth No- ington, D.C., November 30, 1952, p. E7 Exhibit at French and Co., Neic York, January land, April 10-May 5, 1962 5-21, i960 L[awrence] Cfampbell], "Reviews and Previews," Dubin Gallery, Philadelphia, 1953 11 Leslie Judd Ahlander, "American Art in Micro- Art News, vol. 61, no. 3, May 1962, p. Tibor de Nagy Gallery, New York, Kenneth No- cosm," The Washington Post, January 17, i960, Donald Judd, "In the Galleries," Arts, vol. 36, land, January 2-19, 1957 p. E 7 no. 10, September 1962, p. 49 Dfore] A[shton], "Kenneth Noland Abstractions Kenneth B. Sawyer, "Art Notes: Noland and Max Kozloff, "New York Letter," Art Interna- on Display," The New York Times, January 4, Hartigan Exhibits," The Sun, Baltimore, January tional, vol. VI, no. 7, September 1962, p. 38 1957, p. 20 31, i960, p. 5 Brian O'Doherty, "Targets by Noland," The J[erome] R. M[ellquist], "Kenneth Noland," Thomas Wolfe, "Artists New Technique Goes New York Times, April 14, 1962, p. 22 Arts, vol. 31, no. February p. 5, 1957, 65 All Over," The Washington Post, January 5, Irving Sandler, "In the Art Galleries," The New J[ames] Sfchuyler], "Reviews and Previews," Art i960, p. Aio York Post, April 22, 1962, magazine section, p. News, vol. 55, no. 10, February 1957, p. 10 Galleria Dell'Ariete, Milan, Kenneth Noland, No- 12 Margaret Dickey Gallery of Art, District of Colum- vember 3-18, i960. Catalogue with essay by Clem- Kasmin Limited, London, Kenneth Noland: Paint- bia Teachers College, Washington, D.C., An Ex- ent Greenberg translated from English, excerpted ings, 11)59-62, opened April 18, 1963. Catalogue

154 with essay by Clement Greenberg excerpted from Lucy R. Lippard, "New York Letter," Art Inter- L[awrence] C[ampbell], "Reviews and Previews," "Louis and Noland," Art International, vol. IV, no. national, vol. ix, no. 1, February 1965, pp. 34-35 Art News, vol. 65, no. 2, April 1966, p. 52 5, i960 » The Jewish Museum, New York, Kenne'th Noland, Hilton Kramer, "Art: The Postwar European "Abstract Painting from Paris and the United Scene Documented," February 4-March 7, 1965. Catalogue with essay The New York Times, Feb- States," The Times, London, April 24, 1963, p. 15 by Michael Fried ruary 26, 1966, p. 21 P. Hodin, "Londres," Quadrum, xv, J. 1963, pp. L[awrence] Cfampbell], "Reviews and Previews," Lucy R. Lippard, "New York Letter: Off Color," 161-164 Art News, vol. 64, no. 1, March 1965, p. 12 Art International, vol. x, no. 4, April 20, 1966, Edward Lucie-Smith, The Listener, May 2, 1963 D[onald] J[udd], "In the Galleries," Arts Maga- PP- 73-75 Norbert Lynton, "London Letter," Art Interna- zine, vol. 39, no. 6, March 1965, pp. 54-55 G. R. Swenson, "New York: The Boundaries of tional, vol. vh, no. 5, May 25, 1963, p. 58 Don Judd, "New York Letter," Art International, Chaos," Art and Artists, vol. 1, no. 1, April 1966, Melville, p. 62 Robert "Exhibitions Painting and Sculp- vol. ix, no. 3, April 1965, p. 74 ture," Architectural Review, vol. no. 134, 797, Stuart Preston, "Jewish Museum has Noland in Nicholas Wilder Gallery, Los Angeles, Kenneth July 1963, p. 58 Noland: Recent Paintings, November 8-26, Variety," The New York Times, February 5, 1966 Edwin Mullins, "In Search Kurt Meier, Angeles: of a Line," Apollo, 1965, P- 34 Von "Los The New Pure vol. lxxvii, no. 15, May 1963, p. 416 Painting," Art International, vol. xi, no. 2, Feb- David Mirvish Gallery, Toronto, Recent Works by ruary 20, 1967, pp. 50-55 Galerie Lawrence, Paris, Kenneth Noland, April 23- Kenneth Noland, February 21-March 16, 1965 David Mirvish Gallery, May 16, 1963 Toronto, Kenneth Noland: Kasmin Limited, London, Kenneth Noland: Neit> Paintings, John Ashbery, "American Gallery in Paris Sells 1966-67 September 14-October 15, 1967 Paintings, April 2-May 2, 1965 U.S. Art to Europeans," New York Herald Trib- Paul Russell, "Exhibition Reviews: Toronto- Gene Baro, "London Letter," Art International, Kenneth Noland," Artscan, supplement to arts- une, Paris, May 2, 1963, p. 7 vol. ix, no. June 1965, pp. 68-70 5, canada, no. 114, November 1967, p. 8 Andre Emmerich Gallery, New York, Kenneth Nigel Gosling, "Art: Surprises from New York," Andre Emmerich Gallery, New York, Kenneth Noland, April 23-May 18, 1963 The Observer, London, April 1965, p. 25 4, Noland, November 11-30, 1967 Michael Fried, "New York Letter," Art Interna- Robert Melville, "Gallery: The Amazing Contin- Dore Ashton, "New York," Studio International, tional, vol. VII, no. 5, May 25, 1963, pp. 69-70 uity," Architectural Review, vol. no. 821, 138, vol. 175, no. 897, February 1968, p. 93 Donald "In Galleries," Judd, the Arts, vol. 37, July 1965, p. 57 Afnita] F[eldman], "Kenneth Noland," Arts no. 10, September 1963, pp. 53-54 Edwin Mullins, "Art: Most Important Amer- Magazine, vol. 42, no. 3, December 1967/Jan- I[rving] H[ershel] S[andler], "Reviews and Pre- ican," Telegraph, London, April Sunday 11,1965 uary 1968, p. 60 views," Art News, vol. 62, no. 3, May 1963, p. 11 "Six Paintings by Mr. K. Noland," The Times, Max Kozloff, "Art," The Nation, December 18, London, April 6 Galerie Alfred Schmela, Diisseldorf, Kenneth No- 8, 1965, p. 1967, p. 668 land, May 22-June 19, 1964 David Thompson, "Art: Provocative New Tal- Hilton Kramer, "Kenneth Noland," The New ent," The Queen, April Andre Emmerich Gallery, New York, Kenneth No- 7, 1965 York Times, November 18, 1967, p. 31 land: New Work, November 10-28, 1964 Robert Wraight, "On the Galleries: Ringing the James R. Mellow, "New York Letter," Art In- non-bells," Tatler, April 21, Dore Ashton, "Visual Pleasure from Austerity: 1965, p. 163 ternational, vol. XII, no. 1, January 20, 1968, pp. York Commentary," International, New Studio Andre Emmerich Gallery, New York, Kenneth No- 62-64 vol. 169, no. 862, February p. 1965, 92 land, February 22-March 13, 1966 John Perreault, "Art: Stripes as Stripes," The L[awrence] Cfampbell], "Reviews and Previews," Dore Ashton, "Conditioned Historic Reactions: Village Voice, November 30, 1967, pp. 21, 26 Art News, vol. 63, no. 8, December 1964, p. 14 New York Commentary," Studio International, Kasmin Limited, London, Kenneth Noland, June 7-

John Canaday, "Straw Without Bricks," The vol. 171, no. 877, May 1966, p. 206 July 6, 1968 New York Times, November 15, 1964, p. 23 W[illiam] B[erkson], "In the Galleries," Arts Ian Dunlop, "Colourful and Likeable— That's

Max Kozloff, "Month in Review: Abstract Attri- Magazine, vol. 40, no. 7, May 1966, p. 59 Kenneth Noland," Evening Standard, June 17,

tion," Arts, vol. 39, no. 4, January 1965, pp. 48, David Bourdon, The Village Voice, March 10, 1968, p. 3 5° 1966 Alistair Gordon, "Art in the Modern Manner,"

155 Connoisseur, vol. 169, no. 38, September 1968, Andre Emmerich Gallery, New York, Kenneth No- York, Kenneth Noland: Early Circle Paintings, pp. 38-39 land: New Paintings, February 17-March 7, 1973 January 6-31, 1975. Catalogue with essay by Jeanne Charles Harrison, "Recent Works by Kenneth Lawrence Alloway, "Art," The Nation, vol. 216, Siegel Noland at Kasmin Until July 6," Studio Interna- no. 12, March 19, 1973, pp. 381-382 John Russell, "Art: Noland's Early Circles, Gen- tional, vol. 176, no. 902, July/August 1968, pp. Jane Bell, "Reviews: New York," Arts Magazine, uine Contributions," The New York Times, Jan- 35-36 vol. 47, no. 6, April 1973, pp. 78-79 uary n, 1975, p. 19 Norbert Lynton, "Wide Open Spaces," The Lizzie Borden, "Reviews," Artforum, vol. XI, no. Watson/de Nagy and Company, Houston, Ken- Guardian, June 6 15, 1968, p. 9, May 1973, pp. 77-78 neth Noland, October 23-November 8, 1975 Bryan Robertson, "Arts: The Straight and Nar- Hilton Kramer, "Kenneth Noland and the New Andre Emmerich Gallery, New York, Kenneth No- row," Spectator, June zi, 1968, pp. 861-862 Romanticism," The New York Times, March 4, land: New Paintings, November 15-December 6, Section Lawrence Rubin Gallery, New York, Kenneth No- 1973, 2, p. 25 1975 land, April 5-30, 1969 John Perreault, "Art: A Chic Springtime for David Bourdon, "Art: Abstract Painting Changes Bagels," K[atherine] K [line], "Reviews and Previews," Art The Village Voice, vol. xvm, no. 9, pp. Shape," The Village Voice, December 8, 1975, News, vol. 68, no. 4, Summer 1969, p. 20 22,24 pp. 130, 133 Suzi Gablik, "Kenneth "Noland: The Spectrum is the Message," Time, Barbara Rose, "Beyond the Madding Crowd," Noland at Emmerich downtown," Art in America, vol. 93, no. 16, April 18, 1969, pp. 74-75 New York Magazine, vol. 6, no. 11, March 12, vol. 64, no. two, March-April 1973, P- 74 1976, p. 104 Galerie Renee Ziegler, Zurich, Kenneth Noland, Jeanne Siegel, "Reviews and Previews," Art John Russell, "Art: In Show of New Noland December 12, 1969-January 31, 1970 Neics, vol. Paintings, Consistency Takes Unexpected H[ans] C[urjel], "Zurich: Kenneth Noland," 72, no. 4, April 1973, pp. 78-79 David Weinstein, Forms," The New York Times, November 22, Werk, 57 Jahrgang, no. 3, March 1970, p. 207 "Noland and Zox at Emme- 38 rich," Art in America, vol. 61, no. five, Septem- 1975, P- Kasmin Limited and The Waddington Galleries, ber-October 1973, pp. 94-96 Galleria Morone 6, Milan, Kenneth Noland, April London, Kenneth Noland: New Paintings, June 9- 8-May 10, 1976. Catalogue with essay by Germano July4, 1970 Galerie Andre Emmerich, Zurich, Kenneth Noland, Beringheli September 7-October 20, 1973 J. L. Hudson Gallery, Detroit, Kenneth Noland, M. St., "Galerien: Das Bild Als Objekt," Die David Mirvish Gallery, Toronto, Kenneth Noland: through September 1970 Weltwoche, September 19, 1973, p. 38 An Exhibition of Paintings from 1958-1973, April Andre Emmerich Gallery, New York, Kenneth No- Janie C. Lee Gallery, Houston, Kenneth Noland, 10-May 5, 1976 land: New Paintings, October 9-November 3, 1971 March 2-April 6, 1974 Galerie Andre Emmerich, Zurich, Kenneth Noland, Walter D. Bannard, "Noland's New Paintings," October 9-November 13, 1976 Artforum, vol. x, no. 3, November 1971, pp. Galerie Wentzel, Hamburg, Kenneth Noland Bilder, 50-53 May 17-June 12, 1974 Galerie Daniel Templon, Paris, Kenneth Noland, Hilton Kramer, "Noland Paintings Begin a New David Mirvish Gallery, Toronto, Kenneth Noland, October 16-November 12, 1976 Series," The New York Times, October 23, 1971, June 1-29, 1974 Leo Castelli Gallery, New York, Kenneth Noland, p. 25 Jack Glenn Gallery, Corona del Mar, California, October 23-November 13, 1976 Carter Ratcliff, "New York Letter," Art Inter- Kenneth Noland, July 1-31, 1974 Galerie Wentzel, Hamburg, Kenneth Noland: Neue national, vol. xv, no. 10, December 20, 1971, pp. The Waddington Galleries II, London, Kenneth Bilder 1976, November 12, 1976-January 29, 1977. 59-60 supple- Noland: New Paintings, July 10-August 4, 1974 Catalogue formed by announcement and Glenn Jack Gallery, Corona del Mar, California, ment of German translation of article by Kenworth Rutland Gallery, London, Kenneth Kenneth Noland, No- Noland, October 9-November 13, 1971 Moffett, "Kenneth Noland's New Paintings and the vember 12-December 14, 1974. Catalogue Irving Blum Gallery, Los Angeles, Kenneth Noland, Issue of the ," Art International, vol. R. J. Rees, "Kenneth Noland," Studio Interna- opened November 9, 1971 xx, no. 4-5, April-May 1976, pp. 8-15, 28-30, 74 tional, vol. 189, no. 973, January/February 1975, Galerie Mikro, Berlin, Kenneth Noland, April 28- p. 14 August 15, 1972 Visual Arts Gallery, School of Visual Arts, New

156 Bibliography i General Arts Since 194s, New York, 1969, pp. 103, 107- no, 115 A. BOOKS AND CATALOGUES Barbara Rose, American Painting: The 20th Cen- The Solomon R. Guggenheim Museum, New York, tury, Lausanne, c. 1969, pp. 60-61, 68, 80, 87, 90, Morris Louis 1912-1962: Memorial Exhibition, 96, 100, 102-103, io 5- io 7> no, 112, 115 Paintings from 1954-1960, 1963. Catalogue with Editors of Time-Life Books, American essay by Lawrence Alloway, n.p. Painting 1900-1970, New York, 1970, p. 183 METRO 1964, International Directory of Contem- Daniel M. Mendelowirz, A History of American porary Art, Milan, 1964, pp. 270-271 Art, New York, 1970, second edition, pp. 458-463 Harold Rosenberg, The Anxious Object: Art To- Bernard S. Myers, ed., Encyclopedia of Painting, day and Its Audience, New York, 1964, pp. 56 ft New York, 1970, third revised edition, p. 362 Henry Geldzahler, American Painting in the 20th The Museum of Modern Art, New York, Frank Century, New York, 1965, p. 206 Stella, 1970. Catalogue with essay by William S. Gregory Battcock, ed., The New Art: A Critical Rubin Anthology, New York, 1966 Nicolas Calas and Elena Calas, Icons and Images of Aldo Pellegrini, New Tendencies in Art, New York, the Sixties, New York, 1971, pp. 19, 72-73, 150, 1966, pp. 11, 120, 138, 140, 146-148, 155, 307. 187-192, 218-220, 222,301 Translated by Robin Carson Michael Fried, Morris Louis, New York, 1971, pp. Michael Sonino, ed., New Art Around the World: 11,13,31,33-34 Painting and Sculpture, New York, c. 1966, pp. 23- Bernhard Kerber, Amerikanische Kunst Seit 194s, 2-5,57 Stuttgart, 1971, pp. 149-156, 196 Museum of Fine Arts, Boston, Morris Louis, 1912- Abstract Art, Greenwich, Connecticut, 1971, pp. 1962, 1967. Catalogue with essay by Michael Fried, 62, 217, 219, 243, 293. Vol. 1 of Art Since Mid- pp. 9, 11,24 Century, The New Internationalism George Rickey, Constructivism: Origins and Evo- Martin Duberman, Black Mountain: an explora- lution, New York, 1967, pp. 135-140, 142, 223 tion in community, New York, 1972, pp. 58-59,

Barbara Rose, American Art Since 1900, New York, 1S2-, 3IS.459 S 5I9 1967, pp. 149, 225-227, 252 Harold Rosenberg, The De-definition of Art, New Alan R. Solomon, New York: The New Art Scene, York, 1972, pp. 56, 61, 109, 194, 196-197, "6 Canada, 1967 Leo Steinberg, Other Criteria: Confrontations with

Gregory Battcock, ed., Minimal Art: A Critical An- Twentieth Century Art, New York, 1972, pp. 78- thology, New York, 1968 81, 90. Excerpt published as "Reflections on the State of Criticism," Artforum, vol. x, no. 7, March Cleve Gray, ed., David Smith by David Smith, New 1971, PP- 37-49 York, 1968, p. 16 Sam Hunter, American Art of the 20th Century, H. H. Arnason, History of Modern Art, New York, New York, c. 1972, pp. 106, 191, 211-212, 246, c. 1968, pp. 620-625 269, 316-317, 32,1-323, 35*-353> 374 Ronald Alley, Recent American Art, London, 1969, Helen M. Franc, An Invitation to See: iz$ Paintings p. 8 from The Museum of Modern Art, New York,

Edward Lucie-Smith, Late Modern: The Visual 1973, P- 37

157 Donald Wall, ed., Gene Davis, New York, 1975, Bruce Glaser, "Questions to Stella and Judd," Art ington, D.C.)," Art International, vol. xm, no. 10, pp. 19, 29, 60, 117, in, 123, 149, 150-152. Com- News, vol. 65, no. 5, September 1966, pp. 55-61. Christmas 1969, pp. 21-23, 36-42, 50 prised of interviews by Donald Wall, Art News, Broadcast interview edited and annotated by Lucy , "Notes on American Paint- February 1975, cited below section IB; Walter R. Lippard ing of the Sixties," Artforum, vol. viii, no. 5, Jan- Hopps, Art News, February and Barbara 1975, John Russell, "Portrait: Anthony Caro," Art in uary 1970, pp. 40-45 Rose, Artforum, March cited below section 1971, America, vol. no. September-October 1966, 54, 5, Philip Leider, "Literalism and Abstraction: Frank IB pp. 80-87 Stella's Retrospective at the Modern," Artforum, B. PERIODICALS Fried, Stella's Michael "Shape as Form: Frank New vol. viii, no. 8, April 1970, pp. 44-51 Cleve Gray, "Aspects of Anonymity," Art in Amer- Paintings," Artforum, vol. v, no. 3, November 1966, Kenworth Moffett, "Morris Louis: Omegas and pp. 18-27 ica, vol. 50, no. 3, Fall 1962, pp. 92-97 Unfurleds," Artforum, vol. viii, no. 9, May 1970, Clement Greenberg, "After Abstract Expression- Michael Fried, "The Achievement of Morris pp. 44-47 Louis," vol. v, February ism," Art International, vol. VI, no. 8, October Artforum, no. 6, 1967, pp. 15, Donald Wall, "Gene Davis and the Issue of Com- 1962, pp. 24-32 34-40 plexity," Studio International, vol. 180, no. 927, Leslie Judd Ahlander, "The Emerging Art of Wash- Dore Ashton, "U.S.A.: Nouvelles explorations de November 1970, pp. 188-191 e ington," Art International, vol. vi, no. Novem- l'espace," XX Siecle, new series, vol. xxix, no. 28, 9, Patrick McCaughey, "Pictorialism and Some Re- ber 1962, pp. 30-33 June 1967, pp. 7-10 cent Sculpture," Arts Magazine, vol. 45, no. 8, Sum- Michael Fried, "Anthony Caro," Art International, Michael Fried, "Art and Objecthood," Artforum, mer 1971, pp. 20-23 vol. v, no. 1 2-23 vol. vii, no. 7, September 25, 1963, pp. 68-72 10, June 1967, pp. Rosalind Krauss, "Stella's New Work and the

Barbara Rose, "The Primacy of Color," Art Inter- Alan Solomon, "The New New York Art Scene: Problem of Series," Artforum, vol. x, no. 4, De- It?" national, vol. viii, no. 4, May 1964, pp. 22-26 Who Makes Vogue, vol. 150, no. 2, August 1, cember 1971, pp. 40-44 1967, pp. 102-107, 135-137, 140 Henry Geldzahler, "Peinture americaine actuelle: Frank Bowling, "Revisions: Color and Recent

Recent American Painting," Cimaise, vol. 11, no. Sidney Tillim, "Scale and the Future of Modern- Painting," Arts Magazine, vol. 46, no. 4, February 69-70, July-October 1964, pp. 41-47 ism," Artforum, vol. vi, no. 2, October 1967, pp. 1972, pp. 45-50 14-18 Hilton Kramer, "Notes on Painting in New York," John Elderfield, "Grids," Artforum, vol. x, no. 9, Sheldon Nodelman, "Sixties Art: Some Philosoph- Arts Yearbook 7, 1964, pp. 10-20 May 1972, pp. 52-59 ical Perspectives," Perspecta: The Yale Architec- Clement Greenberg, "America Takes the Lead John Elderfield, "Painterliness Redefined: Jules tural Journal, no. 11, 1967, pp. 72-89 Abstract Art, Part 11," Art In- 1945-1965," Art in America, vol. 53, no. four, Au- Olitski and Recent Philip Leider, "Gallery '68: High Art and Low Art," gust-September 1965, pp. 108-109 ternational, vol. xvii, no. 4, April 1973, pp. 36-41, Look, vol. 32, no. 1, January 9, 1968, pp. 14-21 101 Barbara Rose, "The Second Generation: Academy Rosalind E. Krauss, "On Frontality," Artforum, Nicolas Calas, "Quatre champions de la < Field and Breakthrough," Artforum, vol. IV, no. 1, Sep- vol. vi, no. May 40-46 9, 1968, pp. e Siecle, vol. xxxv, no. 41, Decem- tember 1965, pp. 53-63 Paintings>, XX Sidney Tillim, "Evaluations and Re-Evaluations: A ber 1973, pp. 132-140 Barbara Rose, "ABC Art," Art in America, vol. 53, ." Season's End Miscellany . . Artforum, vol. vi, no. E. A. Carmean, "Modernist Art i960 to 1970," no. five, October-November 1965, pp. 57-69 Jr., 10, Summer 1968, 20-23 pp. Studio International, vol. 188, no. 968, July/ August Michael Fried, "Jules Olitski's New Paintings," John Coplans, "Serial Imagery," Artforum, vol. 1974, PP- 9-i3 Artforum, vol. iv, no. 3, November 1965, pp. 36-40 vii, no. 2, October 1968, pp. 34-43 Dore Ashton, "Essempi Recenti Di Pittura Non Irving Sandler, "The New Cool-Art," Art in Amer- Charles Harrison, "London Commentary," Studio Oggetiva Negli Stati Uniti," U Arte Moderna, no. ica, no. one, 96-101 1965, pp. International, vol. 177, no. 910, April 1969, pp. in, vol. xm, n.d., pp. 81-120 Alan Solomon, "The Green Mountain Boys," 190-192

Vogue, vol. 148, no. 2, August 1, 1966, pp. 104-109, Legrace G. Benson, "The Washington Scene (Some 151-152 Preliminary Notes on the Evolution of Art in Wash-

158 II On the Artist Kenworth Moffett, "Noland Vertical," Art News, vol. 70, no. 6, October 1971, pp. 48-49, 76-78 A. MONOGRAPH John Elderfield, "Mondrian, Newman, Noland: Kenworth Moffett, Kenneth Noland, New York, to Two Notes on Changes of Style," Artforum, vol. x, be published 1977 no. 4, December 1971, pp. 48-53 B. PERIODICALS Kenneth Baker, "The Problem of the Edge," The Clement Greenberg, "Louis and Noland," Art In- Christian Science Monitor, February 16, 1972, p. 8 ternational, vol. iv, no. 5, May 25, i960, 26-29 pp. Kenworth Moffett, "Noland," Art International,

Giuseppe Curonici, "Pittura Di Kenneth Noland," vol. xvii, no. 6, Summer 1973, pp. 22-23, 9 I_93i Estratto Do Cenobio, Mensile di Cultura, Lugano, 100 no. 6, November-December i960 Ken Carpenter, "To Re-examine the Work of Ken- James McC. Truitt, "Art— Arid D. C. Harbors neth Noland," Studio International, vol. 188, no. Touted 'New' Painters," The Washington Post, De- 968, July/August 1974, pp. 21-26 cember 21, 1961, p. A20 Carter Ratcliff, "Notes on a Transitional Period: "Altri (simboli) dagli Stati Uniti: Other (Symbols) Noland's Early Circle Paintings," Art in America, from the U.S.," Metro, no. 2, 1961, pp. 93-94 vol. 63, no. three, May-June 1975, pp. 66-67

"Art: Hitting the Bull's Eye," Newsiveek, vol. lix, E. A. Carmean, Jr., "Kenneth Noland and the Com- no. 15, April 16, 1962, pp. 108-109 positional Cut," Arts Magazine, vol. 50, no. 4, De- cember 1975, pp. 80-85 Barbara Rose, "Kenneth Noland," Art Interna- tional, vol. viii, no. 5-6, Summer 1964, pp. 58-61 Kenworth Moffett, "Kenneth Noland's New Paint- ings and the Issue of the Shaped Canvas," Art In- John Russell, "The Stillness of a Noland," Sunday ternational, vol. xx, no. 4-5, April-May 1976, pp. Times, London, April 4, 1965 8-15,28-30,74 Jane Harrison, "On Color in Kenneth Noland's

Painting," Art International, vol. ix, no. 5, June 1965, pp. 36-38

Michael Fried, "Anthony Caro and Kenneth No- land: Some Notes on Not Composing," The Lu- in Interview gano Review, vol. 1, no. 3-4, Summer 1965, pp. Paul Cummings, unpublished interview with Ken- 198-206 neth Noland, tape recorded at the artist's studio, December Andrew Hudson, "Kenneth Noland: Sarah's Reach: 9 and 21, 1971, on deposit at Archives of American Art, York A Mixture of Stillness and Movement, of Austerity New and Exuberance," The Washington Post, May 8, 1966, Potomac section, pp. 14-17 Jane Harrison Cone, "Kenneth Noland's New

Paintings," Artforum, vol. VI, no. 3, November iv By the Artist 1967, pp. 36-41 Kenneth Noland, "Editor's Letters," Art News, vol. Philip Leider, "The Thing in Painting Is Color," 61, no. 7, November 1962, p. 6 The New York Times, August 15, 1968, pp. 21-22 "Jackson Pollock: An Artist's Symposium, Part 2," "Painting: Bold Emblems," Time, April 18, 1969, Art News, vol. 66, no. 3, May 1967, pp. 26-29, PP- 74-75 69-71

159 Photographic Credits Gallery, Toronto: cat. nos. 4, 40, 78, 97. Jose M. exhibition 77/3 More: cat. no. 6. Courtesy Mr. and Mrs. John D. 7,000 copies of this catalogue, designed by Murchison: cat.no. 34. Otto Nelson: cat. no. 91. exhibition Malcolm Grear Designers, and typeset by Dumar Works in the Eric Pollitzer: cat. nos. 58, 120. Courtesy Rutland Typesetting, Inc., have been printed in under Gallery and Company, London: cat. no. 35. Japan BLACK AND WHITE Courtesy Dr. and Mrs. William Tannenbaum, the auspices of Harry N. Abrams, Inc., New York, Courtesy Harry N. Abrams, Inc., New York: Angeles: Chicago: cat. no. 46. Frank J. Thomas, Los for the Trustees of The Solomon R. Guggenheim cat. nos. 7, 8, 19. Courtesy Acquavella Contempor- and Son, cat. nos. 71, 96. Rodney Todd-White Foundation. cat. no. Courtesy ary Art, Inc., New York: 69. London: cat. no. 23. Courtesy Mr. and Mrs. Alvin no. Rudolph Burck- Galerie Beyeler, Basel: cat. 113. L. Ukman: cat. no. n. Courtesy Waddington Inc.: cat. no. hardt: cat. no. 48. Geoffrey Clements, Galleries, Montreal: cat. no. 20. Courtesy Renee Moines 75. Jane Corkin: cat. no. 118. Courtesy Des Ziegler Gallery, Zurich: cat. no. 100. Art Center: cat. no. 18. Courtesy Andre Emmerich Gallery, New York: cat. nos. 49, 50,111. Courtesy Supplementary illustrations and figures in the text Ronald Greenberg Gallery, St. Louis: cat. no. 55. GregHeins: cat. nos. 87, 112. Courtesy Kasmin Courtesy Harry N. Abrams, Inc., New York: Limited, London: cat. nos. 88, 89, 102. Courtesy pp. 12, i4r, i5C,r, 16I, 18, 2or, 30, 31I. Courtesy of Emanuel Hoffmann-Fondation, Kunstmuseum the artist: p. 8. Rudolph Burckhardt: p. 25. Basel: cat. no. 29. Courtesy Kunstsammlung Nord- Geoffrey Clements, Inc.: Courtesy Museum of Fine

rhein-Westfalen, Diisseldorf: cat. no. 17. Robert E. Arts, Boston: p. 19. Geoffrey Clements, Inc.: p. 35. Mates and Mary Donlon: cat. nos. 67, 68, 94, 101. Courtesy Dartmouth College Museum and Galler-

Courtesy Mr. and Mrs. John D. Murchison: cat. ies: p. 26. Bevan Davies: p. 145b. Courtesy Andre

no. 27. Emmerich Gallery, New York: pp. 5, 37t,b, i45t. Fine Arts Photography, Falls Church, Virginia: pp. COLOR 20, 22. Sara Hukinson: p. 38. Chris Jones: p. 160. Courtesy Harry N. Abrams, Inc., New York: cat. Robert E. Mates, pp. 16, 32. Robert E. Mates and nos. 12, 22, 26,36,45,51, 56,79, 121. Courtesy Mr. Mary Donlon: pp. 24r, 29b. Robert E. Mates and and Mrs. Harry W. Anderson, Atherton, Califor- Paul Katz: pp. 13, 15I. Robert E. Mates and Susan nia: cat. no. 99. Courtesy Artco International, New Lazarus: p. 31T. Mathews, Courtesy Acquavella York: cat. no. 44. Courtesy Leo Castelli Gallery, Contemporary Art: p. 24I. Courtesy The Metro- New York: cat. nos. 119, 122. Jane Corkin: cat. politan Museum of Art, New York: p. 28. Courtesy

nos. 9, 52, 57, 60, 115, 116. Courtesy Andre Emme- National Gallery of Art, Washington, D.C.: p. 17. rich Gallery, New York: cat. nos. 53,90, no, 114. Courtesy Annalee Newman, New York: p. 27. Courtesy Galerie Andre Emmerich, Zurich: cat. William Noland: p. 2. Bruce O'Hara: p. 29t. no. 39. Courtesy Fogg Art Museum, Harvard Uni- Courtesy Philadelphia Museum of Art: p. 32I. versity, Cambridge, Massachusetts: cat. no. 33. Courtesy The Phillips Collection, Washington,

Courtesy Ronald Greenberg Gallery, St. Louis: cat. D.C.: pp. 14I, i5r. Cora Ward: pp. 6, 43. nos. 13, 43. Greg Heins: cat. nos. 25, 63. Courtesy Hirshhorn Museum and Sculpture Garden, Smith- sonian Institution, Washington, D.C., cat. nos. 31, 38. Fred M. Hublitz: cat. nos. 30, 32, 42. Courtesy Kasmin Limited, London: cat. nos. 21, 24, 62. Balthazar Korab: cat. no. 61. Gerald Kraus: cat. no. 41. Robert E. Mates and Mary Donlon: cat. nos. 14, 16, 47, 80, 108, 109. Robert E. Mates and Susan

Lazarus: cat. no. 37. Courtesy David Mirvish Noland in his studio. South Shaftsbury, 1975

160