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ELLSWORTH KELLY

ELLSWORTH KELLY: A RETROSPECTIVE

Edited by Diane Waldman

GUGGENHEIM MUSEUM Guggenheim Foundation, ELLSWORTH KELLY: A RETROSPECTIVE ©1996 The Solomon R. New York. All rights reserved. Organized by Diane Waldman

Kelly. All Ellsworth Kell) works ©1996 Ellsworth Solomon R. Guggenheim Museum, New York Used by permission. All rights reserved. October 18, 1996-January 15, 1997

ISBN 0-8 HN hS c>~-5 (hardcover) The Museum of ( ontemporary Vrt, I os Angeles ISBN 0-8920- 177-x (softcover) February 16-May is. 1997

Guggenheim Museum Publications rallery, L ondon 1D"1 Fifth Avenue |une 12-September 7, 1997

New York, New York 10 1 2*

Haus der Kunst, Munich Hardeover edition distributed In November 1997-Januarj 1998 Harry N. Abr.ims, Inc.

100 Fifth Avenue Nev. York. Nev. York 10011

Design In Matsumoto Incorporated, New York

Cover by Ellsworth Kelly

Printed m Germany by C antz 10 Ellsworth Kelly Contents Diane Waldman

40 Ellsworth Kelly's Multipanel Paintings Roberta Bernstein

56 Ellsworth Kelly's Curves Carter Ratcliff

62 Experiencing Presence Mark Rosenthal

oloi Kelly's "1 ine, Form and ( 66 At Play with Vision: Ellsworth Clare Bell

81 Painting and Sculpture

2 5 3 Works on Paper

3 1 3 Chronology

320 Exhibition History and Bibliography Josette Lamoureux

333 Index of Reproductions This exhibition is sponsored by HUGO BOSS

provided by Significant additional support lias been The Riggio Family and Stephen and Nan Swid.

part by grants from the 1 his project is supported in National Endowment tor the Arts and The Owen Cheatham Foundation. challenge, themselves tot art-those who allow an ... disturb, The rewards of art are for people who exert Sponsor's Statement rhis conviction has art becomes a laboratory of life and creativity, and stimulate then,. I 01 such people, the work of partnership with the Guggenheim Museum, and to promote led Hugo Boss to embark on its unrest into our lives, emerging and established artists who bring a productive artists, who have also supports exemplary exhibitions devoted to ma)or As a sponsor, I [ugo Boss for Modern art. earned their stature by pointing a way forward career in look at an American artist who began his This Ellsworth Kelt) retrospective is a complete .oniemporarv Like European art, earliei as as postwar Pans; there, he engaged in a d.alogue with ^11 I making .hem. B, has shown that traditions can be ma.ntamed onl, all great artists, however, he has given American abstract art a nevv uWnon an individual style ol abstraction, Kell, developmg Wadman and the tireless and devoted work of Diane full of admiration and gratitude for lam than tins the, have assembled more contributors. 1 or exhibition her team of colleagues and international on paper, and the than one hundred and fiftj works one hundred palming* and sculptures and more of a lifetime rk. thread to gu.de us through the labyrinth ZEZ* tha the, have produced provides a

Dr. Peter Littmann Chairman and CEO Hugo Boss AC Anderson .... . Mary Margaret , Harry W. and c ' * ,. LenaersI enders toiu the Exhibition ^ ^ [nstmite Qj Chicago Berardo Collection, Sintra Museum of Modern Arc, Lisbon Irving Blum, New York lima and Norman Braman Collection, The Eli and Edythe L. Broad Los Angeles Caldic Collection, Rotterdam Constance R. Caplan, Baltimore

Douglas S. Cramer Anthony d'Offay Gallery, London Miles and Shirley Fiterman Robert H. Halff, Beverly Hills, California The Helman Collection, New York Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Mr. and Mrs. Lee Kimmell, Ridgefield, Connecticut Franklin and Susanne Konigsberg, Los Angeles Sarah-Ann and Werner H. Kramarsky Janie C. Lee Gallery, Houston Los Angeles Los Angeles County Museum of Art, Stephen Mazoh The Metropolitan Museum of Art, New York Maryland Robert and Jane Meyerhoff, Phoenix, Musee de Grenoble Museo Nacional Centro de Arte Reina Sofia, Madrid Museum of Contemporary Art, San Diego The Museum of Modern Art, New York Collection, The Patsy R. and Raymond D. Nasher Dallas National Gallery of Art, Washington, D.C. The Nelson-Atkins Museum of Art, Kansas City San Francisco Museum of Modern Art Jack Shear Stcdelijk Museum Amsterdam Illinois Dr. and Mrs. Paul Sternberg, Glencoe, Stephen and Nan Swid Tate Gallery, London Wadsworth Atheneum, Hartford Walker Art Center, Minneapolis York Whitney Museum of American Art, New Family Foundation, ( Jinny Williams Collection of Ginny Williams anonymous Private collectors who wish to remain Trustees Honorary Trustees in Perpetuity The Solomon R. Guggenheim Foundation ( fiovanni Agnelli Solomon R. Guggenheim Jon Imanol Azua Justin K. Thannhauser Edgar Bronfman, Jr. Peggy Guggenheim The Right Honorable 1 arl Stewart Chairman Castle Mary Sharp Cronson Peter Lawson-Johnston Carlo De Benedetti

1 >aniel Filipacchi President Robert M. Gardiner Ronald O. Perelman Rainer Heubach Barbara [onas Vice-Presidents David II. Koch Robert M. Gardiner Thomas Krens Wendy L-J. McNeil Peter I awson-Johnston Rolf-Dieter Leister Vice-President and Treasurer

Peter B. 1 ewis Stephen C. Swid Wendy L-J. McNeil Edward II. Meyer Director Ronald O. Perelman Thomas Krens Richard A. Rifkind Demse Saul Secretary Rudolph B. Schulhol Edward F. Rover Terry Semel

[ames B. Sherwood Honorary Trustee Raja Sidawi Claude Pompidou Seymour Slive

Stephen C . Swid Trustee, Ex Officio [ohn S. Wadsworth, |r. [acques E. I ennon C ornel Wesi

Michael 1. Wettach Director Emeritus [ohn Wilmerding Thomas M. Messer William 1. Ylvisaker

unorthodox has been , tumultuous and mcreas.ngly Given that the curse of twentieth-centur, art Foreword artis, to devote his career and sensibilities, it is rare for an Odyssey into new styles, materials, techniques, has done, ver smc .1 approach to form, - Ellsworth Ke 1, to expToring the potential of a singular adhered to he power of pieces of abstrac. art, he has steadfastly ate 1940s when Kelly created his first unexpected realities. Fr meticulous ptn to communicate new and ris ancing th< disciplines or dogma. H,s contribution lies inJ"*^*^ad, convention a noet.es of vision unbounded by

for longstanding, is to be thanked o*^««*^ *pecia.l, ^^ exhibition, and th

:^*^^tf£32^"a * - the with .ugo fl. Out parmenhip , "'^tS^'SSK^ d hspensable for avering; -h-- re i unw ££»* Boss 5S£U ^—H , andls, 1 C ha.rman and < = of n,, Peter Littmann, ^ .^ ^ cooperation _ ^ ^ to considerabl) in our mission join aided ns P^™^™^ r resources and to have tosshare , K, then, our profound thank o - Mm century. We extend to h ^

- s-i«^-as;ssf-*^3 ' museum s eadmn. continuing support of the ^^ resources to dedicate sc much I artists are as willing o „ Not many ^ ( ^ m fan planning, and .mplem » a. no assist with the research, ^ of wor n w. P who have the peasure g , the has bee„. Those *--»-'"J throughou

rs^masterpiece. Wright's .irJntcctur.il

Thomas Krens Director Foundation The Solomon R. Guggenheim a

d h.s work u. past exh.h ..on a, Ellsworth Kelly since 1968, have included , Although 1 have known Collages Prmts ,n .t Acknowledgments publication ... Ellsworth Kelly. Drawings, 71 v ked closely with hin, on the opportunity to work w.th him on h,s total that 1 have had the want until this retrospective survey color, form, and scale seem s.mp e, makes his unparalleled mastery of oJ vr to date. In his art, Kelly every piece. Havmg etnoyed he vArant the human passion that animates ;, , ki g us aware of the years, .Us a shared with me in conversion over rvn ons and acute insights that he has Th sculptures and works on " audtences the full range of pa ntings ; faTme to he able to present to .rele dedicated work. He has 1 five decades of thoughtful, at he has created during nearly ^ generous sp.n, have made ,t a this project, and his good humor and g,ven his -pp..,, and energy to

' e P who have given so freely of their time Tthanks to the many individuals Tw^° ht ;:^ deeply of this exhibition and catalogue. I am and who have thus contributed to the success and e Pmt are a great photographs of Kelly and his surroundmgs, which grateful to jack Shear, for his exquisite about Kelly s oeuvre. me the wealth of his knowledge addnn ore catalogue, and for sharing with attention to ,he-an, * the ' helpful. For their assistant have also been enormously S studio Hughes,M^NekJ and the exh.bmon, I thank Wanda and implementation of this publication planning have provid d and Ed Suman of Peter Carlson Enterprises Walters and Ian Berry. Peter Carlson installation ,nformat,on regarding the fabrication T ™ Kelly s works paper prepanng Williamstown Art Conservation Center, a.dedf^^SX^^m Conservator of Paper,

f° r d'Offay and Matthew benefited from the involvement of Anthony '"I attoAankfu. to have important materials and nformat.on support of their staffs, have prov.ded Marks who with the Blum and and works on paper. The recollect,,,,, of Irving concert KeTly's paintings, sculptures, Helman have been an exceptional resource. Joseph ho, the., thoughthouehtfulttu are pass.onate about the.r subject, Pleasure to work with writers who It is a Mark Rosenthal, and Care Roberta Bernstein, Carter Ratcliff, I extend my thanks to c inlogue ess y of of Kelly's role m the development BdfXiHnS, and scholarship will further the understanding abstra m has been ta ^ «. d « ^o* ;:'::,:e ;::i, ^m T ast coordmated every Bashkoff, Curatorial Assistant, who exh m dccplv indebted to Tracey °of th,s in Curator, for e grateful to Clare Bell, Assent Exhibition an/catalogue. 1 am also P of thl- and Lamoureux, Exh.bit.on Ass.stant, tor her help contribution to the project, and to josette that she compiled. thorough Exhibition History and Bibliography It most grateful ^£Ztt^^Z£Z££*. rK^5^3£iSSSSSL Tel an, researched and ******££> thanks are due to all w ho ne pated issues involved in this presentation. My i n cited installation p. preparation was mvaluable. installation and whose thoughtful advance in the many aspects of the Coordinator; ..aura Garofalo LelynTr K nt Assist an. Exhibition Design ^JT^T Production; Guillermo Director of Film and Television Auh tectural Draftspersons: Ultan Guilfoyle, Manager/Exhibition Design Coordinator; Ov Ts2, m ZZl Peter Read. Production Services Senior Exhibition Ltn^ShuTman, Lighting Designer; Dennis Vermeulen, ««££* and volun ec , h Og . thank the interns Wixon, Manager of Art Services and Preparations. "** Sarah Bancroft, Joel Fisher Enuha %£"**"' enthusiastically of their time: f™*°™»> J

toto, inc. for his goes to Takaaki Matsumoto of Mat contributesZ £ monograph. My gratitude also Wilkins and Watchara Kantamala. I am sensitive design of the catalogue, and to his assistants, Amy overseeing the production of the catalogue. 1 grateful to Elizabeth Levy, Managing Editor, for expertly his Robert Frankel, Project Fditor, and I thank him for am glad to have worked again with Stephen

I itzgerald, Weisberger, Editor, and ( arol discerning edits to my text. My thanks are also due to Edward to Kcth Mayerson, tor his assistance in the Assistant Editor, for the.r many contributions to this project; Photograph., Manager, Sally Ruts. Photograph} Publications Department; and to David Heald, the.r work on paintings in area collections. Associate, and Ellen Labenski, Photography Assistant, for to them for the.r I am truly indebted The sponsors of this exhibition have been magnanimous; appreciation for I .m deep and nc),\ [ug0 Boss, extend participation. To Dr. Peter Littmann, Chairman to thank Stephen and Nan Swid and I en I would especially like his commitment to this presentat.on. grateful support, friendship, and enthusiasm. I am and Lou.se Riggio for their extraord.nar.lv generous of the Owen Cheatham Foundation. for the support of Celeste and Stephen Weisglass to share then works to the many lenders who generously agreed I extend my heartfelt appreciation Kelly has enabled us to present the full breadth of s w.th visitors to the exhibition. The.r support accomplishments to the public.

Diane Waldman Deputy Director and Senior Curator Solomon R. Guggenheim Museum A r t >

1 -^^^ --^V - l,/'-j4»

Ellsworth Kelly

by Diane Waldman

The work of an artist is the result of collective memory, a search for individual identity, and a process of discovery. Ellsworth Kelly's art was profoundly affected by his studies at the School of the Museum of Fine Arts, Boston, beginning in 1946, especially by the paintings of Max Beckmann and by Byzantine and Romanesque art. From Boston, Kelly made infrequent trips to New York, where he saw the work of Paul Klee and Pablo Picasso at the Museum of Modern Art and of Vasily Kandinsky at the Museum of Non-Objective Painting (now the Guggenheim Museum). After World War II, when he took up residence in Paris in 1948 under the G.I. Bill of Rights, he became intrigued with the radical innovations of several other early twentieth-century artists, among them Henri Matisse and Jean (Hans) Arp and Sophie Taeuber-Arp. Because of his interest in French art, architecture, and history, Kelly spent much of his time at the Musee du Louvre, the Musee de THomme, and the Musee Guimet. He also visited

the Romanesque churches in Tavant, Saint-Savin, and Poitiers, which he had previously seen only in reproductions.'

When Kelly returned to the United States and settled in New York in 1954, abstract art meant something altogether different to him than it did to American abstract artists in the 1930s or to the 1. Ellsworth Kelly m Pans. 1M4X new generation of abstractionists, the Abstract Expressionists. As an American in Paris, he was considered an outsider, and this feeling was reinforced by his interest in early European Modernism rather than in the movement championed by artists such as Hans Hartung and Pierre Soulages, a movement then in vogue in Paris and soon to be named Tachisme. Practitioners of Tachisme or Art Informel were the postwar French equivalent of New York-based Action Painters, more commonly known as Abstract Expressionists, among the most celebrated of whom are Jackson Pollock and Willem de Kooning. Kelly did admire the work of certain contemporary European painters, such as Alberto Magnelli and Wols (born Alfred Otto Wolfgang Schulze), and was interested in Surrealism, particularly the drawings of Antonin Artaud. After six years in Paris, Kelly arrived in New York with a sensibility shaped by his admiration for European culture. His work went in a different direction from that of the Abstract Expressionists, who, in their determination to forge a new American art, rejected the

Renaissance tradition of depicting the world of appearances and replaced it with a world envisioned by

the artist's imagination. Although, like Kelly, many of the Abstract Expressionists admired the early twentieth-century Modernists, they were primarily interested in action as an event that documented the painting process. Kelly's view of painting was more introspective and contemplative, and his method of working was very different from that of the Action Painters. He wanted painting to be intimate but also

to make it part of the architecture of the environment in which it was placed. In a letter to John ( age of

September 4, 1950, he wrote: My collages are only ideas for things much larger—things to cover walls [see Study for "Color Wall Panels," 1952, cat. no. 122]. In fact all the things I've

done I would like to see much larger. I am not interested in painting as it has been accepted for so long— to hang on walls of houses as pictures. To hell with pictures—they should be the wall—even better—on the outside wall—of large buildings. Or stood up outside as billboards or a kind of modern "/< on. " We must make our art like the Egyptians, the Chinese & the African and the Island

primitives—with their relation to life. It should meet the eye—dire, I. Modernism to Kelly combined his interests in ancient art and architecture with early twentieth-century almost transcending time. create a body of work that is a seamless blend of past and present, and stems from a Kelly's emergence as a major figure in twentieth-century art is relatively recent decades. Three cumulative recognition of his many accomplishments as an artist over the last five pure abstraction; the absence, in major factors in this long delay are the public's resistance to so-called has been so much a feature ol an the early years of his career, of any instant notoriety of the kind that is still pursuing ideas that he first began to since the time of Marcel Duchamp; and the fact that he art can be attributed in part to his Kick ol explore in the late 1940s. If the belated recognition of his temperament and thoughtful method of working, self-aggrandizement, it is also the result of his reflective antithetical to current practice. As a consequence, his work a process that in itself is almost completely public. For example, only recently were the paintings, in its entirety remains largely unknown to the presented in a major exhibition. Although Kelly's rehefs, and drawings of his Paris period (1948-54) to artists who have been identified with recognition in the public arena has been late compared has given him the space he movements such as Abstract Expressionism and Pop art, his singularity among them ideas related to the flat plane, needed to confront issues that were meaningful to his work, distinctions he made between the flat plane ol shape color, and line. The sum of these issues, and the space of architecture, have combined to painting, drawing, and collage and the three-dimensional is based on the ancient belief in art as produce some of the most distinctive work of our time. It spirit and on the early twentieth-century handmaiden to the intertwined worlds ol reality and the conviction that art can afreet lite. Utopian ideal in art that stems from the deeply felt movement, school, or group— for Kelly, more a By sidestepping identification with one particular art linked with several of them misinterpreted, matter of preference than design-he has often had his in the 1960s Kelly s it has little in common. Early and confused with the work of artists with which fact that his concern was not primarily with work was categorized as Hard-edge painting/ despite the mass and color, the black and white-the edges edge As he explained then, "I'm interested in the as Soon after, his work was misconstrued happen because the forms get as quiet as they can be." line, and abstract movement of artists who experimented with color, Op art a short-lived m.d-1960s 2. Self-Portrait, 1949. with It has also been mistakenly identified the illusion of movement and depth: 1 patterns to create Gouache on p.i|H-r, is . n I- inches painting. postdates Kelly's own use of monochrome panel Minimalism, a mid-1960s movement that (47.6 x 31.8 cm). Private collection convenient label applied by Expressionism before it, was a Minimalism, like Pop art and Abstract in to refer to used the term Minimal art beginning 1 K5 Barbara Rose (and then other critics), who

I llsworth Kelly | Waldman: I Diane works by Frank Stella, Anne Truitt, Richard Tuttle, and several other artists." By the late 1960s, though, the term was used most often to describe the work of Carl Andre, Dan Flavin, Donald Judd, Sol LeWitt, and Robert Morris, who emphasized concepts rather than end products, rejected the precious object in favor of the context or environment for which a work was created, and used prefabricated industrial

units in order to eliminate the appearance of the artist's hand.While Kelly's work may share certain characteristics with that of two painters associated with the movement, Robert Mangold and Robert Ryman, especially in their use of reductive form, distilled color, and painterly surface, many of his paintings and sculptures not only predate their work by more than ten years but are concerned with

different ideas. Kelly's approach to his work is based on the creation of unique objects; each of his

paintings or sculptures is different, even if it is part of a series. Despite these misleading classifications,

Kelly's work has endured precisely because it is so singular in its vision, usually touching on mainstream

thinking only when such ideas coincided with his own. It affirms neither a particular school nor

doctrinaire Modernism; indeed, it constitutes an affirmation that art has no rules, no systems—only possibilities.

In this respect, Kelly's decisions, keyed as they are to the uniqueness of each individual painting,

separate him from the artists to whom his work is most easily connected. Kelly himself feels most closely connected with two artists with whom he would appear least connected—Jasper Johns and Roy J. Ambrogio Lorcnzetti, Virgin and Lichtenstein. Kelly shares their interest in the iconic and in the real world, though not their sense of Child, ca. late I330s-earlj 1340s. irony. Like the more metaphysical painters of the New York School, such as Barnett Newman and Mark

Tempera on panel, 29 • 17 inches Rothko, he has been able to open up an area of art that cannot be determined solely by deductive

(75.5 \ 45. i an). Museum of reasoning, but one that is subject to the discipline of a highly developed intuition and visual acuity. Like

Fine Arts, Boston, Charles Potter Newman and Rothko, Kelly is committed to relying on this intuition when making decisions about the

Kling Fund. final placement of vertical and horizontal, curve and diagonal, the choice of color and its intensity, and

the relationship of one color to its possible partner or partners. While it is true that Kelly does predetermine certain of his decisions—the shape of the canvas support, for example—these, too, are a matter of predilection rather than any doctrine and are subject to change. For Newman and Rothko, the blank canvas functioned as a void from which they brought images into being through near-mystical confrontations. But for Kelly, the spiritual nature of his art stems from the reality of the object and the

response it evokes from the spectator. At the same time, Kelly, like Johns and Robert Rauschenberg, was

intrigued by the "reality" that the canvas itself could convey in terms of pure painting. It is one of Kelly's fundamental contributions to Modern art to further advance this "reality" by proposing a new "reality" of color. The key to an understanding of his procedure can be seen in the large body of paintings, sculptures, drawings, and collages that he has produced from 1949 to the present.

Ellsworth Kelly was born in Newburgh, New York, on May 31, 1923, the second of three sons,

to Allan Howe and Florence Githens Kelly. When Kelly was still a youngster, the family moved to

Pittsburgh, Pennsylvania, and in 1929, to Oradell, New Jersey. Kelly remembers that in Oradell his mother moved the family so often that she would have to remind both her husband and her sons which address they were to return to at the end of the day. Although his parents disapproved of his desire to be an artist, in 1939 his mother bought him an art book that had just been published, World-Famous Paintings, edited and with an essay by Rockwell Kent. Of the many European masterpieces reproduced 4. Tintoretto Jacopo Robusti), Portrait a Young ( of in the book—Kelly was particularly taken with Venetian painter Giovanni Bellini's The Doge Leonardo Man.ca. 1580. Loredan, 1501-04, the newly restored The Ambassadors Jean de Dinteville and Georges de Selve, 1533, Oil on canvas, 25 X x 21 . inches 164.5 x 55 3 cm) by Flemish artist Hans Holbein the Younger, and Paul Cezanne's Chestnut Trees at the Jas de Bouffan, Museum of Fine Arts, Boston, Gift of Mrs. W. Scott K 1 885-86. Despite his parents' ambivalence about art, he continued to pursue it. At Dwight Morrow Fit/ and Robert Treat Paine II. High School in Englewood, New Jersey, he was encouraged to study art and acting by his teachers, Evelyn Robbins and Helen Travolta; he was also active in the school's theater club, The Mask and Wig.

His other chief interest was bird watching, a lifelong practice that he became interested in when he was five, encouraged by his mother, and later his grandmother, Louisa (Rosenleibe) Kelly, as a way to get him

to feel better during a childhood illness.

In 1941-42, after Kelly graduated from high school, he studied with Maitland E. Graves and

Eugen H. Petersen at Pratt Institute in Brooklyn, and on January 1, 1943 was inducted into the United States Army. He was sent to Eort Dix, New Jersey, and then to Camp Hale, Colorado, until his request

to serve in the 603rd Engineers Camouflage Battalion, at Fort Meade, Maryland, was granted. Even the army was a source of Kellv's continuing art-histor) education. In 1944 the army published and, on

request, gave to the soldiers A Treasury of Art Masterpieces, which he still treasures. Edited and with an

Introduction by Thomas Craven, it included reproductions of masterpieces ranging from Giotto t<>

1 " L Picasso. Kelly's unit was sent to England in fune l M4; his tour of duty during the Allied invasion of Western Europe included Brittany, Normandy, and Luxembourg. In September his outfit was stationed for two weeks at Saint-Germain-en Lave, and Kelly visited Pans for the first time, though only briefly.

While in the capital, he sketched its parks, churches, and other buildings but was unable to visit the

city's museums, most of which were closed due to the war. the When World War II ended, Kelly returned to the United States and moved to Boston toward end of 1945. He qualified under the CI. Bill of Rights for tuition to attend the School of the Museum of c this period he lived at the Norfolk Fine Arts, which he did from January l M(^ to Ma) 1948. During House Center in Roxbury, Massachusetts, teaching evening classes in art there in exchange for tree room S. Artist/maker unknown, Christ in Majesty With and board, and spent the summer of 1947 in Skowhegan, Maine, on a scholarship from the Skowhegan Symbols of the lour Evangelists, 12th century. School of Painting and Sculpture, where he was given a studio in which to paint. i<> plaster I resco secco transferred and wood, principles The teachers at the School of the Museum of Fine Arts gave classes based on classical oi

2S4 x iso , x in inches (645 x J82 x 2*2 cm). Old Old Master painting and drawing, and required Kelly .md his fellow students to make copies of

<>\ Antoinette the ones that Kelly did Museum Fine Arts, Boston, Mario Master paintings in the Museum of line Arts, Boston. Such studies, especially ^()s-early 1340s (fig. and Evans Fund. after Sienese artist Ambrogio Lorenzetti\ Virgin and Child," ca. late 1 5), his appreciation for Venetian painter Tintoretto's Portrait of a Young Man, ca. I SSI) (fig. 4), reinforced from the twelfth-century European painting. He also admired the museum's fresco <>t Christ in Majesty versed in classical painting Catalan church of Santa Maria, in the town of Mur (fig. 5). He became tinted color mixed with techniques, using gray as the ground and applying over it transparent layers of the museum's fellow tor research varnish. In addition, he was influenced by Ananda K. Coomaraswamy, interested in the artifacts of native cultures, in Indian, Persian, and Muhammadan art, and became

American Mound Builders at I larvard attending, for example, .\n exhibition on the culture of North University's Peabody Museum of Archaeology and Ethnolo in German Expressionism The school's classical approach was tempered somewhat by an interest Ture Bengtz, who emphasized the contours and the paintings of Beckmann. Kelly studied drawing with Kelly to the work of Beckmann. I he school S of objects, and painting with Karl Zerbe, who introduced to give lectures to the students. Beckmann faculty also invited Beckmann and other prominent artists Altarpiece, 6. Matthias Griinewald, Isenheim at the School of teaching position in Saint I ouis, came to the United States in 1947 when he accepted a ca IS 10-15. Boston on March 13, 194S, to deliver a lecture (titled Fine Arts Washington Univers.tv; and he visited Oil on panel, 115 x 211 M inches (2^2 \ S36 cm). of Fine Arts. Kelly went to hear Beckmann "Letters to a Woman Painter") at the School of the Museum because he had difficulty ( olmar, I ranee the lecture to the students Musee d'Unterlinden, and recalls that Beckmann's wife, Quappi, read Beckmann paid more attention to the female speaking English." He remembers being disappointed that visited the class, the other male students. Philip Guston also students in his class than he did to Kelly and della Francesca. and spoke of his great admiration for the work of Piero patterns Kelly's early drawings based on the random Sluice Gates 1947 (cat. no. 109), is one of short, brusque markings conveys the effect of produced bv natural phenomena. The rapid succession of forms in relationship to the page, still tentative in its positioning of water as it flows over a dam. While a variety of forms found in ability to evoke, through a series of marks, it exemphf.es Kelly's innate the streets that a more straightforward rendition of nature Although View of Roxbury, 1948 (fig. 10), is

13 Diane Waldm.in: rllstorth Kelly o a»

"" "'•" , "" ,I "P "™ M '" " „o„, , - - -*— M, „ » -*, — plane of the paper. *.*«-...- chose Pans over WWMI the thus in old culture andf*ir«~*^^'— foward fo , mng an -"^"H thrived in Bill of and life wis made poss,b.e by a G... embrace of art commun^T^^^SS^i in a culture that « the anonym.ty of "City of Light," v|vre_and t0 enjoymg c^Js and £££,«e de museums, F h through the city's architecture, ^.^ ^ the a and the sense of freedom ™~*™* Boston and felt that being a foreigner that hc had Uone in sat,sf,ed Kelly was d, S aris, Kelly took a and customs. amving , n P language -^^on afer a catha have » . , . else might « J , ,,„_,, (fig 6) living somewhere cj GrunewaldIs « month Colmar to see Matthms In November, a trl p to "W^rfd.ued in reproductions.P see ,nd • Boston he had * ,, paLng that as a student in ^^ ^^ ^ des Beau^ Arts T he enrolled at the Ecole ^ ther£ through after his arrival, k& ^^ ore an ^ who had moved to Pans the W ^ ,ack Youngerman, ^ ^ ^ Bill. Art, as Youngerman counterparts. Kelly and the G... ^^"^K their Parisian

4 -^ -. Romanesque Head. l

12 inches Gouache on paper, 16 x Youngerman in 1950. painted several half-length married gvzantine mosaics and his interest m Byzantine Private collection. Kelly resumed . He was a 41.9 x 30.8 cm). During th.s time, d B ntine art influences of and that combine the coLtions of Greek portraits *^£££££Zi*spend n ,n Pans to the historical museums lectu)ns of the art of frequent visitor ^ co , art of abstraction, EgyPt,an art, and the combining realism and <^^££2££on which to *»" in began to f.nd models n the Avenue de the past, he pa)als de Tokyo , D Musee National d Art Moderr Kelly also visited the Constantin Brancus,, Georges ' where he saw and adm.red he began to New-York, *"*£*£$£ the work that he saw, Leger, and Pl ass0 Robert Delaunay, Fernand .'^ failures, primarily Braque, becau* he felt they were pa.nfngs that he soon abandoned^J^ y ser.es of abstract ^ ^ ma ke a j ^ ^^ regarded a great variety of •T^SKSEt -SS ^ "attl ,n things, he natural useful to him, whether objecTas potentially France visiting Romanesque «"££^an3 ™™ 1949, Kelly traveled around in the spr,ng of ^™ Vomm (eleve nth-twelfth centuries), One of these, adapted and cathedrals. (fig. 8), which he churches 'o" a Lndorla sculpture-filledgjgSSJjJmche m he s P facade a ^ ,le has at the top of its ^ ^^ ^ ^ 1949 (cat. no. 4|H h bis painting Urtrfc «£**£££,,,, drawings such as Self-Portrait imagery He completec.rep continued to be intrigued by ^ such as these wh,ch a single form » from this ,949 (fig. 2), in «™*3™^«** Many of the drawings drawn ,n ,nk or penc g were are quick studies M only ^ shap« m ^ of objects or - to him as notations „ and were useful , Ke s drawings year work Howeve repres bas.s for a finished . of them cons,dered as the ^ ^ on n h wo beginnings of abstract k , pa,nt,ngs of 1949 indicate the ^ ^ ^ ^ quality as he continued to work of the experimental , n the seminal ^^3y evldent

Cathedral oi Notre-Dame-la- B. Facade of the

ltb-12th centuries. Grande, Poitiers, France, I the first finished in mid-July and, according to Kelly, was of the image into a shallow space. Plant U was savoring his forms' tangible relationships to occurrence of a biomorphic form in his work.- While still sophisticated manipulation of his sub,ects through his forms found in the world, Kelly accomplished a plane of the painting. As he said accommodation of three-dimensional form to the two-dimensional about the drawings: collage; the drawings always come first / work from drawings and sometimes about color that way. I usually and then collage later because it's easier to think them. And then I have to get to really like let them lie around for a long time. with the get to like that too. Sometimes I stay when I do the painting 1 have to idea exactly if the idea is solved. But sketch, sometimes I follow the original adjustments during the time of the painting. most of the time there have to be it and it color and 1 work the form with Through the painting of it I find the

him collages of Matisse and Picasso cabled Kdly^^cStoof the paintings, drawings, and ™" the figure and the space around to elaborate on the relationship between the gouache Self- ortratt of Picassoesque work as ^^^J^1 characteristics of the sitter. Even in such a LJ49 period ,t clear In this and other drawings of the , Zr h Lures and form are clearly recognizable. or redefining te figure m not only in depiction but in restructuring hat Kelly s fundamental interest was Wounded (Maman, symmetrical hieratic placemen 9. Yves Tanguy, Mama, Papa Is Here, Kelly relied on the to the space that surrounds it. tsRelationship on the at the lower edge of the page, and blesse), 1927. form with the ground papa est figure, on the articulation of the oof theh gure, three-dimensionality of of synchronizing the I * 73 cm). sh ,rt-as a way 2s i inches (92 on canvas, 16 I k Oil evident in Matisse's influence is pan,.,,.,,, Purchase. the picture plan! of Modern Art, New York, The Museum Z^Z£££E2Z&* °f the evenhanded hue, the • 1949 (fig. 15), in which ke Do„W, Self-Portrait, *-£*+££ surrounding space real, that French the shape of the forms and the the two figures, and, above all, mastery of form and space. artist's collaees to deal directly

nted In. ex tt-resortutg o , nve mp and landscapes, w.thout-as he described J ^ made no attempt to aker**£» «* PS 1949 (fig. .6) from life, and Sneaker, a ^ f,e pe „med m around ,t so that e ^ supplemented by the space in and ^ ^^ ^

he was reluctant »«»' * concerned with actuahty per se, yet this time he was not

on the r more austere companion shape shape on the left and its ^ J he c()u|d components of the^compo of the page as equal compared with Stoe space *£*£mkmg WhenSing is shapes i especially manipulate positive and negative ^ one re anon sh p, hi h subvert the "^/ground , G-J. Kelly s abUit, to ^ ^^ ^ ^

Waldman: Ellsworth Kelly I s Diane a

11. Stacked Tables, 1949 1948. 10. View of Roxbury. inches {33 lx Pencil on paper, 13 x 18 1~ [43.2 x 56.5 cm). Penal on paper. X 22 II inches 46.4 cm). Private collection.

Private collection. 12. Seaweed. 1949.

inches (55.9x43.2 cm) Pencil on paper, 22x17

Private collection.

of an actual arched shape is a representation gr^nd «£*££^^^^£pac receding rectangle appearing to be a with the white he same nme that he architecture. Kelly suggest ^J^,,^ of its surrounding "~^* the yellow yellow strokes for the r b|um has pa.nted each element of the way he W^" . The negates it by surrounds both f the gr a thh paint for the white rectangW a shape, and flat uninfected ^ ^ nat and the yellow shape SSKSSTJS ^Sft'SSS^ but it is ; S^g^r^ 1949 (cat. no. 108) in Kelly's grouping of Gardens, ^^J^^S^S^L. is a of background or There is no intimation the dream landscapes ^J^^^SpLld«iset«"8- Th's approa P that seem to suggest a landscape isolated objects vlsua |, za t,on number of Yves Tanguy, for example, one of a Papa U of ^^f^^d^Zimaginary landscapes TnUama, developed a language based on for the subconscious and the /became instances the Wounded (fig- 9). m many often failed in ^^J^^^^SSL^of the * e' reality rather than archetypes ^°"~ surrogates for d iwaxeaess of the of e define myth in the language «> their attempt to to the Cubist belief in subconscious, and they succeeded ^~Sein P' of the ™ , , s potential uses Cflr(fc „s , t Whe e ,d of From j^ thern^ ^ from the world around a rational order in art drawn co|)ages n

IS. Double Self-Portratt, 1949

Ink on paper, 10 k 17 inches

\2h.~ \ 43.5 cm), Private collection

13. Head IWffe Bear^. 1949.

Newspaper cut-out on paper, 10 ix6K inches 14. Self-Portrait, 1949. (26 x 15.9 cm). Private collection. Ink on paper, 16 k 12 M inches

(41.9 * J0.8 cm). Private collection.

rir,'^^s,^^=s;-i^.:^s t- cutout forms on a ground. outlined as objects and treated as man-mad, atoralor a I «* Aether they're / to *or* /»» (Mv ** L somethmgl ve 1 work directly ft combination of the two. Once in a while someone* legs; a piece of architecture or seen, like a window, or a fragment of an oftp or just how the shadows of or sometimes the space between things, The ,d, ofth, have always been there. ., look. The things I'm interested in would pyramuU,o like the shadow o the shadow of a natural object has existed rock, or that a u a interested in the texture of the rock ami its shadow; I'm not

it, and its shadow! rack but in the mass of o„ i v /,„

16. Sneaker, 1949

inches Ink on paper, 12 • v 17 K he elaborated on ,„ the rectangle, which lor it. in . window-called r. s I -I ?"^21I ^ , nuut Private collection KeUy felt that the (31.1 x 43.8 cm). was conceived as a panel because ^ autumn,1949. one yea after£. at This work was produced in j^ a c ^ure, yet som of omaj es ue ,n,t,a.,y the result hj.taj.-1 ^ ^ ? stated . because as Kelly has ^ tlu were retained, ^^ |111RS< seen. Continuntgth. to me includes everything nature, which ^ ^ rf Mattgnon, 1 » . < Avenue ' Awnings, , . -and-white pencil-and-gouache « , blue exactly u o |lM KlJl deeded to capture as .mages as awnings that Kelh saw and

Ellsworth Kelly 17 Diane Waldman: rectangle is based on a window of the Avenue Matignon facade, with each blue awning shown as Kelly

finding it saw it. "The awnings had to be copied as they were seen. There was something magical about

just right." 1 " This work is the first instance of Kelly exploring the idea of space between panels.

In his approach to making art, Kelly alternated between embracing elements of reality and utilizing chance to determine the basic composition. At the opening of Hans Richter: Peintures et Rouleaux at the Galerie des Deux-Iles, in January 1950, Kelly was introduced to Arp by French critic Michel Seuphor, and Arp invited Kelly, Youngerman, and Coburn to visit him at his studio in Meudon on February 17.

During their visit, Arp spoke of the duo-collage that he and his future wife, Sophie Taeuber, produced in the years after they first met late in 1915 (fig. 17). In describing their earliest work together, Arp wrote of their use of chance and spontaneity:

/;/ 1915 Sophie Taeuber anJ I carried out our first works in the simplest forms, using painting, embroidery and pasted paper. These were probably the first manifestations of their kind, pictures that were their own reality, without meaning or cerebral intention. We rejected everything in the nature of a copy or a description, in order to give free flow to what was elemental and spontaneous. 1 " I Arp credits Taeuber with the use of squares and rectangles arranged into a coherent geometry, and claims for himself the discovery of chance as a working method. In his studio one day, Arp noticed 17. Jean Arp and Sophie Taeuber- Arp, that a drawing he had torn up, which lay in scraps on his studio floor, conveyed to him an expressive Duo-Collage. 1918. power that the original had failed to do. As Arp relates it, he developed this process "'according to the

Paper on cardboard, $2 i x24 inches laws of chance.' The 'law of chance,' which embraces all laws and is unfathomable like the first cause

\ hi Preussischer (82 cm). Staatlichc Museen, from which all life arises, can only be experienced through complete devotion to the unconscious. I

21 Kulturbesitz, Nationalgalene Berlin. maintained that anyone who followed this law was creating pure life." Thereafter, Arp assembled his collages by tearing up paper and throwing the pieces on the floor; the configuration that occurred, resulting almost entirely from chance, assumed both a philosophical and a formal significance. Arp's fascination with chance apparently stemmed from his appreciation of

Zen Buddhism. The / Ching, the Chinese Book of Changes, is based on a belief in the significance of the chance aspects of events. Crucial to Arp was the fact that these collages were impersonal, left unaltered after he selected papers at random and threw them to the ground. However, a second phase was involved,

both in these and in his related "automatic" drawings of the same period, in which Arp deliberately altered the chance configuration of his materials somewhat until they achieved a level of completion that

satisfied him. In all instances, the process entailed two separate and distinct stages, the first one being of random or chance occurrence, and the second one of conscious formal resolution. This two-part procedure influenced Max Ernst's Dada collages and also figured in the later development of Surrealism. In 1950 Kelly used the same procedure to initiate his own important series of chance collages and automatic

drawings (see cat. no. 112 and fig. 21).

In relief constructions such as Constellation with hive White Forms and Two Black, 1932 (fig. 18), Arp replaced the rectangular shapes that he employed in his chance collages of 1916-17 with biomorphic shapes—abstract imagery based on natural forms. He cut the reliefs out of wood and glued them together into witty and fanciful constructions, painting some of them but not others. Many were inspired by shapes that he had seen in nature.

While it is true that Kelly applied to his own collages many of the methods that Arp had developed,

the syntax that each artist used was different in certain fundamental respects. Kelly was largely indifferent to the materials and textures that fascinated Arp, preferring instead to use either his own drawings or commercial color papers or magazine pages, which he cut up into squares and rearranged, usually as squares. Where Arp's stylistic evolution progressed from the formal order of Cubist collage to the improvisation of chance, and from an irregular geometry to the use of organic forms, Kelly worked simultaneously with curves and rectangles, refusing to be confined by either a symmetrical or an «

systems to which he felt bound, nor asymmetrical organization. He had no predetermined conditions or Nevertheless, at this time he seemed to focus on did he feel the need to invent anv stylistic agenda. period in which he had been toying with a number rectangles with obsessive concentration, after a brief horizontals. of other alternatives, among them a series of extended ..I Taeuher- it was with the work Sophie Although Kelly shared with Arp a predilection for chance, not As a pioneer abstractionist, Taeubcr (she did Arp that Kelly found himself in even greater sympathy.* interlocking rectangles in numerous compositions, marry Arp until 1921) had explored the possibilities of architectural organization of her work sometimes suggesting masonry or stonework. The underlying his own passion for Romanesque churches must have been of more than casual interest to Kelly, given manipulation the spatial possibilities of color, its subtle and architectural detail. Taeuber was concerned with she use of line. By 1916, working in watercolor, planar depth, and its reinforcement by the to suggest and and rectangles arranged stnctb along vertical had already divided up the picture plane into squares abstraction introducing him to many ideas about geometric horizontal axes. Arp often credited her with and and Theo van Doesburgs paintings. « rule both Arp some years before he knew of Pie. Mondnan's their intention was completely different Taeuber used squares and rectangles in intimate juxtaposition, colors and planes, implied an element with White constructs, created by the interpla, of 18. Jean Arp, Constellation Five from Kelly's. Their planar squeeze the space out ot his images, nan, interest to Kelly, who preferred to and Two Black, Variation III, 1932. of depth; his was of little Forms so doing eliminated any same-size squares or rectangles, and ,n one of hs collages, Kelly used only the Oil on wood, 23 Sx 19 inches constricting his color, the, hierarchical relationship Rather than vesugial reference to a figure/ground or 75.2 cm). Solomon R Guggenheim Museum, (60 x explore color independently of form. identical modules allowed him to New York 55.1437. visited galleries and museums and Paris in spring 1949. Together they Kelly's friend Coburn arrived in

* r "" •>*>'- ' ' " " ""'" "" "» ~X« . U fc. k«« *

, «. « mssiisiai'Xs »».<..,

String . Wbtte Relief—and relicts incorporating u M took a trip to ^ * Kelly and ( o , '; ' 4, 1949, . elh On July ,„ , , Man that K

the cathedral. ' "'' '' windows of " ' t0 see the stained-glass ^; , „„ BeUe -lie for onl, , tu tllueJ sUVC arrived at the west coast of B », drew Stacked Fables. When they deeded to spend the summer few days before Kelly ^ L,, GerLde Stem's accompanied himback^ tc^iPans an Hotel de Bourgogne. Coburn ^ the ^ WM Alice B. Toklas. Kelly companion, ' ™* «* ^j^^S^^ * °< "d i%^a=S£SsSSSS - - - - B« in

' llsworth Kelly 19 Diane Waldman -

corresponded when Coburn went to the south of France, they August. During the summer and afterward, essential to Kel ly s dialogue that ensued, many of the concepts eXngmg ideas about their work. In the of chance and ,n Surreal.* Kelly was interested in the Dada concept Uter work began t0 form. Although movement. He simply wanted to use rlTnver had any desire to dedicate himself to either preconceptions about art. While many Surreahst artists as a means of ridding himself of his he^d as on o fimshed work and moved beyond relying operates had adop" d approaches that led to more such „ta their art, Kelly did not abandon *-*»».&« ance a'nd ranlm actions in making those produced by Andre Masson are as ,mmed,ate and spontaneous as .nspired drawings from this period and Joan Miro in the late 1920s.

intermittently exemplified by photographs that he has taken The random order that Kelly saw in nature is poorly developed that they were discarded; these early photos were so small and 2 e 1949. Many of while staying at the Villa La Combe, enlarged, and reprinted. In August 1950, others were retrieved, g on Seyr.g Youngerman, in W^ers Seyr,g ,the mother of Delphme = of Hermine' tZZ beach^cabana photographed a variety of subjects mcudmg a the Atlantic coast south of Royon, he itself, he bunker (cat. no 161). At the villa br,ck wall (cat. no. 160), and a shelled (cat no. 158), a ^and torn on the metal stairs leading up to h,s room photographed the shadows cast by the play of light of his either because they reminded him March [914. that captured his imagination 19. Pablo Picasso, Student with Pipe. a balcony (cat. no. 159)-,mages Kelly s in some as yet unknown fashion. on felt that they might be useful Gesso, sand, pasted paper, oil, and charcoal own work or because he his mo t demonstrate a pa pable organic quality. Even photographs and indeed most of his work to date .ins is. 28 ix23 inches (73 x S8.7 cm). 1950 stem from a humanism or natural^ hat such as the severely geometric panels of New York. abstract works, The Museum of Modern Art, point of departure. Each work is need for using elements of reality as his is a consequence of his evident i exactly but environment, which he re-creates not by replicating derived from a particular aspect of his human scale), shape and (few of his works from this period exceed capturing its essence through scale by collages, photographs, or some paintings, or the color of color-whether the black and white of drawings, can see it ,n terms of human is so intensely focused that we other paintings, and sculpture. The result

abstract fact. , passion rather than _ of a the play of sunlight on the Seme, the shadows Kelly set about capturing reflections cast by u nature configuration of pipes on an outside wall thus.faring railing on a flight of stairs, and the (fig. the steps Study for "La Con.be 11," 1950 20 , what' had been do.ng in collage.- In the collage fragmented version of the original Kelly made lines of the railing's shadows into a break up the straight made at 10 a.m., noon, and 2 p.m., and then different studies, recording the changing shadows three narrow of nine juxtaposed vertical rectangles each three paintings based on them. They are composed version at various angles against stark white. Each rectangle featuring a network of thick red lines set natural phenomena into a pure color statement. La Combe I, distills the shadows, a transformation of indicate red-and-white painting, in which only the truncated lines 1950 (cat. no. 10), is a five-foot-long which Kelly the next. In La Combe //, 1950 (see p. 42), the transition from one narrow rectangle to as is the the individual rectangular units are emphasized, executed as a hinged, nine-panel folding screen, Combe stairway. In February 1951 Kelly zigzag nature of the motifs original locat.on-the La the sent La Combe III to an exhibition celebrating completed La Combe III, and with it the series. (He in of Fine Arts in Boston, thus gaining exposure seventy-fifth anniversary of the School of the Museum evidence of his interest Combe series is the first concrete the United States while he was abroad.) The La source ,n nature. paintings show almost no indication of their original ,n abstraction and formalization: the light created an approximate equivalent of the play of By hinging La Combe J/'s panels together, Kelly process of visual "feedback, which has and shadows rippling across the surface of the steps, through a image was the a painting. The La Combe series's insistent the effect of obscuring the work's character as the dominance experiments, in which he found a means to loosen logical outcome in painting of his collage of the figure over the ground. > I g , 1 y^

or floor! > the pieces onto ., Kbbtop tearing or cutting and dropping £ d lements thecu K diametrical! y , >ppose ^ Kelly the opportunity to juxtapose phcatu h Afferent m , petsonal-frotn which the , the mechanical and the 1950 20. Study for "La Combe U,*

31 inches Collage on paper, 25 M x ! [64.8 v 80 cm). Private collection. tnr-iESssr^Jws , into another fflO* m.nute units that he then reassembled from chance new direction, and taking this the 1 . . be I„ ougn, portance to Kelly made^*^^^^another breaktft collage and automatic drawing, ^ , P ^ they common , collages of 19SI have a P 1 series Several chance § and are no one portion dominates, u« Bn^trote J^«£^2SlS«pre. Ilu open the organizing factor ol series of square* as b much denser cluste, hance, 1951 (fg. 24 was y Squares and Arranged by , „, int0 49 ( ^ "< ' -rate - V W: "™ ,,, „,, in Study for ,, r1 v brushstrokes J , was work,,,, w.th twoJ tunclame both works, Kelly - . un iated (fig.8 23). In u ^ his continuing parts (as manifested by ,„ , ,„ eparation of [wcess( Study ^JJ*%£™l of squares mto a smgl -'.'^ the work in b the arrangemen. ^ ,,,,,,. KclK lu j glimpsed In . b no. 12), was firs, exhib e CHS, 1951 (cat. £ | ^ ^ scat dm wth was working on a .1 g receipt, dream, in which he ment ,, elements on a a he,otted downj caf the next morning „,,,„„ oril painted black hands. In a ^ ,„ r cut it morwe -. the image ; , nJ ,,k He then made a drawing of ^ ^ M Meschers four rows ol ive o S **, He pamted -arranged them in ,_„„,,, , c ,„ inches square. cut a series of Main Naud« rearrange the a cabinetmaker ™ft?°t%£]*££ a his artis. friend V,„/v /.., a d match the squares in the panels « various them to ? *^ [lut llc arrange first ^ configuration. At MKdJrtt > ,,,,, L95 different ment . Mes< panels into a on ^ g but he ended up deciding ...mas. c„nf,gurations indefinitely, tefividnnttj on .. single KeUy panMJ^.P . the same fashion but seen a „ M. no. 131 developed in ^ I I n g P u October )5 r» pim[m ,, , n ,KI d the Mescfcers was exhibited ^ ^ a that Kelly s by Braque. Kelly, director of the galler, Chance, 195 adm,red old the Rearranged by ^£™*£££1 I ec 21. torn Drawing an eminent artis b a king „ n th nm ,. attention of such ^ he ^ 25 * 19 inches he wa and collage on paper, solve a problem principal forms- [nk painring helped him of one of thai painting's out ^IJLta. s^mi Private collection Kellypoints numerous „4 s x 49 VAUlier IX. 1952-53. ,„ Braque>s Atelier series)-into appeared J"""*™"inpother I ( , that had P» ^^ ,, v Mi, motif d a wvh „e bird (a wi smaller faceted forms

E//f«'orf* Ke//y )ianc Waldmant : i I\ // I

//U-\\\i

Squares and 24. Brushstrokes Cut into 49

Arranged by Chance, 1951.

Brushstrokes Cut into 10 paper, 13 X X 14 inches 23. Study for "Cite": Ink and collage on

Arranged by Chance, 1951. 35.6 cm). Private collection. Squares and I J4.9 x

M inches Ink and collage on paper. 12% X IS

Private collection. (31.1 X 38.4 cm).

22. Pages from a Magazine. 1950

matter on paper. t ollage of printed

\ J.2 cm). 15 s \ inches (39.7

Private collection.

Heim. designers as Pierre Balmain and Jacques to H.lla Repay, director oiof with Youngerman, wrote a )oint letter In sor.ne 19S1, Kellv, together

closer contact between establishing a larger scale of painting, a dements without text, wh,eh shall aim at »

l"hi original ol art accompanying contemporary architecture. ' the artist and the wall, and a new spirit summation (they now number forty) not onlj represented a group of lorn six ink drawings and collages for his work o th. law 1950s and color, but was .1 catalyst of his earlier involvement with line, form, the th. paper as the constituent features ..1 the work, and the 1960s. Using the page and tin edges of the works consisting of horizontal and vertical lines, hook began with the subject of "line," featuring 119.1-1 19.40). "Form" was introduced b, a diagonal, the curve, the circle, and the grid (cat. nos. a page each of red, a rectangle; and "color" was represented by mandorla, a triangle, .. square, and (cat. no. I 19. 18). and torn,, as in Greet, < urves yellow blue, and green, and then combined with line Foundation from the |ohn Simon Mem I Guggenheim In April 1952 he receded notification the the summer ol 1952 in forcy, a v.l lage on turned down. I le spent that his hook proposal had been and gave h.m two hundred there August, took him ou. 1 mer, river Marne. Reba, visited him in des Fleurs. a new stud,,, in Paris, a, 21, < t< enable him to move the following month to dollars to March, as director of the Guggenheim Museum. Unbeknownst to Kelly, she had been forced to resign |us, bel :ehnqu,sh.ng hei I luggenheim Scholarship and had recommended him tor a Solomon R. November he wrote ,0 he,: nullified In the turn of events, fhat position, a gesture of support that was ' ...I too you are no longer the Foundations director. i am unhappy to hear that with fabric designed 25. Dress by Pierre Balmain, has failed. But I know you have am disappointed to hear that the scholarship in VArt el la Modi you are a real frumd. up In Kelly; photo published I thank you, knowing done all you could to help me & any con, em fox my 1952. one 0/ the leu- who has shorn, (Paris), March ^^^s^s^^^sSBto this tune you have been

> Art Par., the white «<-'-- ™« Museum of Modem faithful t „ Window, KeUy ^ natural phenomena AH I, h observed . altering certain aspects of ^ ju m ^. arch, equatmg , , * of the bridge ,, *e bi tppearance ~£ J anJ ,,. ca; ch drasticalh changed us color > startling. He ete . KeU) to it are fa rc , the use ol the cu adjustments 0. contour and as Pony, 1959 ~^^™aXg sculptures such , „.«. "^ „„ haVe ^ Sr3 r :;!;;' si;-:::: * u

the nun, fete of fragments, then reducing b „„ |m b) Ml) foi tahamand of hundreds 26. Silk (.brie designed . epre-n ^^ pronounced. I he u*e o • b color became more ^ ^ collection. o„ ^ Private ^ ^ Company, Zurich, 1M1. simplification to at color. The.r extreme M pan to mass and ^ ^^ separate panels * and Ucancet as test e of his ideas J^^^^S^E quickl,

Ellsworth Kelly 23 Diane Waldman: —

yet find in his painting. He was able to wrest from collage a surprising number of variations, many of which he soon used as studies for paintings, while others remained dormant until he pursued them again

m later works. Kelly tested color arrangements and variations in black and white. He also experimented with horizontal stripe compositions that, although he never made them into paintings, prefigure subsequent

developments in Color-field painting during the 1960s by artists such .is Gene Davis, Morris Louis, and

Kenneth Noland. Although Kelly could work out the general proportions .\n^.\ spatial arrangements of his forms with collage, the colors themselves were rather rudimentary. Because Kelly pasted up whatever

colored papers he could find —which varied considerably from his Pans period to the work he did later

in the United States— he had to determine the appropriateness of his colors and to make the final adjustments

directly on the canvas. He discovered that scale was a vital factor in determining the outcome of his color relationships, and that the way two colors looked when juxtaposed in a small sketch or collage

27. Piel Mondrian. Composition with Grid V changed dramatically when he used them in a larger work. Since he worked with color intuitively, it was impossible to foresee the outcome of a painting solely by looking at the collage. In works such as i beckerboard with Dark ( olors, 1919. Study

for "Seine," 1951 (cat. no. 1 15), Kelly's dependence on natural phenomena is once more evident, forming Oil "n cam I inches (84 \ 102 cm), the basis for his pattern of light and dark. He organized the play of light reflections within a grid, which

1 iseum, The 1 i he filled in by progressing from the two sides to the center. The position of any one form was determined entirely by chance, allocated by pulling numbered pieces of paper out of a hat. Instead of coaxing the

fragmented play of light on water into a variation on Pointillist methodology, Kelly decided to impose his own more arbitrary system, which dictated the outcome of his color collages, including the series

Spectrum Colors Arranged by Chance, 1951 (see cat. nos. 1 16-18). In certain paintings, such as Seine, 1951 (cat. no. 14), and Spectrum Colors Arranged by Chance, 1951-53 (cat. no. 15), however, the formal requirements of the picture plane resulted in a certain loss of spontaneity, but the scale of the paintings and the intricate arrangement of black and white and the luminous color more than compensated for the informality of the chance collages.

Paintings such as Colors for a Large Wall, 1951 (cat. no. 16), have prompted comparisons to

n Mondrian's Composition with Grid 8; Checkerboard with Dark Colors (fig. 2") and Composition with :: : -s n — —:i Grid 9; Checkerboard with Light Colors, both 1919. Although Kelly had not seen these particular paintings at the time he painted canvases such as Colors a Large Wall and - - - for other similar works, he was well aware of Mondrian's work. Whereas Mondrian's checkerboards are about the absolute and are rigorously " i^« regular in composition, even when his use of a balanced asymmetry is at its peak, canvases such as Kelly's ^B Colors for a Large Wall retain the element of chance. The essential structure of Mondrian's work is ^^ 4 the articulation of a series of vertical and horizontal black lines that define a limited but palpable space. «y With few exceptions, Mondrian created an irregular network of rectilinear shapes—defined by line !. into which he placed his primary colors. Kelly's painting, although it seems regular, allows each color tI its individuality. own Colors for a Large Wall, which consists of sixty-four panels, is his first painting of multiple .ft.. panels in which each panel consists of only one color. As Kelly has noted: "There is neither form nor ground in the painting. The painting is the form and the wall is the ground ... a work midway between painting and sculpture."" According to Kelly, the asymmetrical distribution of colors was determined by chance therefore 28. Piet Mondrian. Broadway Boogie Woogie, and cannot be construed as a debt to Mondrian. Indeed, in this respect, a much closer correspondence in 1442-43. both procedure and outcome would seem to exist with such works as Arp and Taeuber's Duo-Collage. Oil on canvas, SO x 50 inches (127 x 127 cm) Kelly's practice of giving color its own concrete "reality" was largely his own invention. He wanted rhe Museum ol Modem An, New Yoi to avoid using a system like the one developed by Mondrian, whose rectilinear subdivision of space can Given anonymi be viewed as an extension of Cubism. For Mondnan, the Cubist armature was essential, even though he relinquished the black grid in his late works, such as Broadway Boogie Woogie, 1942-43 (fig. 28). But even in these works, Mondrian arranged his colors so as to retain at least the implicit vestiges of such a grid. He moved from a complex, fragmented image to a simplified one and, near the end of his career, back to a complex image again. Kelly shuns such complexity, eliminating a sense of three-dimensional solid color without benefil oi cither lines space from his work by using two devices: juxtaposing areas ol equivalent of "passage" ») and emphasizing or white spaces (which in Mondrian seem to function as the its own space. the concrete nature of color by giving each color dominion over and Mondrian regarded the rol< ol Pioneer abstractionists such .is Kandinsky, Kazimir Malevich, spiritual movement whos< color as a purely symbol., one, a mystical belief founded in Theosophy (a based symbolic notions ol form and followers often explained spiritual concepts b) using metaphors on a new "reality." Kelly endowed each color). By giving a particular meaning to each color, the) c^m^\ independent existence on a single panel, although this color with a particular "reality" by giving it an than constricting his color, enabled was by no means his only priority. The regulars of his forms, rather new "reality," expressed In geometric means him to free color from subservience to form. For Arp, the from which he derived a small vocabulary and by chance, eventually came to be allied with the human form, and sculpture, formulating a "concrete art. of organic shapes that he used in collage, painting, relief, plane to a series of reliefs, a practice that Arp applied the Cubists' compression of space ...to a single work was his juxtaposition ol ...dividual Kelly also adopted. But the particular distinction m Kelly's progressed horn the representation of subjects in nature to monochrome panels in a single work. Kell) deliberate selection ol colors, and then HnalU arrangements of color by chance, which he extended to a shaped his enlargement of scale-the dual means In which he to the gradual reduction of form and the

' a relationship between Kelly's work " shape, it is plausible to read twin concern for color and one could also attribute master's late cutouts (see fig. 29). While and that of Matisse, especially the French Kelly S drawings sec- of line and contour-as can be seen m to Matisse an influence on Kelly in terms innovations in color of hooked line that Matisse favored-Kelly s cat nos IV and 133), in the type which representation Kelly treats color as an independent element in owe little to him. Unlike Matisse, become form. Ke does use color to define form but to itself no longer serves any overt role, and not but occasionaU alignment or grouping ol colors, often m pairs derated color through chance, and his /(2 inches (238 8 x concerned with "naming colors. he is is he has explained, primanlv exploring openhagen he w, .ceme with v. Statens Museum for Kunst, ( his color sequences, I cm) At the same time that Kcllv was developing 22) and Black Square In works such as « bite Square (cat. no the potential of black and white! with the ectangk. the colot turns In identifying them both 1953, he emphasized each of to" tare but importan as he had used black and > onlj m Ths was", athe, radica departure tor Kelly,

(cat. no. II). both I >5U, and in (cat. and November Painting ,11 1949 and in Window V no. 6) black-and-white pa.ntmgs In Picasso, 1949 Kcllv s.,w several exhibitions oi I oh .951 ta

singie-colot panel painting ZL s. P , States, he returnedf^^^ij^S^... he Unted l In 1952-53, before rectangulat .prefigures 1952 (cat. no. 18 are for a White Wall, ^fj^™^ and a lighter blue,, of a panels, each hr e ^ ^^L 2 —the ««*- ^ as the b Pa,,, serve here STSSSSfiiaK2 S. «. , da, k

llsworth Kelly 25 Diane Waldman: I l V,rk. i ",i Jl.Kdh at Coemics Slip studio. New mJmsJ I

York, 1956 M). Kell) at Broad Strccl studio. New

I'-rk, }2. c oenties Slip, New 1958

s.^ig. Robcn Indiana, l ,u to right: Delphi™

Duncan Youngerman, Kelly, lack Youngerman,

and Agnes Martin

them. The orange, and lighter blue and act as leverage on means of separation between the colors pink, to the same plane. hues, however, are adjusted so as to hold them In Red deeded to expenment with different formulas. In working out his ideas about color, Kelly (with blue repeated stacked five squares of those four colors Yellow Blue White, 1952 (cat. no. 17), Kelly In Yellow Blue their placement in each column of squares. Red twice) m each of toe columns but varied seven vertical rectangular panels to create a row ol White and Black, 1953 (cat. no. 19), he juxtaposed White, white, and blue. In collages such as Nine Colors on solid colors: blue, red, whue, black, yellow, wall. The end was concerned with the relationship of the panels to the 1953 (c it no 124), though, Kelly of pioneer shifting planes of color in a manner rem.mscent result was the creation of a white field and the most parr moved away from those ideas. geometric abstraction, although by this time Kelly had for

a painting, to Henri Seyrig (the father of Delphine), At the age of twenty-eight, Kelly had sold only one of hospitalized for |aund,ce. Discouraged by his lack noted archeologist. Late in winter 1954, Kelly was in need at Cite des Fleurs the previous autumn, and recognition in Paris, by his eviction from his studio York he went left Pans in July. On arriving in New of money, Kell) decided to move to New York. He extremely Street, and found the work that he saw there to visit Rauschenberg, at his stud,., on 1 ulton 1953-54 and an all-white painting that Rauschenberg interesting, including the red combine paintings from first met in Pans visited Fred Mitchell, a painter whom he had had painted in 1951 and 1952. Kelly also Lower Manhattan. With Mitchell's help Kelly and who was the first artist to settle in Coenties Slip, in the United to support himself, he took a night |ob at found a studio nearby, at 104 Broad Street; and, his worked for Sidney Jams, visited Kelly at States Post Office In |4sS art dealer David Herbert, who recommended to Betty Parsons that she give him a show. Broad Street stud,., and, impressed by his work, when he moved to a larger loft at 3-5 Coent.es Kelly remained at Broad Street until July 1956, U. Kelly's studio in ( hatham, New Ybrl

« tnd Paintings on right wall White urve \ [left]

Black with White Triangle, both 1973.

York, J3. Kell) .u Hotel des Artistes studio, New

1965

wife and puns son. Duncan settled at Coent.es Slip, with his M,n Farlv in 1957 Youngerman too

jonns Street, |aspc common, and to Pvnressionists with whom they had little in

>*- s-rs^ttSE^-3i*s .jEssr— ESESSSX »* - * i„. "" ,bo„ »*«* .,„ »,/,..,, ™«. /•'*' - ; , „„„. s,„,«

and then ,.,,„„' «**«* *- * ;;;//:; ; Si m***"**'

llsworth Kelly i~ Diane Waldman: I in Paris begins with the Window, ,/„.„, „<„s. ,„v to**** work M Wmte Square. «. and ends with Black Square and Cum of Modern Art, Paris glass as a monochrome." idea o/ s/'.'cv seen ffcroxgfc

works that Kelly presenteu mapycu were ... -u Uic Paric work ind his New \ork work 1951-1956 at the JS. Ellsworth Kelly. Paintings

York, Ma> 21-June B, Beit) Parsons (...Hers. New

/''^/"<' Bridge IrcA [956 Left to right: W*«t

1955, and Reflection, I9S1-SS, F

52, and B/acA R/pe, I

unique. - „ )IHItW , „,„,, ,„ ,arts o/, «««s « *** an ^J^.,,,,^ mutually eclipsing circles or developed „,,;,,, „,,/, had shrunk to a pair of mountain range but a metaphyseal image. irregular black horizon that is not a len tacked together on a great sauare w ft*™-™*"" X arge colored sauares, ptOure .Kelb has austerity of a contemplated tiled floor raised to the upright but that

f d COl - «** ^ — ' ** U^&^XS££** H°fr She

moment of the mage, of painting-but with the lasting Concerned not with the last moment-the act

and He also found the image perceived, ob,ect,f,ed, recreated the painting and the wall, and in

wh'^;;:;i^:r;:;S:c=^ color k or panels, or successfully combmmg one w palette to one coin, as in Ins single-color were wman Ad and were as reductive in this respect N ***«£ white. The only other artists who compelling than any sumlanty. These thre Rothko, hut the differences are more =ii-^^ r 5S^^^^ space w r create an form, wanted to expanse £ than Kelly in using color solely as es t S expanse ol Kelly was no, irested in the limitless &**£**%• ., near-mystical experience. to create moduUr aligning colot p :1s as separate Igle canvas bu, in extending the canvas, <^*£%£" brushstroke Kell) could hav< space within the canvas, and by suppress,,,, hts anv suggestion of rectangular with biomorphic torn, and the 1™ and be both figure and ground. I lis preoccupation the shape o , with <~ eonTait was nlrnorahle bm t-.ived, as bses ^- ^ as a field of acnon, as th Abstract Instead of regarding tire canvas interest in the image within the field. anv the wall, to the room, as an object that relates to SS M. Kelly wanted his work to function t0 collage thatKel, "SK*. rt* K,, «,,„, 1954 .at. no. 125), is the firs, **£*£

he had ,n ,s within hts field of imagery. As Mannatt; I -I « ^^^^SZithos. „ I ower of .merest, especall) the most notable places ^ Hodem Art - (as in Wtafaw M««« o/ jus, as i, appeared sub.ecK I, ., tmages over magazine cutouts of h,s , abstract -sonall and ^ were of mterest o h,m bot he chose because they that .mages o J ^ ^^ ^ own hold forms. H,s u* of images to contrast with his ^ |mn ^ ? keep.ng w.t ( it, is in '- ' New Y„rk , the pas, worLg in ^ ,,,„„, in Paris, gh, a s.gn.hcan. part m in Paris, which played and working ry, m ^ os ory fo ^ a the present, whtch serves^ a P coexists in harmony with ork, ^^ vj as veh.de for change. 1 ce history Actions a ^ , m| confhc w.ththe pas, ,s ,n constant P jml ,„ and stability, and the ^ ^ ( oenties are the ,iving , n collages of the nvolved' Kel. 's postcard Jp «•«*«£S£ *- I - KSSTd^oSlSS ep, e dire, e h abstract paintmgs of ^P°"°£ States than his more Manhattan, and its United w*h Dut h „ , owet indicate a fascmat on £ g Many of the collages ^ ^ of entry tor count --'"'"*•'";, anticipate h,s history as , port heme hapes tha, < ^ f Haul una, e -V , and a luxury Kell image ol -he Statue ol a necessity coUag photographic totemtc for m that Kell y , The , ,.,,,. work i„ sculpture. ^ ^ ^ ^ ^ as Curvt ia, J precursor to works such 1980 (eat. no. I iberty is a RfoeWkwl Stofam, collages, uch as ' In other, later ,„. , ,„ body two decades. , h ol (h ;ast , , „ kU cat no . Spartans, 1984 • - .,,,„,,,,-, and The Young ^ [n ^.^ 1 56), e contrasts to hi eP .rente strong usual ™ mes par, of the using then, to °^ ^ inaj bec0 I I female anarcmy fa* „l.„K a segment of the * lS „o. I 54), (cat. n h Canbbea island ol Sam, Martm ^ Lograph, of the tropical ^ ^^ P g had stopped °l short., after he iron, ag photograph n 1970; ««££*£ "4en York. S tk' in upstate New Ifc K** *»* Spencertown, ^'™™%Mboat, 1974, while in

Waldman Ellsworth Kelly 19 Diane ;-. J6. Watet lily, 1968. <,,wss. 1961.

58.4 cm] inches Pencil on paper, 29 x 23 inches [73.7 x Wat( rcolor on paper, 28 \ 11

^~ collection. I'm an collection (72.4 x .2 cm). Private

the postcard image. collage element beyond the perimeters of collages, Kelly extended a corner of this scale-not unlike the enlarged shape that he used in fan New to the most recent collage, is a larger that is much more a sense of abandonment and eroticism paintings from the 1970s and 1980s-and subliminal in his paintings and sculptures. the basis for worked on in his studio at Coenties Slip as Kelly used manv of the sketches that he line in the drawing White Curve on \\ *«*>"« paintings or sculptures at a later date. The sinuous fell across a white page, careful observation, traced from a wire that (cat no. 126), which was based on as the bottom shape in Black Ripe, I - 55 and again Lm be seen repeated as the left edge of the black into paintings, 34). While reworking some ot these ideas edee of the blue shape in Bay, 1959 (cat. no. his postcard collages of the mid-1950s also prefigure Kelly began to think in terms of sculpture. The the nor begin to make until .959. The mid-1950s like .merest m large-scale sculpture, which he did assimilation, and advance. In h,s Coenties penod, appear to have been a time of adjustment, early Paris had 1960s, the more exacting geometric forms that paintings from the mid- 1950s to the early Slip curved or replaced by irregular shapes that were either characterized manv of his Parisian paintings were the curved forms ,n paintings such as Black mgular Unlike Kilometer Marker or the 1949 Mandorla, active and quiescent shapes within the contain both I Ripe, Bay, and Block Island II, 1960 (cat. no. 41), no. 38) such as Bar, South Ferry, and Rebound, 1959 cat. neutral field of the rectangle. But in canvases the edge part of the field so that the shape is cut off by the ground has either been diminished or become the framing situate the form so that it incorporates of the picture support. In this way, Kelly could Parisian that are much more dynamic than those in his rectangle. The Coenties Slip pa.ntings feature images of the Abstract Expressionists. These new This was undoubtedly his response to the active forms work. ground suggest a need to find his psychological images coincided with Kelly's move to New York, and Rosenquist, and Youngerman)- that he shared with Indiana, Martin, in his new environment (a tendency m ^

{9 Kllan Kelly, Sr., 1982.

(27.9 * 14.9 Pencil on paper, 11x13 i inches

Pi ivati collection

''/ I vs. ( urve, Radius; . 197

(109.2 x 86.4 cm). Pencil on paper, 43 x J4 inches

I'm ate collection.

then- of his isolation from the u-,nU I-,,. wn« icuteh iware environment m which he* as it was an « to his especially ;',,„„„ ls „, marked contrast This stage Mm Abstract Expressions. dominant school of ^.^ |n| , Pa and freedom while working m desire for anonymity however, as ., mature »- ^J^HK' d in Paris the possibilities as a young student :ld t0 conquer. ejand, ,, , ^ „ his mark » « anxious to make painter who was for j amj sculpwre , collages K producing man drawmgs and ' In addition to 5 draJ ,„ mam , ays a plan, drawmgs a also created „ erous - «- °< Kelly mesear « -** drawings ol the I >40s, J^Jj^^SK reconsideration of Ins first ^ ^ ' ^ are alone. I he drawings shaping space with line £«££*« where his primar> concern is centered o its form and with the mage H , Kelly's fascination ^ rf ^^ ^ ^ he form space a oun g ,„ relationsh.p-the , m , with a figure/ground ^ mter . he plant and emphasizes h,s n images the image of a $ ^ e„«mv« pi cem n none o the n , these drawings have stroke , ^ ^^^^ si J they .^ -' • which ' in the ease with continuous pear effortless „„ , }2) , the . world. In drawmgs such , I- observation of the real ^ ^ I e pa ^ the space o . demarcation of „, , m forms h( ,th the ^ ^.^ line nd around shape and in the spac m . images ol Kelly's interest in mampulated s ulp u e. In his in e e > Parisian drawings, led to ^ Boston and J^ | fc ^^ ^ plant forms into a so «taw«Ju such as -dimensional configurations . Drawings three h plana,- forms mto turning painted ,,,„„._ l959 . ta his sculpture, ^ ^ M the same fuH, 56), feature equivalent in planar Water ,.,,,, l968 (fig. three.dimensional S age ™™™ 19). S d '« 1959 (cat. Similarly, ™™^* , I, Gate, 1959 (cat. no. sculptures, just as Sumac,

Ellsworth Kelly ,,,,,„, Waldman: $1 because he wanted his images to be less majority of his drawings (probably tc color in the > referredpreferred lineme to the space relationship between the sub)ect and

as in One Stroke Grass, 1961 (fig. 37). or hortzonta ly, vertically with a plant stem, as in he oL of his subject and forms to explore the formal possibilities These Ih v xemplify his use of natural rigid geometric fashion, Kelly page Set than'organizing the forms in a >^j£>££* 2 abstract form The cluster of without diminishing its potential as to retain us own individuality, lm while ,n Lemon Brand,, the dtagonal length of the paper, ';,,,, l961 .cat. no. .46), traverse as a dramatic fo to h space of the paper around the plant serves (cat no. 142), the negative 964 that ,t the foliage appears so luxuriant Wild Grape, .961 (cat. no. 14. ), ll In another drawing model Kelly has eliminated the v,ne and q-j rivaling the plant that served as its 3efanCni literally. the pattern of growth without depicting ,t "d an interlacing of leaves that mimics c an even stroke with ew between image and page, Kelly generally used To maintain tht- continuity the area around it served to define shape without making gratuitous flourishes. This economy of line horizontal conf.gurat.on that Grape, the plant leaves are arranged in a Iserv, t to the image. In Wild corners of the page. The interacts with the center, sides, and spreads across two large sheets of paper and concerned w,th the not possess if Kelly was not as an autonomy of shape that it would s^aceP reams Because his line is unmflected and <""** [996. and surface plane as he is. m 40. Large Leaf. n tegra L of line |^ L.chtenstein s his drawmgs are closer in spin, to Roy cm) not eloquent in and of itself, on pape* 24 v 19 inches (61 k 48.3 expression to form but Oldenburg's much freer style of drawing unmflected drawings than they are to Claes Private collection. 'Grape 1980 drawings to th.s day. Such drawings as WM Kelly has continued to make plant 983 c no 147), no. .44), F* .982 (cat. no 145) Sunflower (cat. no. .43), Datura, .982 (cat. Large Leaf, 1996 (fig. 40) are Siberian Ins. 1989 (cat. no. 149), and Two Irises 1983 (cat. no. .48), shape, and its the individual character of the plant, .ts consistent with Kelly's earlier concerns with can ako be more may be as descriptive as earlier ones, but they relationship to the page. The latest drawings of form than most of tone, and less exacting in their replication SprovisatLal ,n nature, more lyrical in than ,n h.s previous plant as a form in nature is now less explicit the earher ones. The identity of a the importance of form tor its reference to nature is overshadowed by work, as in Large Leaf, where the

' and lovers his self-portrait and portraits of friends "From 1949 to the present Kellv has also drawn in anatomy style to the plant drawings, they are studies and of strangers who fascinated him. Similar in rather, they are close plays little or no role in these works; in form as it relates to the page. Memory and have one the individual sitter. The ma,or.ty of them observations of nature, of the particular character of emotion. delineated with an objectivity that carefully masks thing in common: they .re observed and the Byzantine as of influences, especially the Romanesque and Kelly's early self-portraits reflect a variery drawings in their portraits most closely resemble the plant well as the Modernists. Most of the other and perhaps Allan Simplicity predominates in many of these works, spare use of line and minimal detail. most spare. of the artist's father on his deathbed-is the Kelly Sr. 1982 (fig. 39)-a portrait late pencil, gouache, and collage from the ''while Kellv had often used many of his own works ,n 12.1, for his paintings and sculptures (see cat nos. 1940s to the 1960s as notations or working models having working drawings from 1970 to the present are the utmost m simplicity 1 and I 30), his later 2 J, Curves relationships. Studies for "Yellow Red andjlue more to do with shape and sue than with color 1982 cat. no. 140. 91~ J8), and Lines ,4/4) Rad.us: (64 , 197. (cat no. 134), Curve, Radius: 1973 (fig. form, his first tentative in which Kelly has honed his concern for mm are just several examples of the way its sake. The natural phenomena to his interest in form tor own interest in the abstract form underlying forms hut they no sense that they are the basis for all of h.s references to nature are eve, present, in the his forms the way they once did. Kellys command of lunge, have the power to affect his decision-making now stems from form itself. ,

to 1963, the year he Kelly joined the Bettv Parsons Cillery and showed there regularly from 1956 Manhattan's Upper Wesl Side. In 1965 he moved mto the Hotel des Artistes, at 1 West 67th Street on to show (across the hall Iron, Parsons) and continued had his first exhibition at the Sidney Jams Gallery one of Ins new studio, Kell) produced several works, there until 1971. In 196 t, before he moved into curved blue rectangular shape which, Red Blue Green (cat. no. 42), features a red rectangle below a Kelly set 1963 (cat. no. 43), a painted aluminum relief, against a vibrant green ground. In Blue on Blue, panel overlaps another), a series that he did not the stage for his later panel paintings (in which one (sat. no. 44), painting, < hange Green, 1964 begin to exploit fully until the 1990s." Its companion During the lower hall ol a green rectangle consists of a truncated orange egg-shaped form occupying mm. and n I cat. no. together, as in Black over White, this period, Kelly also began joining panels a long and In one ol the latter two nos. 5 1 S5). two paintings entitled Black White, 1967 and 1968 (cat. and the other, a white rectangle, forming a large, rectangle; m black rectangle is placed above a long Kell, also form ., square. In 1966 black mangle and a white triangle abut to exh.b.ted late that White Angle (cat. no. 47,, which ™«?™«f™«^was sculptures including the painted aluminum r' canvas Blue Red (cat. no 46), a Tdne, lams', as Jell „s the two-panel £ m«f»th floor. s„s on while the adoining red panel below ,. which the blue panel rests against the wall Kelly made paintings using wha, I ,n hi sniL at the H6tel des Artistes, "-"g^jj" row on a wa 1-such as Ween Red series of monochrome panels in a regular format, a also „i Blu, Red. and; u with new arrangements ot color, as 1965 (cat no 41)-and experimented

mystical ru latio, Phil phic and frfi^f^JZSZi^to d. d d '• tha *" *J^*SZtt^£ - » ' ^ surface o fe<™"£ optically within the planar shift , second would'not , a ,, ( , r „ m , Ins <'™ Kelly uses to balance cote » Another device that . le, ^ wlu r , for examp h.n from the second into the fa» s JOP-P and the color ft panel u ^ each colo, con, ams e a blue panel, . panel abuts , s oth , one green , , |lustr m Red Yellou, Blue withB/«, the equal „( leen £ [he firs, painting, ^JJ^Sj^iSng " while wor the solutions that he discovere hv , green paneli and in els-red, ye»cn J^J^ primary-color pan , .,. intensity of the |n [|u c , Hr pamtmg] b the , primary colors are baking the second painting, the ^ mJ challenge k K I ^ other Jors balance the h , he Kelly uses green to cc ( ^^ his P (ovc, K,/ U ,, / / „ „ pr ,marv colors. In ^.^ ^ - - - and f;^::I-:5K3 £ S~ i - — his ^h1^^^ most successful are the most he established the ^J,,,, -lor tela, hips and the ^development,^ KLellj of scale, ^ rectangle] nlane the enlargement ^ gured features of his *e pan gram, all ol „ hi Scan, h , 2 mangle , the vcar. shapes, among^^^iS^Sthem [anis „ ,,,„ other t r ned to ^ ; nmer b. rented for , • *- S^^T-iSSSS :,d, - 0«

Waldman: Ellsworth Kelt) J3 Diane shortest s,de of an of a small rectangle to the no. Si), which joins a long side ,; meWtol (cat.

Ufa hs ent, e with other shapes to form new configurations. but he subverts it by combining it 1 a tnangfc with the ace Sneaker is fundamentally forms derived from nature, the drawing Sulary of divided in Vn canvas; thirteen joined However, in Red Green, .968 prommence. perspective. role, creating an lusion of receding 297.2cm] overall. wh.ch illusion plays a new [17x117 inches 297.2 x I create a work in of the puttflgrof of paint, and the color relationships York. the nondirectional application < Blum, New Tlu ven light, ,, ||ec nor oi Irving these forms, image. The nonspecific or modest angles of period serve to reinforce the flatness of the hi canvases, opposition to the specific reality of the separate which avoid forty-five and ninety degrees, in complexity. give these canvases an even greater

he rented a March 1970. In the nearby town of Chatham Kelly moved to Spencertown, New York, in time, to se.ze production of stage sets. There he began, for the first theater that had been used in the Artistes, id afford him. Unlike his studio at the Hotel des upon the opportunity that a large space would Chatham space gave him the chance to work on which he occasionally made large-scale paintings, the Green Red Yellow Blue horizontally. Multiple-panel paintings such as a large scale both vertically and larger-scale paintings that he made in his studio and Blue Green Yellow Orange Red are examples of the used for theater Chatham studio, the fact that the studio was previously at the Hotel des Artistes. In the and to create paintings that bear some reference backdrops encouraged him to take advantage of the space, noted earlier, t.me that Kelly had been interested in theater; as to stage backdrops. This was not the first 1949 was of great importance to h.m both professionally his meeting with Cage and Cunningham in June saw the Renaud-Barrault troupe perform Hamlet at the and personally. Also, that same year, 1949, Kelly curtains. Masson's sets, which consisted of black and gray Marigny theater in Paris, and was fascinated by Blue sketch that he used as the basis tor Relief until Inspired by the space between the curtains, he made a Paul Tayloi s 4S to design costumes and a curtain for choreographer in 1950. Kelly also had an opportunity 42. Antoni Gaudi, tile work. Guell Park. Worlds in Spoleto, Italy. dance Tablet in 1960, performed at the Festival of Two that he a series of L-shaped paintings based on ideas Barcclon In his Chatham studio, Kelly began to create paintings after the town. In Chatham IX: had expressed to Cage twenty years earlier, and named the horizontal black panel over a green vertical Black Green, 1971 (cat. no. 64), for example, he placed a paintings such as Black with White Bar //, panel to form an inverted L-shaped configuration. While their T-shaped configuration sets them apart from 1971 (cat no 62), are related to the Chatham series, 1971 (cat. no. 65), continues Kelly's fascination the inverted L-shaped panels. White Bar with Blue and Red, the T-shaped Black with White Bar II, the w.th multipanel paintings in which, like the Chatham series and Blue and Red recalls the panel paintings that Kelly wall becomes integral to the panels. White Bar with completed apartment house, Unite made in 1952 shortly after after he went to see Le Corbusier's newly said: "The wide slabs m primarj d'Habitation (Marseilles), 1947-52 (see p. 68). 0\ that building, Kelly way. that Corbusier was using color in a decorative colors on the balconies surprised me, but, I thought Le 49 Kelly's use of panel paintings, but I didn't want it to be decorative." . . . enure wall, I wanted to use color over an the In Le Corbusier's apartment house, in the 1950s and the 1970s, was never meant to be decorative. accents of color to an otherwiS( monolithic color panels were laid on top of the building's skm and .M^\ mind, and they became a function of the space facade. Kelly's color panels were conceived with the wall in of the canvas rather than a separate element. changed ( hatham, Kelly's colors The colors that Kelly used were often affected by location. In primarily 1950. In Paris, Kelly's palette consisted perceptibly, as they had when he left Pans for Sanary in light pastel that one associates with the nuanced of black and white, muted autumnal colors, or the tints as can be seen m Red the bright light of the south of France, of that city. In Sanary, he was inspired by that he \,,\ bought in Sanary. Althougha Yellow Blue White. In this 1952 painting, Kelly used fabric explored in Ins concept of the readymade-which he had was unusual for him to use ,\^\ cotton, the a had some leftover fabric he decided to design chance collages-continued to interest him. Since he of the Museum student from his days in boston at the School dress for histtend Anne Weber, a fellow into stacked dor sleeveless dress (fig. 43) was divided Arts, like the vertical painting, this Of Fine and blue order on the front, and white, red, black, panels-black, white, red, and blue in descending thC such contrasting colors together in a singfc pacing ^New York, Kelly began using more highly dress designed bj Kelly, 43. Ann, Weber wearing a

Sanary, I ranee, 1952

-*==£.nrtSKS2£E - - - -« - - coexist on the band is active, the two the yellow-orange «*££ „ vl, , white gof neari square bla ^^g 1970 (cat. no. 9), —. ^ White Black, ^ prone :d re was the first erases in which the pane T^^^^SSSKelly had paintea of the two ruin-Is are identical. ^ ^^ (| tins ' considers - .. and proportion, bu, he - - „ , painting,- equal in size ^ ^ v ^ „ vcrtK ,, t^ti^ttiiX^I&t^*^' - thissubiec, nS ,h, il sti C on this line " •', definitive painting It is foto h m t T' ,t |ust a H«r»little. " house, goes beyond T tl rs ,,, his Spencertown and „„ du n d on the anding hu«ec Inspired by tin- fanlight ^ ^ he shaped a new series of shape-an Kelly invented "^"^^tSS', its exterior curve ol the ow. wedge with a -alls the which iuxta, :s a b.ue JjW^SSo-.ts inte, in horizontal duimond-and B ^ ,e elongated el lowe ^^ wedge with a «°»«cunr Mt convex curve and a white ^ ^ ^ ^ ^ ^.^ pa.nt.ngs «h«. with a several exceptional even further into a red wedge in **<»£Lat subdivided h a mangle *nd ™™ ™ in a more to create red curve again, the rectangle o „A , KdK used the white shape Spcnccrtown against a « -, installed at nestled «*.«£ in Red 44. Untitled, 1988, convex curve „ inJ again , n lW6 ,

B x Bronze, 120 x 72 x I inches (304

L82 9 k 2.54 cm)

Waldman Ellsworth Kelly 15 D i a ne "

of rectangular or curvilinear the late 1940s and early 1950s, which are small and self-contained, and made unlike their larger forms, of wood, and usually painted white (see cat. nos. 7 and 9); and they are also sculptures of the late counterpart, White Plaque: Bridge Arch and Reflection, or his painted aluminum color arc 1950s and mid-1960s, such as Pony, Gate, and White Angle, in which shape, plane, and planes of weathering quintessential to the successful resolution of the work. Kelly's 1970s sculptures are flat vertical planes of steel or of steel placed directly on the ground, such as Curve I, 1973 (cat. no. 68), or a much more polished aluminum, such as Curve IX, or works of bronze and wood. Kelly gave all of them however, the size, subtle shape than he had used in previous works. In sculptures from this period on, in Curve I (one inch shape, choice of material, and its thickness and patina—be it in weathering steel, as Curve X/V, 1982 thick). Curve XXX/7, 1982 (one-and-one-quarter inches, cat. no. 83), or Diagonal with an inch, cat. no. 87), (one-halt inch, cat. no. 81); in bronze, as in Untitled, 1986 (three-quarters of inch); in birchwood, as Untitled, 1988 (one inch, cat. no. 88), or Untitled (Mandorla) (three-quarters of an polished aluminum, as in Curve IX in Curve XXI, 1978-80 (three-quarters of an inch, cat. no. 75), or in inches, (three-quarters of an inch); or in stainless steel, as in Untitled, 1996 (one-and-one-half cat. earliest critical to the success of the works as were the colors and shapes of Kelly's no , iQ6)—are as Gallery, freestanding sculptures. (The aluminum sculptures were exhibited in 1975 at the Leo Castelli Gallery in 1975.) where he first began to show in 1973. He also joined the BlumHelman 45. Kelly's studio m Spencertown, 1986, with from Kellv's public and private outdoor sculpture and commissions of the last two decades stem to insert several of his Red Panel (left) and Bhck Panel, both 1986 the work that he made for his own property in Spencertown. In 1973 Kelly began from quiescent shapes into an equally placid environment beginning with Curve /, a form made like Curve 1, weathering steel which he placed directly on the ground near his house. Curve II, 1973— the designed to augment rather than confront its landscape environment—was installed in garden surrounding Philip Johnson's house in New Canaan, Connecticut. Kelly created several other works for central form in the his own lawn, including Stele 11, 1973, a gently curving vertical (somewhat like the painting Kilometer Marker), and Untitled, 1988 (fig. 44), a sculpture with a pinched waist (in that respect similar to White Plaque: Bridge Arch and Reflection). Center, Kelly's first sculpture commission came in 1957, for the Transportation Building, Penn Philadelphia. His sculpture there consisted of 104 panels of anodized aluminum arranged on a grid of bars and placed against the wall of the lobby. This sculpture, undoubtedly influenced by Le Corbusier,

marks the first time that Kelly used metal. Illinois; In 1981 Kelly created Curve XXII, thirty-six feet tall, which is installed in Lincoln Park, three-part and in 1986, for the Museum of Fine Arts, Houston, he made Houston Triptych (fig. 46), a bronze sculpture inspired by Matisse's The Backs (a series of bronzes done between 1908 and 1931, one artists commissioned by the city of set of which is in the museum's collection). In 1987 he was one of several Barcelona to erect sculpture in two of the city's newly rehabilitated plazas. Kelly first visited Barcelona in 1978 and discovered Antom Gaudi's tile work (fig. 42). He was intrigued by Gaudf's fragmentation of : to form in his mosaic facades and believes that Gaudi was a precursor of Cubism. Kelly's contribution the Barcelona project, a fifty-foot totem and a shorter wedge-shaped piece twenty-one feet high, in the del Coll, General Moragues Plaza (fig. 47), and a second totem thirty-two feet high, in the Creueta 46. Houston Triptych, l^x*. Bronze \ 122 x visually unite the two separate locations. s»h ind cm); B: 90 \ 99 inches Perhaps the most moving work Kelly has done recently is Memorial, 1993 (fig. 48), commissioned

.. 251.5 cm - ( : 101 x 113 inches 256.5 x the by the United States Holocaust Memorial Museum, Washington, D.C. Placed in a triangular room, a 287 cm Wall size 162 x 648 inches (411.5 x work consists of two pieces installed opposite one another. A white fan shape is placed across from a memorial to those who perished in 1,645 9 ^m.. The Museum of I ine Arts, Houston, vertical triptych of white rectangular panels. The triptych suggests the wall than the three panels, suggests transcendence. Museum purchase with funds provided by the the Holocaust, while the fan shape, placed higher on of Kelly's fiberglass results in a reflective and translucent surface that replaces the material density Brown Foundation .md \1r and Mrs. M.S Stude use of of his other work and creates a space for peaceful contemplation. These incandescent forms, instead m honor <>t \lr jnd Mrs George K. Brown. relating to the physicality of nature, suggest the ephemerality of life and the infinite world of the spirit. Spencertown, and it is in this In 1979 Kelly decided to build a studio adjacent to In- house in and Black ( urve VII, Dark Gray studio that he made some of his most memorable paintings (fig. 45). no. and Diagonal with Curve I White Panels, 1977 (cat. no. 72), Dark Gray Panel, 1977 (cat. 74), the late ideas he played out in his paintings during 1978 (cat. no. 76), exemplify only a few of the that bisects the is evident in the wa ... which he 1970s In Black Curve VII, Kelly's superb sense of measure 5 black corner ol the canvas. The sweep of the canvas, stopping the black just short of the top right-hand thai would otherwise be painting, creates ., subtle dynamic arc, which bisects the lower-left corner of the forms to create a in which Kelly joins two extraordinary left to the curve alone. The magnificent way has mastered the and White Panels. In this painting Kelly new shape is especially evident in Dark Gray has been concerned since 1 949. balance of shape color, and space with which he canvas, his emphasis on the single panel, either in Kelly's work from the 1980s is distinguished by works such as had -Red in this manner earlier, m wood, in weathering steel, or in bronze. He in monochrome to define the painting-cum-sculpture in which he used a Green Angle, 1970 (cat. no, 61), a such as Dark Gray Paneled In late 1970s monochrome works sh ip of the canvas, ., large chevron. Panel (cat^no and D*r* for his 198 ,rks Orange , ;,,:,/:,,,.,,,; ,. Kelly set the stage

l, g Green , :.;r « " «• ;:;,:.<' :;:i ::,.:: .:::;;:: General Moragues :;; ;n 5 .11 the - Barcelona Sculpture ^ The 7 zll 47. °i

steel, S88 « 86 x Plaza, Barcelona, 1987 V Stainless

B: weathering Dark Cray.Green Ke inches (1,493.5 x 218.4 x 17.8 cm); Three Panels: < .range, Red 7 , -'J- ( ^ „d^ (660.4 « 703.6 x 17.8cm). steel,260 « 277 ic 7 inches

;/1, |xun and tarh i v . tt&?£^z£~s~ziate 1980s , the Dunne |QRR ^ | j m ns *. "o - Kelly also panels, by -* End corner. pU 1 ngK -p anchored by narrow ^ panel is yellow . . ,„, 92 which a large ^^ ( (cat ), l989 rectangle n J Jf ft J- blue wedge to a purple ,„ ioined , curved |m ^ , canva ,6 in and h clapped two an angle to the panel , ^ida, O^ff^^th f - and actor. In this relief homage to a great friend rffca m „,,„, effect of an it giving .„, ;"',,,,, quiescent shapes create behJ , --;'777;;':;;:;^reces and 4 . (cat. no. 96... but her. Jemore Black, 1993 ( ^ [W Relief with ( ^ wtih Bte, M both Yellow Relief • „,, altogether different mood, ^ , nJ adds (c- no. 97) are embo d his choice lors ^^*jE£Z£X££*Kell) reex| res in paintings, triangle. In these two dimension to his ahead, as in Untitled mother ^'^ nln large-scale sculpture, { nt earl er pamtings^ Kelly transformed^^ g ^ During this period. ^ ^^^

and fiberglass, oni ol 4s Manorial, ) Wood •" 824.2 x 124 » 2 inches (275.6 x -»- four par ! « ssr-ats: *= -- Memorial l States Holocaust S i cm) nited Ruth and Museum, Washingl D.< , Gift of When U>ramson and Family. grr^ss-S'-p^^^- j •

Ellsworth Kelly M Diane Waldman: steel, and of sculptures. ,n redwood, stamless The same is true for a new group Dossibiliries ... the curve. an and 107)-in which he reduces the curve to all 1996 (cat. nos. 100, 106, nze-Tl Untied remain f rm shape and space «*>. » «*- and ° ' ^:::JL:l sl« i «*«. -> *-

the earl, twentieth^century pan o. a continuum that began in ^IXrutetcdotfL, and space is

imagination, and spirit.

Notes EH. Kelly: Ue V, >ois, Jack * and A IF ^ ,, .ogy. 1943-1954," in Yve-A, I. SeeNathalieB National Gallerj of Art, 1992), p. 1 8 r4 ,cxh cai [Washington D.<

« — :::'::;;::;;::::;:::r:::i:::;:::;::::'::v::^. - ;

hl preKn '"'"7 I"'"' . ." " ! , . o! W„, « „, „„ „ , „„.„„ ,. , M 6 l :!::i:;a;::::; ::r;::::;:,;:';';::: = j^^rr^Tuirrsis.*

1 :;::;:;;':::::::;::::;':'::^';:;:;:::: « , .- r £*«*. ;r -;:,;" , ;r;-;"^^^ eo « < **. .9,3, - w„ I «1 , 1 Modern ,.„;:„„ „ v,.. , ^

Riley—in his exhibition T*i I , »„„.,„., 53

1 Lyman K.pp, |, Robe - U. , I Zox, .<•, c I - Stella, arr, „.. 0«ober-N .K, .965). ited , (

.is Richard I utile examples. 1996 v \c «!1 w Interview with the author, London, May 2, **- * «* lobn ,. .udu, M P—O K a e a in d. J,',,,, £ „,, B , H | -—— ••> * ,„ r;::::::^;::::;::::'::^;::::;;::

»« " 8 :;:;;:::„ <* *< .» • > " , :::::::::::: , 1996 interview with the author, London Ma, 2, White Wall, 1952 (cat no. is. Kelly, New York, September 6, 1996. ,2. Kelly, interview with rracej Bashkoff, ,<,„„„„,„,, . , Beck„..,.,„,„„ Ret, spectn see Peter Se.z, "The Years ,n A ,n,Jto , "si , • -Beckm, 13 Munich, 1984), 159- Ktt Museum; M h Prestel-Verlag pp exh ca, (SaintL, : Saint 1 <" gcrman Talk Colette Rob, - «- -"J „ ,ack. ,german,in-lnt« Jack. Kelly Years in France,? I 9 '< hronology," in B t al., pp. n, 12 See also Brunei, s i > ' l v Brum .. hronology, p unpaginatcd 16 Geldzahler, Interview with Kelly,'

17 Ibid Hotel des Artistes, New York, circa 1969- is Kelly, interview with th« mthor. 1 ;

19 Ibid J8. irp (New York Abrams, 1968). pp »4, 20 |eanArp,< ted in Herbert Read, The Art of Jean

k.ng <•» Sky, k. h.d .. reaUx, looking , I«,k, =1 * op ni8h, I »hil« H i, s^r.r.miri:^^sr* same night and are linked. ,- Art.l 4 ^w York Mus, f Modern 80). p. 4. Rubin, cA., Pablo Picasso 1*1* - 23 . See William circa 1969- author, H&tel des Artistes. New York, 24, Kelly, interview with the

1> [bid

26. Ibid

2". Brunet, "< hronology," p 190 I": 28 Ibid . p author, New York, September S, I 29. Kelly, interview with the

in. Kellj i" l age, p. J.

Brunet, "< hronology, p 192 1 author, New York, September 5 1996 in, ch the [g 12 Kelly, n the ^ and Co or , th Kelly's Lme. 1 with N : Ell lee Clare Bell, "At Play ^uggenh ferial (New .pplk, I"' .., ,„, s, W, M. Kelly, ^™££ ,,„,, „,, v ,„ Seareh September ^ author, New York, . pport intervie th the ,, , pf0g 15. Kelly, d 8 _ >02. fh, scholarship - ' 292 md , .,,,„. h, 1983), pp. ,, ; York < ge Braziller,

I each year-t. 5 - i e artists ***>*T* tS^^9 I -he" Artists 1 1. K Guggenheim I -"* ** So. "^* »*££ L- , ,nd ,ean Xc « thcJ r ^v ;;r:::r;:::::::::::;::

September 5.1 6, and the author, New York. -,, Kelly, interview with '"-• '^ tegra, h '' .ndP.bl.Fk, .describes, thethcW0rks0works otfPaulCc when referring to, •s rhe term "passage." - 4 lingonecol to inothe. York Graphic So. (Greenwich, < New Drawtngs, Collages. Pr.nU waldman Ellsworth Kelly: , n, (New York P, «) "Chronology," p. 184 Cowrie, S/,p, exh ca, 40 Brunet, ties Slip," in « -7^t^~^^~ !** brunet, '< logy." P- SI. « no l956K p

:::::; — :; :i:r,;:;,r'r rj^-rrct - 4 , s^i^r— ls4 "< hronology," p- 4 s Brunei, "—'••" <«° -«•«•« » w ,. . „,„,., km

8u • NcwYot, >... „ k, M ;„

Waldman: Ellsworth Kelly i ari e J 9 D Ellsworth Kelly's Multipanel Paintings

by Roberta Bernstein

"/ think that if you can turn off the mmd and look only with the eyes, ultimately everything becomes abstract." 1 —Ellsworth Kelly, 1991

used as a formal or narrative dev.ee by contemporary By now the multipanel painting is a familiar entity the directions. These artists inherited an attitude toward artists working in a variety of Postmodernist twentieth-century art. This attitude was forged painting as object that has become a central feature of late European Modernism but who brought an American during the 1950s and 1960s by artists with roots in of art and reality. Ellsworth Kelly was one of brand of empiricism to their rethinking of the relationship allowed him to artists so. For Kelly, the use of joined panels the first and most significant of these to do representation and established his unwavering commitment find a new way to free shape and color from painting Window, Museum of Modern Art, Puns to abstraction in his painting and sculpture. His 1949 depicting so much as presenting a literal sense of space. (cat. no. 5), marks the beginning of his "not while living in Pans, Kelly used two canvas panels, one In this generative work, conceived and executed structure of a tall vertical window that he had facing front, the other turned backward, to replicate the that immediately followed [Reliej observed while visiting the museum. Kelly sees Window and the reliefs both 1950) as leading to the numerous multipanel with Blue, cat. no. 8, and White Relief, cat. no. 9, 1954.' paintings that dominate his work until he returned to the United States in a radical break from both Renaissance Kelly's "panel pictures" (as he often refers to them) represent However, there are precedents for his panels illusionist painting and twentieth-century geometric abstraction. Grunewald's Isenheim Altarpiece, a favorite work in medieval and Renaissance polyptychs, especially Matthias used in the first half of the twentieth century of Kelly's since his student years/ The altarpiece format was also in Beckmann's monumental triptychs, which Kelly Hotel de the German Expressionists, culminating Max 1. I llsworth Kcllj ai lh< Bow by few exceptions, admired/ But multiple panels were rarely used by the early Modernist abstractionists; the and Pure Blue Color (collectively such as Aleksandr Rodchenko\ Pure Red Color, Pure Yellow Color, understanding the history behind Kelly's art known as The Last Painting), 1921 (fig. 10), are relevant to second half of the century.' and the phenomenon of multipanel painting in general during the - m, '

occurcm th wo k i c r.ca, painting in rwenucth-centurv art o The first extensive use of multipanel , nfluen al of decade after World Wat 0. I Ik most from the generation that came of age in the artists multtpanel pa, ng Rauschenberg, each of whom turned to these artists are Jasper |ohns, Kelly, and Robert Carokna Mountain ( ollege in North durTn the eariyi^Os. In ,95, at Black ""^^^Mowed (sec fig were and seven panels 1 two, three, four, 1 series of five White Paintings, in one s,m> a KeUys « during 1951-52. b is stnkmg how by several multipanel Black Paintings ™^"*^ of modular structure and monochrome early panel paintings arc in their use "tojgfil" other on oppos.tt «fa " k g completely independently of each .^. that they were arrived at )b

White Painting, 1951. 2. Robert Rauschcnberg,

panels, 72 x L 8 inches Oil on canvas; seven x L 26 inches (182.9 (182.9x45.7cm)each;72x

artist, Ne« York overall. Collection of the } 20 cm) iKr^^rs."^* ,. - man.festat.ons. and its postwar and from European Modernism

Period extent with his Kelly's Paris period had to do to a large uv k,11vKell ^durmgh,durine his Paris adoption of multtpanel pa.nt.ng b, M( ,,.,„ U/> The ^ ; cont.nuemak.ng ease pamtnfr g resolve not to , ^ fa ..„rm Mcnow ^ ^ then on, pa.nt.ng «IU ,.„.,,, has said, "From sQmething Kelly ( ^ ^^ I Ev a , unsigned anonymous t0 be paintings/objects, ^ ^ ^ ^^ ^ ' J made exact., as , » ,„ and it had to be «^» >s immersion to be made, KeU •no from 9491 g rn . compose. A photograph „,, t|n was no longer the need to ^ ^ ^ ^y^ p , s . shows ~4••a^- ob,ect. , concept of the painting as fa ^.^ , th , tlm ^ and , ,.,.,.,, o/ MoJc™ .Ar<. Pans - s „ mi —'•;" W.'»ta M«s«m> unfinished i the angtng on ™ , hough, 1950 (cat. no. 7), ***£* piece that Kelly had Uo,„/. , |d , , , n wall to his r.gh * Nor~ of propornon ,950. The paddle on the objects with a sense : ob)ects he adm.rea — example of the k.nd of ^ ^ ^^ ,,, tll , a. is an m in paris, of dead that *«™«™ with other things is nd" eventration £» £££ „, the world dqpet tea u ,,a (: docs no, , , hl something that , I- n HD -mnn artwotk as ^ ^ ^ L - ced ta " ' ' Sketchbook #15, 1951-52. J. Page 25 from tttt*!^""^ Ink on papei Ml s.dewa grdlwork a . wh.ch sacred, whether k ainti„g-ob,ects, ordinary to the nonr ,„„„,, p transformed hem .nto presentation, he j ^.^ , construction and ^ ^ only through te« b ,„. ,|,V orld sources ,.„ ,, insp„«| huu at th rc ^ n> stage. M » „ 5t0ne blocks during this formanve „ ys formed y ource or him tlls arrangements <• P"- of walls, such as derived „,„„ observations r rns on building K

proved crucial to me f forms that

'•"'"""" B «»"'-"""' 41 Robert, source of which was seven windows Kelly saw on a Awnings, Avenue Matignon, L950 (cat. no. Ill), the level. Parisian hotel, each with a blue shade raised to a different derives from shadows cast by a handrail on the The imagery in La Combe I, 1950 (cat. no. 10), staving in at Villa La Combe in Meschers, France metal staircase up to the second-floor room he was shadows, recording the changes that occurred in the patterns (see cat. no. 159). Kelly did sketches of the based on the sketches. La Combe //, 1950-51 as the sun's position changed, and then made paintings of nine narrow, rectangular wood panels, all the same size, (fig 4), is a hinged folding screen consisting rectangular stairs." As E. C. Goossen has written, the proportions of which he derived from the narrow paintings, a panel that is brought together with the "each step becomes, in the drawings and subsequent 1 This work was an isolated example of others on one plane, forming a complete and regular rectangle." for two important developments: Kelly's Kellv's use of multiple panels in 1950, but it set the stage of paper in his collages [La Combe II process of cutting and rearranging Strips, squares, and rectangles repeated, modular elements that was preceded by a collage made of nine strips of paper); and his use of together comprise the whole. first of several grid paintings that Kelly made in 1951-52, all ( ite, 1951 (cat. no. 12), was the 4. La Combe II. 1950-51. onto a sheet of white paper, the based on collages. In the case of Cite, Kelly painted black brushstrokes folding screen <>t nine hinged panels, students) painting stripes on a Oil on wood; design based on a dream he had of young children (his grade-school art

\ 118.1 overall, with 1 " grid of twenty squares, cut it up, rearranged ti nches [99.1 cm) building wall. He then ruled the paper off into a rectangular 1 " Through this procedure, Kelly contrasts the variable depth. Private collection. the pieces, and copied the design onto twenty wood panels. created by the randomly placed stripes of varj ing thickness with the strictly modular format of the grid rearrangeable but decided edges where the separate panels meet. Kelly originally intended the panels to be multipanel works. to maintain the piece in its original format, setting a precedent for his subsequent were also Three other grid paintings from the same year, Talmont, Gironde, and Meschers, (cat. no. 13), canvas panel derived from collages made from cut-up drawings, but each was made on a single wood or out of Kellv did not adopt the grid as an a priori structural design; rather it was a format that grew on observations documented in sketches beginning in 1948-49 with a pattern of colorful tiles observed

2 " the stern of a barge moored in the Seine River. into Arranged Closely related to Cite is the black-and-white collage Brushstrokes Cut 49 Squares and emphasizes Kelly's use of indeterminacy as a strategy by by Chance, 195 I (see p. 22, fig. 23). The title which he might free himself from traditional approaches to invention and composition. An important series of collages made from squares cut from colored papers also highlights the role of chance through

their title: Spectrum Colors Arranged According to Chance (see cat. nos. 1 16-18). In the complex arrangements of these grids of up to sixteen hundred squares, Kelly used both predetermined systems

2 and chance procedures in deciding where to place each color. ' When Kelly left Pans for an eight-month

stay in Sanary in the south of France (from November 1951 to May 1952), he brought along a box of

the colored squares left over from the Spectrum collages and used them for two more collages. One was a rectangular grid of six by seven units, which served as the study for the painting Sanary, 1952.

Because there were not enough colored squares left to fill in the eight-by-eight-unit grid for the second

collage, Kelly left twenty-eight of the spaces blank. He then decided to make Colors for a Large Wall,

1951 (cat. no. 16), consisting of sixty-four one-foot-square canvases, each painted in a single color or in

white, and placed according to the position of each color in the collage. The painting's structure .mc\ the

design of its parts are conveyed by the arrangement of panels only, and, in Kelly's words, "each color ends

with its own panel." From this point on, Kellv relies on the edges where panels meet—what Goossen calls "the factualiry of the joints"'—instead of handmade marks to give the paintings their particular form. Commenting on the importance of this breakthrough, Kelly said that "the 'line' or the 'drawing' leaves

the surface of the canvas and becomes the 'literal' edge of the panels."" The artist's presence is removed by the elimination of any mark or gesture, giving the work the anonymous quality that Kelly was seeking

and allowing it to be experienced as an object in the world. This idea becomes central to Kelly's artistic endeavor and leads to a succession of multipanel monochrome paintings that dominate the rest of his Paris period.

By using the word "wall" in the title of his largest and most important grid painting, Kelly affirmed

the relationship of the painting to the wall as crucial to the direction his art would take from now on.

(As early as 1950 he had titled a collage Colors on a Wall.) The wall literal!) becomes the painting's

"ground," thereby integrally linking the artwork to its architectural setting. Kell\ later described his intention: "The canvas panels were painted solid colors with no incident, lines, marks, brushstrokes or

depicted shapes; the joined panels became a form, and thereby, transferred the ground from the surface of the canvas to the wall. The result was a painting whose interest was not only in itself, but also in its

: " relation to things outside it."

In Red Yellow Blue White, 1952 (cat. no. 17), made of twenty-five dyed cotton panels, Kell) split the grid apart and incorporated sections of the wall into the painting b\ arranging the panels in five vertical as a ground rows with twenty-two-inch intervals of wall space between rows. Not only does the wall serve the sides of which anchoring the painting in space, but each of the four intervals form rectangular shapes used rectangular or are delineated by the vertical panels.'" In the works that immediately follow eel, Kell) of color that stand square units placed side by side, or stacked one on top of another, to present slabs both white out as strong shapes against the wall on which they hang. In Kite I (fig. 6) and Kite //. 1952, v Fete a Forty, L952. canvases instead of wall space separate the color panels from each other. "ii canvas and wood; two joined panels, Oil in which Kelly used same-size Painting for a White Wall, 1952, (cat. no. IS), the first of his works 96.5 cm) overall. 4i x 18 inches (115.6 x from this period to have the word monochrome canvases joined in a row, is his only other painting using modular Private collection variations on this format in a group of works "wall" in its title. Kelly next explored with colors restricted to the primaries and black and units aligned in groups of three to seven panels, In adjusting size, proportion, and color. In white He achieved complexity and variety in thes< works example, the black panel is centered so that it Red Yellow Blue White and Black, 1953 (cat. no. 19), for separate it, while the white panels simultaneously both divides and joins the three panels to either side of end close and unify the sequence. colors and pair them off. The blue panels at either developed during his Pans period is Another important variation on multipanel painting that Kelly verticall) ... form a larger rectangle, consisting of horizontal rectangular panels joined , group of works worked out this Train Landscape, 1952-53 (cat no 21). He including hetea Torcy, L952 (fig. 5), and landscape numerous sketches and collages, several o which reveal the idea during the early 1950s in its double underhned One of these, with a rare personal aside m reference inherent in this arrangement. that specific spell of Parisian weather-, shows (Kelly's response to a long gra, title ^hu^kyNmkr tripartite structure shapes and colors (fig 9) I he Bg^Smtarf to inform his choices of (see nos. 119.1-11 "1 and ( olor cat I me. Form evolved from collages in his 195 of Train I andscape seen I tench countryside proportions are based on sketches of the ntuv. s colors and specific ut P ,s trip he three Pans to Zurich. (In one sketch from - took from 6. Kite /. 1952 htugh ^window durin a trip he 8 I Bj "and n another, "lettuce, "green, and earth. i i«.i,v»«Mrrii" and "lettuce Oil on canvas; seven joined pan< Is, sect.ons are labeledM - ; '^ . .'painting/object." While js l|u autonomous , ^ „ s overall Kell,J; had "'> - 91 (99.7 232.4 cm) however, . inches th,s tune, „, as ., ^ t|n|| „ is intended exist remains cruc,a to the pr Private collection. perceptton nature. '^^ ^ wifh he vital* of things observed in range of 4> .already explored a wide ^t^£S£^^^^WM* have were so important during his Pans period, i ,„n„n, Theerids which such as 1953 a P°t' ^ 77^,

Paintings Bernstein: Multipanel 43 Roberta early panel pictures, he rejected the arrangements of color and form found in the Neo-Plastic grids of Piet Mondnan and the compositions of the Russian Constructivists. While Rodchenko's triptych of primary color panels. The Last Painting, was meant to represent the end of painting, for Kelly the multipanel idea

marked a beginning. It is clear that the Paris period has served as a touchstone for a repertoire of forms that Kelly could tap into from this point on.

Figure/Ground During the decade between Kelly's return from Pans and a five-month stay there in 1965, he made relatively few multipanel paintings while developing his "figure/ground" paintings. In these he concentrated on taking abstract shapes that he had discovered through observation and refining them in compositions of two or three colors contrasted on a single canvas, as in Red Blue Green, 1963 (cat. no. 42). From time - W.dtterranee. [952. to time during this period, however, Kelly returned to the multiple-panel format, sometimes using ideas

Oil on wood; nine |omed panels. 59 K 76 - inches worked out previously in collages that he had made in Paris. For White Plaque: Bridge and Arch Reflection,

> \ 193.7 ,mi overall. Private collection. 1951-55 (car. no. 24), Kelly made two curved wood panels, which he arranged vertically with a narrow strip of wood in between, a composition based on his 1951 collage inspired by the reflection of an arch

of the Pont de la Tournelle in the Seine River. (The collage was done in matte and glossy black paper to differentiate the twin shapes of the arch's shadow under the bridge and its dark reflection on the river's

surface.) 1 The four canvas panels of Gaza, 1952-56 (cat. no. 25), stacked vertically, follow his 1952 collage

1 based on the design and colors of an enamel sign that Kelly saw at a Paris bus stop. ' Two Blacks, White and Blue, 1955 (cat. no. 26), one of Kelly's few narrow, vertical works, created by stacking four canvases,

is based on sketches of tugboat smokestacks observed from the New York waterfront where he lived at

the time. 33 Painting in Three Panels, 1956, and Painting in hire Panels, 1956, arc the only examples in which figure/ground panels of different sizes are grouped together to form a single work. They are the first works since Red Yellow Blue White to incorporate intervals of wall space, a device that Kelly then abandoned 3 for ten years. * In a few of his figure/ground canvases, Kelly divided the surface either vertically or horizontally

8. Pages 83-S4 from Sketchbook #1". 1951-52 by joining two canvases. These usually involve the pairing of similar (but not identical) forms that imply,

Pencil and ink on paper. but do not actually display, bilateral symmetry, as in South Perry, 1956 (cat. no. 27), Atlantic, 1956, and Black and White, 1955-58.

One of his most important works from this period is Orange Red Relief, 1959 (cat. no. 37), consisting of two vertical rectangles of intense, saturated color joined side by side to make a larger square, with the edges where the panels meet accentuated by having the orange panel project slightly out from the red one

(the stretcher being about one inch thicker). Kelly first carried out the idea of panels in relief in his 1952

painting Mediterranee (fig. 7), using nine wood rectangles arranged in a grid, three of which project out from the surface.' In 1951-52 Kelly made numerous studies in his sketchbooks for relief paintings using

two or more monochrome panels, with one jutting out in shallow relief or with a smaller panel placed

on top of a larger one (see fig. 8). Soon after his arrival in New York, Kelly used the relief idea again, in

Yellow Relief, 1955, a small monochrome painting of two joined canvases based on drawings done in France. This painting initiated the bipartite format that he used for Orange Red Relief and for another monochrome relief, Blue Tablet, 1962. There are relatively few relief paintings from the 1960s through the 1980s, which may be accounted for by Kelly's greater involvement with both freestanding and relief

1 sculpture during those decades. * Since 1990, however, he has used relief extensively in his paintings.

Serial and Shaped Canvases

Beginning in 1965 Kelly broke from the figure/ground style that had characterized his paintings during

ir.,,,, 9. Page 1 Sk.uhbook Ul I the past decade and returned to making—for a while, almost exclusively —multipanel paintings consisting paper. of two or more monochrome canvases. They also became more strictly geometric and more removed from sources taken from observation than his earlier work. This phase of Kelly's art draws directly upon many of the ideas initiated during the early 1950s but demonstrates a new sense of scale and color that The Last Painting 10. Alcksandr Rodchcnko.

(Pure Red Color, Pure Yellow ( olor, and

Pure Bluet olor), 1921.

Oil cm canvas; rhre< panels, IA n

20 inches (62.5 x S2.7 cm) each.

Irchivc, ,\. Rodchcnko and V. Stepanova

Moscow

'('»< /, 1963. 11. Installation of Red Yellow Blue II, 1965, and 12. Red Mow

joined panels, Piet Mondrian's Trafalgar Square, 1939-43, in Acrylic mi canvas; three

mii "ii (211 \ 2il on ovei ill the exhibition Classii Modernism S» Generations n inches

Fondarion Maeghr, Si Paul d( Vena I it Sidnc\ |anis Gallery, New York, November 15-

Decemkr 1\ 1990

Pans panel paintings. Explaining this development later, clearly distinguishes this body of work from the making sculpture and cutting forms out of metal that I returned to he said, "It was through the making of eliminated.'' 1' jomed-'panel works on canvas, in which the ground was and Blue Red, phase Kelly's art are Red Blue Green Yellow, 1965, Among the first works of this of one panel attached using canvas panels joined at a fixed angle, with 1966 (cat. no. 46), h,s only paintings spills onto the floor. Because to it so that the color "literally to the wall and the other at right angles most radical painting- into the space of the room, they are Kelly s of the degree to which they project idea more suitable to sculpture, that the literal bending of forms was an objects. Kelly decided, however, Angle (cat no. aluminum pieces in the same format: « h,te he made two freestanding painted nd on the wall as that follow the Angle series rel, solely White Angle, both 1966. The paintings and Blue out Iron, medium tor presenting forms that literally pro.ee, ground: whereas sculpture becomes Kelly's

ChC Green Yellow Orange Red, 1966 (cat. no. 48, ^EKZSC 1965 (cat. 45,, and to. consist of either rectangula, paintings from tins period, all ol which ... a large group of Kelly's arecharacam U ri 1ti cot la g works , cn llllltv Thes£ are all strictly modular groupn gs th|rR or square canvas panels m£ .^^ ^ q( ^ ^ ^^ K WhlC ' ra are reinforced by ': structural formats of these paintings "I x Fhe ra zei andV dentK.,1 in SS ^ ^ ^ ^ d h l structural rhythm ' ' mvests each with a ' paintings are. Kelly m,n o s,t al» as these M and propot .nd the tactions SSSJi Itcle'from then careful., deter ,ed scale of strong colors. and blue. His rp«trirted his Dalette to red, yellow, m ^sssssSSSi£iss£:i >

Multipanel Paintings A> Roberta Bernstein: 13. RedBlut. 1968. with Red Triangle, 19 J. inches lv Yellow two joined panels. 90 x 141 Oil on canvas; \A.Blue Green I, 1968 joined panels, I 19 x 1 1,| on canvas; two inches v 358.1 cm) overall. joined panels. 91 x 91 [228.6 0ll on canvas; two orcoran cm) overall ( 145 inches (302.3 x $69.6 Dusseldorf. The Oliver-Hoffman Kunsrmuseum I cm) overall. 231 i K 231 D.< Museum Galley ol An. Washington, , ollection Famil) ( from the Richard King purchase with aid of funds

Mellon Foundation

engagement with reveals his self-conscious looki L ofnf hish.s works It also .enforce the anonymous - abstraction colors that ™^ fj°£ jed wlth Modernist that by the a color scheme " *** of i * >*« that Barnett Newman s ubiquitous in recent^^^^^^painting and so ^^ vvith a Blue, Kelly initiated this series 0/ Rei ftL, «d -vases and adjusting Blue >6 ">• square, Red Yellow L 1 3 *J^J^™ a larger W )01 ned to form ^ as overlapping , ^ Kelly counteracts the J* Advancing and receding color effects, dimiiuled £££»£* , , Yellou'Bluel I 1*6 ^X In on a flat surface. Red ^ squares rather than as shapes ^ d th C °< * ^^°- panels are separated i «*- . d IV,V ^66*>6, tl sqsquare BlueB7 III and 1 variations.^^7Red Yellow m | two inch intervals/ In the next and joined in the other." scale that I in one monumental Sulla. Valparaiso Flesh and Green, 196 devices an h 16. Frank period shares some of the formal While Kelly's art from this 133! inches Metallic paint on canvas. 77 x

ollection of thi artist. i cm] (

^^ssaitsasstssss; - - works internationally and remains a staple of much reductivist and geometric abstraction, as in the of Marcia Haifif, Inn Knoebel, and Sean Scully. Kelly's influence on this direction of postwar abstraction has been significant in his innovations used regarding modularity, anonymity, and art-as-object. V bile his similarities with other artists who

role, it is multiple panels during this period are important to understanding his work and its historical that restricts the differences that illuminate his unique contribution. Most significant is the w.n Kell) shape, scale, proportion, himself to using shape and color with no interior forms or gestures.* I le adjusts 4 decisions stem and color through what Mark Rosenthal calls "a kind of pictorial perfect pitch." These pans retain their separateneSS and from Kellv's concern for the relationship of parts to the whole, so thai Bam, Southampton, New York, 196! r. tits with the reductivist mode <.l the 1960s work together as a unified shape. An example of a painting thai inches (27.9 \ Gclatin-silvei pr"". II x H the forms, Kell) did not rely on predetermined is Black over White, 1966 (cat. no. SO). In determining than u is wide; the ;; ., Privati collection is actually taller cm) systems or mathematical calculations: the format is nearl) square but the held. AsU.osscn horizontal black panel on top takes up almost hut not exactly a quartei ol spacious white ... it takes all ol the airy and explains, the black panel "lowers like a heavy dark cloud

I lad there been the situation exactly with a typical tautness. to support it; in fact, Kelly has balanced would have gone slack."" proportionately more white or less black, the picture with a tew variations the shapes ol Ins paintings. Until then, In 1968 Kelly started to explore in for he had limited himself to squares and rectangles important exceptions (see cat. nos. 6, 24, and 49), used son* o these other shapes in h,s figure/ground paintmgs-*nd h,s paintings. Although he explored nos. li, sculptures beginnmg m 1958-5 (see cat. depicted shapes as the basis for freestanding or relict the painting until the late 1960s, as it did wok and 43)-the shaped canvas did not dominate Kelly's 39 were motj 1960s. The formats Kell, began using in 1968 other geometric abstractionists of the of many anels of and triangles consisting oft, moo forms such as trapezoids, rhomboids, lie geometric shape well as the variations m the wa, the larger The different color combinations, as , stmg colors. tr geometric abstract and that stretched the p ,i » of °3 made for an array of unique designs

tlH St '" a '" ' the proport green ' „u, he fix in his mind n "k'"nI k olfolowedh walkingT in Centralr ? I ark - while t0 trapezoids mangle. Kell, then created otn and white in the scar, s ^ ^ a ^ dyn tc, triangles, exploring the shape , „, t ,, ,arger m £ _ , I s u ex as in Y .«',,, orientation of the >P ^^ q| ^ U h u these 1 B U kjh M simplest O , shapes. 1 he ^ ^ ^ ^ ^ < ^ torm a square In Red Blue, g same size arc oined to mQS) ^ Mtom »« wirfi ta tQp and *+*£*£ '1 <„,,,. L963 (fig. 16). B r ; 1, ^ 60s ;; shaped canvases of the ear .j^. ,o Stella's .^ ^ ^

18. Roof. Ghent, N.'ie York, 1972. tili-useo^^nochroJwithn, ^1—^^^^O** Gelatin-silvci print. 14 \ m, *°™ '" theM ' tension between spatial '» t isual 8 ca no 52)J KeTly xplo , 1 Wr °S68 . II inches (35.6 « 27.9 cm). and MGm, Red, 1968 (fig. 19), ^ ^ ^ ers pectiv U KectSCK . 6 shape. The . I'm and concrete P itc collection illusionism ^ ^ ^ ^ ioined 1 «- «* <* " £-»** «*- *• T" : ;; SElis ™r ssss tw^^vi^assasK ^£^*^^ £ - d< lthisdirec'

IW**' Bernstein: M./*.*-"/ 47 Roberta ^

ra wor^c es Itipanel P^n^t ESS^S only one £ ? ;£^££»£ «j«d t ,6 b-k from the holistic *££££* ^^rin fe early „70s ,s nos that he continue single, shaped panel from this phase of Curves on multipanel paintings - Sauare with - - • .^ and , , mack W« /« .£ can; J ^ of rectilinear ^ eccentric arrangements = surroundings by their -somewhat pai ntings and back frag - '-' """ is that Kell, tapped as « cnang work the ad)acentSS^SKSJSTbKio.wall. Anodw hndmg actively incorporating ^ agajn n vananon of nature a source g imo ., hc cnJ1 ,, s amount of ^ ^^ shadow detaik tl setotMa and landscape bating . g images in architecture rf ^ ^^^ t, obs J, h, s nn g Kelh had been taking since 1968 - ^ ^ that pjographs quares re I u of ^ pictonal voc I. g nediate touchstone for his 1968 as a more ^ ^ ^ Red. Blue Green Yellow Orange (Fig. and 19. Southampton, New York, 1968 1 ), can be seen in Bam, * <»n wood; five joined panels 120 Oil York, 1970 (cat. no. 162). York, where A,«rc-,-/,r;. to Spencertown in upstate New *sx overall the town nea „ inches (304.8 * Jem Chatham series afte bp .., 271 Kelly named his 1971 .^^ ,n th, Saini Louis The fourteen pamtings . Boatmen's Bank, he had moved the year before. nc^ ^ ^ t .. al oneaboJ to h, , ^ ,o.ned , on the bottom . format: a vertical rectangle .^ ^^^ at ke wa wo k.ng on P^ the recent Bar paintings t > , These grew out of fj ^ Q) tad ^ recall arch, ectu, ad . formats that, like the CfcatW, ^ I I. e ^ Red (cat. no. 65) both and White Bar with Blue and relationships some are shape of the panels so that Red s,ze and ^^f^^J^clathan, II: Blue affect the sense of as well as proportions inches and the blue sixty weeny Itv-.hrccin y red vertical panel^J^°[^measures 22), for example, the (fig, » /X. » (c eighty-seven tnche, M « • Lrizontti panel, thirty-three by £*. nch ^ element sixty-nine b ort, - an J wider, with its green vertical when the hunts . some. Kelly stretches nmetv six . ,n ^vto^^^^fc ^ ,,_. relati(inships

-Dark Gray and White 20. Study for -* "" ^^^^^ - 4 Rectangle I." I -si

postcard, 4 x 6 inches ( ollage on

collection. \ 1 Private 1 10.2 5.2 cm).

1 - -*- ssssi; sp^p^m^;:;:!. c:^;; £ * l *

21. Opening to a Cellar. Hudson,

York, 1977 space, as ,n the and of mass and ' llght and shadow asserted that i, II x 14 inches (27.9 x *£*££ uimk, has silver print, ioij. \> & in Doorway, Saint Bart*, 1977 (cat. no. ^ 1977 (fig. 21), and Hawgar ^ a

, trr^ I >74 (cat. no 1 .1 such as Pfc.Jtfsb.tfg Postcard collages, fe < ^ nfonnhaar kinds of visual detads that clues abou, the , s ,, m Ma provide £ckand collage sh jo shapj, I based on a postcard ^ ^ - ^ agams rock '. seas.,,- of sur( crashmg = c „,„ „, s d slnce the j ^ oss ana tn ^ fee. ac , p ore than ten-and-one-half KapeK)ld (it is m ^ ^ ^ ^ of scale for to mage y a monumental sense ate l9S0s t„ project ^.^ rf ^ ° a "hl £ joined afong a dtagona and others the wa, it is photograph. Fhis painting and ^doorway £ £ P the open ^ . black shape ol „„„.. h cellar door to the ^ wo , s period imply the planar surface tha, trom this ^^^^Zf^yl^bk^.Kelly- to create a unified, of shape and propomo .„„,, through ref >, details ^ ^ ^ In effect of dh msm. «*«! sld ,978 (cat. no. 72), ^ ^.^ ^ des.re for I a anc as out innate the larger form reads that the, undermine »,rU h""e" r '» • * " • I j2*4~ Red. 19 — Blue 22. Chatham tt: sr * inches sm=kK ,ed panels, 96 x 87 hangar d — canvas;, Saint Bart's Oil on Kelly took of the of Robert F. overall Collection (243.8x222 J cm)

Shapiro and \nn.. Marie sees icssassKsW*??

that are direct Giay ?««*, ' r* Kelh did two ttiptychs n0.86),and r*w

a look ' k'*" what a. firs, * of these , lh v i 988 D/»^ 1990. fa. all pamt ,„ K 1 »ss . g andmd . Ik betweenu^ J .,, uI „ forms done q) u r .^.^ d . be shghtl "I . descnb shapes turn out to Rober, Storr found m senes der.ve the. •< and irregulant.es J(ll , Re< tries W« unexpected and areall algne . caused b) the frQm the thers ol form> ^ g^

" , thC Kell, placed A that ' -" 91), *££*„- *£? 7,:Bto*Im ca't no cre^g* In ttfow yeu hamond ^ differently. , ^ ^ out along the and dipping p „, , midway "WfW^S fixed in pb* ^

-

te^^^stesttssssin 1 effectiveness as an intuitively by its

lultipanel Paintings Bernstein: 49 Roberta .

1989-90, are the first • inf/j Pane/s, , , 1989 •and Cnwes r I Panels with Curves 8 . - Kelly's next two series, ^ |dea of CUrVd S earlier in ' ined appeared h *hich k i° P o" sided one tha, • orestam'si ffoTmform wthwith a no £ . dynamic,T'three-s.ded"J „.,„,, „ m s combining a more ^ sue nbinatmns, the DA «b Kelly's triangle/rectangle -'',,,',;' „ , extremely than in the^ nl configurations m wl J ,„ up of four « ^ ,ong m£ edges group is made w a three of the va .» - . Japed In ( Jlut \ectanglei paintings. p^ ^ ^ B/ ' in P**fe P««. «' '\ paintings; a as . panel squares or rectangles, ; new t0 Kelly's , , sh le fourth a S -W , . '„„,, In the (fig . 23) Each , (fig. ,„, 23). ™ ( „ m , as J ( and one curved^edg . ,,, de of one straight ^ d wW solid ma ; ^ ^ s, ^ vers, on group comes in t wo of four variations in this ^ ^ as of the explore the eccentric fanlike wedge enabling Kell, to with Panels series, a large the 198* variations^m^C>of <- _ two-color attache,!. color." In the tour rectangulat bar is

wit* «*« p;'"< '• - in B/»e Gov* « . „.„/, series. as , in Pi „,,,, Qm along he wocd, J the rather than > and color Gran Panel with Orange and Rectangles series, |n ing shape ;-, ...1 ll...... n,..-« oi | n n of Kelly o, diptychs represent a contmu - g^ combinatlons I. both These Panel with White Curve start ^ Cun-e and Black Kelly ^ In 1990 the "ground of the wall. more as "figure" against ^^ - Ellsworth Ke//) in the exhibition and arcs ,n whl triangles, wedges, ~™^° relief is always of rectangles, ^ depth of the Galleiy, at BhimHelman ^e CmvetlKectangles

7-December 9, Nov York, November

to from the wall." "pull of visual gravity"" fu.m thert,eeee reliefs utilize the p them ^.M . immediately preceding Like the diptychs se Q Red Relief canvas ™ shape and color and ™° of , Red create dynamic interactions ^f des ^ )M „,, 1990 (cat. no. pictures is (for Delphine Seyrig) .rough, to his pane, y L color scheme.™^^^£The dynam. m Qne 1959. using the same Relief, ^ ^^ eearhe Ug earher and later rebels h ev,dent Comparing the form that characterizes Kelly's assu smble se Qf of the other, has a morec , raised slightly in front ^ ^ ^ rronSi-ria the - - - r^io^^^ > —- and as to press viewed'from the side) Kelly's reliefs appear is "a*^*™*of ano he the forms in of one panel on top , result of the layering S edge$ As a his or penetrate one another. (In ,1993 (cat. no. 96)- into of B K Jith Black °^^^^SlleSnv^emem / locking of shapes.) The adjoin to avoid a puzzlelike ^ ^ t I ^ be reac as superimposed on a black rectangle-can a blue wedge ^ ^^ ^ of edges, creating an effect under the white panel curved ^^.f^^™^P*ne „aigh, sides the hading one . 1 g«. Blue Curve with mile Panel effect has been achieved by ^^.^^ U. (fig. 25), this ^ ^ h b seen a J 142inches and arc shape ca^> joined panels, 91 - top of it. The wedge |n Oil on canvas; wo positioned on ^ ^ sts bo ^^ sh sugg form that smvu ane , private colleelion white reverse side a ^ ^ trail exposing us ^^^ ^^ Rehef w,th 1 mchidingfellow , naany of these recent reliefs, ^ reading; nted^out,^Tl^" has po Yve-Alam, Bo.s ^ the one above it. As d fules of deslgn than ; n e ^^t=!^^ttSSS S3L-J vocabulary offo - M«s, Mc— Art, SSSSSffl ctiTKeUy's fust pane, painting, M« / ,

has not wavered fro, cer '^ P.,,,, we see that he ^ « ^ begmn-^lE-S^Kmg - P P the work. From . in tremendously diverse body of * m m)U objects sense o m«w turert paintings a concrete .„-, rks foremost a way to give his „. KeUy, re dom * own space and always demands which "the shape finds its g ' range of experiences, n paddle are inspired by a broad „w ,,ml , „ K„, demonstrates his dehgh Although it „. ade ,, u,al s of vision. " ( chinese j fragment ^ collects, spiritual power. other objects he form's se , and J »ns instead. . f^J^^JgZSR< . is not formahs ; ,|„," , [,s art ob,ects (fig. 26), jml m . m n "the struggle* f ee foi abstraction involves enUghtening and For Kelly, P ^ and dynam.c engager, " „ has explamed, intense , MU results tro.n an n "As we move >oking ^ se£ , transformative experience. ^ ^ _

c:s=£3=-=£K .*. -- ••

with Green, 1994. 25. White Relief

joined panels, Oil on canvas; two overall. 1 52 4 cm) l20x 60 inches (304.8. E -'"' KK. « *«' t*» - ' Paol Taylor, "Ell fand » « Peter Haas. I Collection of Mimi and

I^^SE^--^ , ;

"' ' '" ' M ' '""7' K<»> * «rl in E P< >"« ..,,.1 Kdlyl — „.„ k , ,.,,, 4 -";-";,"'; : ''-' « ";•:„.,„ «, ;v : "' - « '" " ,, on pp « 1 •" ' >"'"""'"" '° ( nt",( ^ ° "" ' medi»r«l »»* „,- »*>'<""• ' i m „ k Pro V , ,,, - k - mi :v::i, ;,:r;; ;:::;; ; t :::,:; - ';:;:r::;t:J:;;::::^ ::::::;:::::;::: r: :; : ;;

collect rth Kelly's 26. Objects in Ell Clark County, Saddle-back bannerstonc,

b.< .granite; Illinois, ca 2000-3000 jad< Culture, ca. 3000 B.C., fa;, Uangzhu

ab«n - '" *" »„,, i. -A**— Hk. Ml*. ,„,„«<.. •' j^V i i ,'.,;,",::,..;. ' i«< hKel11 0wen DroUt.in"E«s»o» - oph«c abstract use- , $ cxt ensiv. turo] artists to th< multipanel paintm > =;:rr=»i r;=-xrr-:cr: - • \mong Rausch:henbcrg = Kelly, and |ohns ,

Paintings n- Multipanelm«»'I ,,., Bernstein 51 Robe In > Iik. the work ol the German I Kpressionists, w is influenced the traditional aitarpiece formal with its religious associations In 195

s/». //<-- was "I Bacon made .1 triptych, Three "/ the Human Head, which inspired b) the time lapse photograph) Eadweard Muybridgc. ot Bacon did noi resume the extensive use ol multiple panels until his 1962 Three Studies foi a < rucifixion the American Vbstraci

earl) is he I xpressionists, onl) Ad Reinhardt made significant, though limited, use of multiph panels in the 1950s Vs 1952 used modular

panels in some of his monochromatic geometric abstractions, and in 1955 he titled .1 work Black Triptych, alluding to the altarpieci idea

Kelly did not know Reinhardt's work when hi madi Ins first multipanel paintings; bul he did see an article about Reinhardt's 1953 exhibition

at the Bern Parsons Gallery, in thi December 1953 issue "f [RTnews, which in part influenced Kelly's decision to return to thi l Initcd

States Sec Brunet, "< hronology," p. 194,

[0. Kelly, "Notes," p 2

11. Kelly, quoted in John Coplans, Ellsworth Kelly (New York Harr) N Abrams, 1971), p 28

12. [n 1949, Kell) made a drawing after .1 lati -nineteenth centurj Haida Indian copper plaque from the Queen ( harlottc Islands, British ( olumbia,

which he saw in the Musee dc I'Homme, Paris.

its relief rn>m a stencil, and with Blue, 1950, based on I 1 ["wo ivnnpliv arc Whiti Relief, with hexagonal elements taken [apanese Relief

sk\ tin In Hois, Kell) s perceptions <>t 1 stage set t<>r a theatrical production with a painted backdrop and stage framed parted curtains. in

still 1 1 omposition," p II, stated thai H indow, Museum of Modern \>t. Paris was original!) titled Bla< k and White Relief and had

that title when Kell) showed the painting to Mfred II. B.irr. |r n the Museum "t Modern \rl in New ^nrk in the 1950s; on p 14, Bois

< kilU tor reveal the ol Ins s.od it was titled onstruction Relief en blam . gris el noir; Bois speculated on s reasons noi wanting to sources

Paris pu tn res until much later in the 1960s

14 / ,; ( ombe II was included in the exhibition The Folding Imc by Western Artists of the Nineteenth and Twentieth I entui

cxh cat. b) Michael Komaneck) and Virginia Fabbri Butera with an Introduction b) [anel W, Adams (New II tven, ( onn \ lie I nivi

^rt Gallery; Washington, D.< National Gallcr) of \n. 1984). Screens b) well-known earl) Modernists such as Vanessa Bell, rhomas Hart know should Benton, Paul Klee, Man Ray, Frana Marc, and Yves langu) were also included. While Kell) did not these 1 arlier screens, the)

be considered .is precedents t..r his own us., of this structural format

s I Goossen, Kelly, p 35; see also Bois Vnti-Composition," pp. 21-22

Ins I lh I he next morning, Kell) made .1 small sketch of the image from dream. he title comi s from the name of the place where he was staying

tin night In h.id the dream, thi l ite Universitaire In Ins initial sketch, however, the design is ,1 grid, .1 square of tour b) tour units For the the painting, Kelly used .1 rectangle of tour In five units and changed the orientation of the stripes thai were tilted ai various angles in

sketch t.i n .id .is more uniforml) horizontal in the painting. See 1 ..pi. 01s. Kelly, pp 16 and 18, tor Kelly's recounting of the dream, and

/'.• ironology, p 189, tor .1 reproduction .>t tin original sketch for '

» l 7 ..h.nm 11. Kelly, p 18

1 B Bois, \uii-t omposition," p 2 5

[9 Bois, in ibid., p 25, speculated that ir was the pointlessness >>t tin- permutation idea that led Kell) t" abandon tin- polyptych in tin ncxi down three .ends In .1 receni convi rsation, Kell) mentioned the importance ol the practical considerations ol the painting being broken

int. 1 sin.illir units foi the ease >'( transporting (

Method 01,1 Muni Mlsvs.irth KJU s < nance Grids and I lis Development of ( olor Panel Paintings, 1948-1951," in Bois ei al , Kelly:

Years in France, p. 44. mentioned that ki ll\ suggested the sum concerns regarding shipping the eight-by-eight-fooi painting ' olors \<>r ,1

Wall, painted later thai ycai in Sanar)

2d Goossen, in Kelly, p 19, mentioned an abstract painting thai Kell) madi in 1949 based on .1 checkerboard design that he had observed on

the end ol a barge, .1 painting that be then destroyed becausi he could noi yel accept complete abstraction. Both Bois and < owart, in their

' >/,/ Tiles, . mi Kr//i Years in From e, discussi d sources foi Kell) 's grids and r< product d sketch* s and collages, including Sketi h from

' 1949, Sidewalk Crille/Studii - 1949, Batl m Tiles, 1951, and Grid I ines from "I ine, Form and ( olor, 1951 (cat. nos 119.1 1 19 40]

tins ( 5 Kelly, 2 1 Fot an extensive discussion oi Kelly's use of chance at timi . see Bois, Ann omposition," pp. 2 16 Sec Goossen, pp

.1 in observations and I owan "Method and Motif," pp. 42-43, fot thorough discussion of the Spectrum collages and their origins Kelly's

" titled of patterns of light and shadow reflected on the surface of the Seine River (see Study foi "Seine, 1951, c it no 115 I. 01 the seven

I < I . a later in Spa trum olors \rrang\ d \ccording to bam , onl) one (numbet V, cat no 117) was made into painting, 195

22 Kelly, quoted in Taylor, "Kell) Interview," p. 155

1 n, Kelly, p

24. Kelly, "Notes," p 8. Since tins time, Kell) has used neithei hand-painted nor hand-drawn lines or marks in Ins works, othci than in drawings

md prints of pi. in ts and figures. In single-panel paintings with two 01 more colors, lines are formed where the edges ol shapes meel

25. Kell) • numerous studies ol .irihitntur.il walls arc crucial to Ins conception of panel paintings I"he 1950 collagi Colors on a Wall is based

on .1 pencil drawing titled Wall with Pipes, 1950; sci Diane \\ .Id man I llsworth Kell) Drawings, < ollages, Prints (< Ireenwich, ( onn 2". New York Graphic Society, 1971), plates 17 and 18 Bois, in "Anti-< omposition," p made an analog) between the structun ol ' olors

" , panel I In- artist puts oni sroni alter 1 Wall md ilu actual construction of building walls, hi wroti of Kelly's paintings, down

thi other, like the medieval mason who built the walls ol the Romanesque churches thai fascinated Kell) so much ai the timi " See also

I I I \rl no. Michael Pantc, "'Things to Cover Walls I llsworth kill\ t Paris Paintings and the radium, ol Mural lecoration," \meru an 9,

• 5 i

26 Kelly, in Ellsworth Kelly: Painti d Aluminum Wall Sculpture Weatht ring Stei I Wall Sculpture, exh. cai (Los Angeles: Margo I eavin

Gallerj New York Leo Castelli Gallery, 1984), unpaginatcd 1_ 2". i Sec Bois, Ann omposition," pp _ -2N.

2x rhis work is based on a 1952 four-color collage, Study for ' Painting for a White Wall In making thi painting, Kell) added the blue panel

/'. .>../• i consisting .11 the righl ["he same year, Kell) made .i collage tor a work hi did not execute, Stud) o/oi fai , White Wall,

i.t narrow vertical and horizontal rectangles ol varying sizes. Kell] used thi word "wall" in titles of onl) a few works thai he mad< aftci

"Wall," 1955, and i small painting Wall, 1956; his Paris period i large oil painting, Wall, 1958, based on the collagt Preliminary Study (ot

and a pencil and collagi Wall, 1976. ["he word "wall" in these titles was a double entendr. referring both to Wall Street in 1 owei Manhattan

l »~x I Panels i Wall This painting- and the importance ol tht wall n ground tor Ins paintings In l Kell) titled a painting oloi fot large

in a single work to dat. sine Ins derived from i stud) from Ins Paris period—consists ol eighteen different color panels (tht most panels

I feet Paris period grid paintings), each forty-eight b) sixt) eight-and-onc-hall inches, placed at intervals on a wall eighteen feet high and 10

long

cat. Museum ol I int Vrts, 1987), unpaginatcd 19. hour |. Fairbrother, I llsworth Kelly Seven Paintings (19S2-55/1987), exh. (Bos us > the idea furthei in pi 10 Kell) in.nl, man) collages that arc variations ol Uget neat the end of his Paris period, bt dat. hi pursued

consisting ol thre. rcctangulai panels joined togcthct Onl) a few paintings resemble this carliet format, including Blue Green Black, 1980, tht 1960s iron, it becamt a ubiquitous formal during to make a squan Mthough Kell) did not use tht grid again after hi returned France,

th. i irlj ' during tht late 1950s through Jos,- tht ) both lived at oenties Slip and was adopted b) Vgn. s Martin (a friend ol Kelly's when muni I 960s) .is her signature Ellsworth Kelly: Sculpture, exh. cat (New York Whitne) Mu n ;i Sec Goosscn, Kelly, p. SO, and Patterson Sims and Emil) Rauh Pulitzer,

ol American Art, I 982), p J6

cial I llsuiorth Kelly, )A and J2 \nn Hindry, "< onversation with I llsworth Kelly," Spi pp Blu, to sketches of tugboat the connect! ' ft Whit, and 13 Fairbrother, Kelly. Seven Paintings, unpaginatcd Kell] confirmed States, he initiall) Kell) said that -Inn Ik ret. I to tht United smokestacks in a recent conversat with tht autho. In that conversation, but he moved into the figure/ground work in pan to disast at. thought th.u Ik would errs o„ with the idea ol the multipanel pictures, abstraction and us American derivatives himself from I uropean geometric

inspired b) seeing i I canvases of different sizes together in on. work was in part »4 Goossen in Kelly, p 79, wrot, that Kelly's u f n at i th .. tog. tht I »n i « m. ol different sizes looked , pp ,h,l n at which ht was impressed at h rks *mcrican ^rt, it was the most radical entry and 1957 the Whitnej Muse I Paintingin Three Panels was exhibited in \ ,g \merica at tivt multipanel pa. st.ll was at this mor. th: vork rhis reinforces hm g was seen b) e as Kelly's attempt to include the 1960s point, befort tht devic. becamt more commonplace in attached to panels se. I er pieces ol I that an I from the surfac. ;s rhethrc( projecting panels in Wditerranee are r.

flush with tin- other si> rectangles. -relief I b) Kel « .1 tndio, ",. i6 ,„ ,958-59 Kell, .cceler.ted h ' ' ' "' ' « "" ' ' work g .»»« P> « works Vfte, 1954. he a.ed ,h. term for """'" between 1958 K, .d« h «.nr.din8 ,, I I th« heh.dm.de

. « > * h.t the width of K I , 1 Pulitzer, in P- U i S *fe*4

'

' I '"'" «" I ' «* *ie> ol l.r , , p. ges P-ovioe" the Kell,'. I, B „ b, ,n, I p, ', , hi, I p.o, ««d th . , , p . K . ,23, ,„ „ J > I ' Ion > >< H > ,; H ,1. .nd I W -. * -». *, , ,, ::::::;::::,, ».. ,, ** » f

that scalt

,, *«« +*> « - ;::;::;;;:::: :i:r«=-:.. B

• • *. « -» 40 ::x::;:::::::::::z f.c installai s don, for spec. been temporarj $ .,».. .;--. , , rw„ nf , -.1, ,. « « ;';:;:::;;:;:;,;;';,:;:, , tt£ZttX.~™ - <•

i 42 ritsr-i'K -':-;-:;::;!;::: ;::::;;::::;::;\::::::::::::,r *"b" -- " inrex I '',,.,,,, d..p.cel » r "•"" K, » "; "":, « * p ;;,.:. ,. .-, « ,;

d - - i;;;r:^r;rs :,«

Paintings Roberta Bernstein Multipanel varj slightlj from one installation to another depending on the specifics 43. According to Kelly, the size of the intervals in a given work maj

d! each site. vertical colors, each consisting of three horizontal panels joined to make a largei 44. Kellj made a second series ol paintings using primary is 1971 Ins Paris period Blue Yellow Red I and U are from 1966; 111 from rectangle, reviving another formal that he had first used during See is on one ol the last collages chat Kellj made in Paris Mark . based id M is from 1972. Blue Yellow Red \ 1954/1987, National Caller) 1 945-1 exh cat [Washington, D.< Rosenthal, -Ellsworth Kelly." in The Robert and Jane Ueyerhoff Collection 995, 'his ,,, \ 94, foi a discuss,, .,1 of si Geometrit [bstract Painting in America since 1945, exh. cat. (New York Harrj 45. Michael Auping, Kbstraction Geometry Painting Selected N. Abrams; Buffalo: Albright-Knox ^rt Gallery, 1989), p 76 "In statements, both Mangold ..1 Ins that ol Mangold and Marden, Kellj said: theit 46 When asked in 1992 about the relationship work to similarities. Mangold works on shapes, bui there s always and Marden are hers to Rothko and Newman 01 course there ar. superficial the ground. Ks fox Marden, he worked with Rauschenberg, .nd w is linear involvement on the surface. To me, he's still depicting a line on concerned with painterlj surface See Hindry, "< conversation with Kelly," verj connected to [aspet [ohns, His panel works were primaril)

PP. J6-37,

47. Rosenthal, "Kelly," p. 94,

48. Goossen, Ke7/y, p. 74,

44. Ibid., p ss Geldzahler, N01 ulpture 1940-1970, jO Michael Fried, "Shape is Form Frank Stella's New Paintings," in Henrj Artforum no MNovembei I! exh.cat (New York Metropolitan Museum ol \r\, 1970), p. 403; originally published in 5, 45-49 Elderfield Ellsworth Kelly," \rtforum 10, n embci 1971 , pp. 51 See |ohn Elderfield," Color and Vrea: New Paintings b) the issues h< discussed is th< waj Kellj uses thoroughlj analyzed the us, ol coloi in Kelly's panel paintings from about 1970 Vmong

spatial illusionism " ( ssen, in Kelly, pp. 80-88, discussed Kelly's color panels "to defy, or at least accommodate, the otherwise blatant

described as a "kinesthetic projection, not an illusion us, ol color to counteract illusionism and the effect of bending, which he

M tor the make an imaginarj completion, but it is hard to hold this fictional 52. Goossen, in Kelly, p- -. wrote, "There is a tendencj eye to

.ire insistentlj disci perimeter foi long, because the colors and shapes themselves so even works he made during the hue 1960s, which look more straightforwardlj 53. In a recent conversation with the author, Kellj said that in

.is White, geometric, several examples were directlj inspired bj observation, such Green I9i is the squatresi is tallest thinnest of the series and < hatham XII (84 \ 76 inches] 54 ( batham VI (114 x 102 inches) the and

55 Rosenthal, "Kelly, ' p 100 series ^,^,\ other multipanel paintings that confirm his Kellj me stud.es fot his ( batham for 56 \\ Ink 1 was researching this essay, showed his ongoing use of collage and pencil drawings to plan paintings.

pencil studies foi triangle/rectangle panel paintings as earlj as 1970. 57. Bernstein, "Kellj Mutipanclled Paintings," p 90 Kellj did ink and

See Sims and Pulitzer, Kelly Sculpture, , Kelly's Photographs," \perture, no. 125 (fall 1991), p 45 58. Kelly, quoted in Charles Hagen, "The Shape of Seeing Ellsworth cat (New York Metropolitan Museum of Art, 1979), pp 7-8 59 Elizabeth! Baker, Ellsworth Kell ?s and Sculptures, exh. n Paper, exh cai New York 60 Diane Upright, "The Measure of Mysterj Ellsworth Kelly's Works on Paper," in Ellsworth Kell

i Harrj N Abrams; Fori Worth: Fori Worth Museum ol Vrt, 1987), p. : »

61. Sims and Pulitzer, Kelly: Sculpture, p 25. colla| discussed the role ol gauging a sense ol scale through postcard collages Hie postcard 62 In .. recent conversation with the author, Kellj .is existing in sculptures to the space around them, and their function .1 thing reinforce the idea ot the relationship ol his paintings and

sp.ue rather than as a window through which to view something Collection (New York Hudson Hills Press, 1995), p. 148 63. Robert Saltonstall Mattison, SAasterworks in the Robert and Jam Meyerhoff ot us sides auA angles Sei I detail, including the exact measurements On pp- I4S-4", Mattison discussed Dark Gray md White Panels in

also Rosenthal. "Kelly,' pp 101-03. thai has alreadj appeared in his othei works Shapes closelj resembling thosi -4 ( haractcristicallj to, Kelly, his photographs follow imagerj

used In him in black-and-white paintings on single panels .1,.,. he had mad, ni the 1977 photograph Hangat Doorway, Saint Barts had hem Kellj used Hanga is as the basis foi Black theyeai before In a ran instance of a painting modeled aftei a photograph,

to the in the process ol transforming the threc-dimens al White, 1988, a painting in two panels. Hut Kell) had alter and adjust forms

si, seem in the photograph into flattened 1 he liked the the three Single coin, panels looked tOgCthei when the) 65 Kellj said that the idea to pamt the first ot these came because W3J

I is a related panel I wall-reliel sculpture. ntitled, 1986 were originallj exhibited IK- .hen painted Thra Gray Panels I lure threi u

sculpture in three pans See sm,, md Pulitzer, Kc//y: Sculpture, pp 168-69 I irlici n> 1982, Kellj made a freestanding aluminum Gallery, 1988), unpaginated. Robert Morr. "Kellj Now." in Ellsworth Kelly, exh cat. [New York: BlumHelman

a Order," in Ellsworth Kelly: < urves/Rectangles, 67. Sei Barbara Rose, "I llsworth Kelly's New Paintings: rhc Search foi Reasonable ed Panels with Cm exh s.u (New York: BlumHelman, 1989) In 1992 Kellj mad, a series of single shaped panels al his that the stretchers are raised slightlj ot. the 68 A somewhai more pronounced relief is created bj Kelly's practice of hanging pictures so two inches deep. In White ovei Blue, wall, fhconlj thicker stretchers Kellj used were in his earliest relief paintings, and these were ibout feet piece itself is more than twent) eight [967 one of the run canvas panels projects eightee Jus in from ol the other; I ever, the

long Vnthonj d'Offay; New York ' exh. cai [London 69 Yve M.un Bois, Hie Summons," in Spencertown Recent Paintings b) Ellsworth K*7/y.

Matthcv. Marks, 1994), p 47 radicall) while keeping and reflexivity-the capacit) to alter .. form 70 Bois, in .hid., p, 46, discussed the fold as denoting "both discontinuity

shapes, specificity Pony, 19S9, ind i s freestanding sculpture using folded ii wholi He related this folded form to Kell) sculpture Whit, .or panel paintings with arcs is his painted aluminum one Gaul, 1993. \ precedent within Kelly's own work his recent unfolded, the form would be to be folded back and ove. th. large, ll [978, made of two at th the smalle .ppearing Vfrift urves W, from the wall than he does in I liming*. In ' i ection ,, ld „ a full circle] In his sculptures, Kety alio* i large, on, See S.ms and Pulitzer, Kelly: .He. sect projects eight inches off the ntire relief is set six inches off the wall and the sm

; <^ Sculpture, p I 4" "I Bois, "The Summons," p

72 Kelly, in Ke7/) Painted Kluminum, unpagin

i ited (New York Museum ol Modern lit, 19 I hur. 73 Kelly, Fragmentation and the S.ngle Form, exh

~4 Hagen, "Shape of Seeing," p. 45,

Multipanei Robct.. Bernstein: Ellsworth Kelly's Curves

by Carter Ratcliff

straight During the 1990s, Ellsworth Kelly made a series of three-sided canvases. In each of them, two third, curving edge. With sides meet to form a wide angle. Opening upward, this angle is closed by the them as his usual directness, Kelly calls these paintings Curves. For convenience, one could describe fan-shaped, although their arcs are too wide and too flat to present the familiar outline of a fan. These tor canvases have vividly idiosyncratic outlines, which, for all their sheer, formal interest, must vie attention with their colors. Even Kelly's darkest blues and greens have a self-assured luminosity. occasional, In his earliest works, from 1949-50, whites predominate, relieved only by black and an grayish blue. Then, as the 1950s began, Kelly invented a method of filling gridded canvases with random color-patterns. Although each of these canvases contains vivid patches of red, orange, and yellow, included in the mix. The their impact is softened by the milder colors, plus black and white, that Kelly that the most idea of randomness brought a full range of color into his art, and sometimes it seems even and method can sensuous hues in his early grids are pretexts for experiment. Thus, matters of concept distract the viewer from the chromatic riches of a painting such as Spectrum ( olors Arranged by

< hance, 1951-53 (cat. no. 15). 1952-56 (cat. no. 25), which is divided into lour stacked I races of the Kelly grid remain in Gaza, to top); the three largest are yellow, and I. I llsworth Kelly and Relief with Bin. rectangles of gradually decreasing height (going from bottom of the rectangles, Kelly invests the painting with m Paris. the smallest, uppermost one is red. By varying the size lost in its blaze <>! a solidly proportional architecture. Yet the structural subtleties of Gaza are easily different hues, one of them the result of mixing a bit of the top panel's wll< »u i m j ellows, for there are two as one would expect. red with the yellow in the panel just below it. The warmer yellow shimmers, ot the lower panel. Surprisingly, the cooler one feels just as lush to the eye, as it spreads over the wide expanse to expectations created by centuries ot pictorial I he warmth ol a cool yellow runs counter we usuall) tradition in the West. Kelly often baffles us this way. Rather than linger over our puzzlement, K —

be relied upon to , ( a, lucrv could n i n 50s, Kellv'sk cacanvases B, the end o to 1 glow of his clots fill our vts.on. let the (c* n rf unreflecrive pleasure. O9 «, 958 immerse the eve in immediate, ^ in the dazzling yellow, ana there is vitality A While other artists J^gS^tSSand delight conjunction of color and shape, inevitable , liv„ riate w,th Kelly prov.de, the eye OPPO™" that with issues, "™ . of grapple ,^. ,„ scrLllltv one chance. Dun I, ^ of Early on, he had raised the issue ^ routmel Nonetheless, .« » decade's preoccupations. '^ nK,J Un aen,ahh. K* is »n s I senstb.hty, and ,1 ^o ^ « , 1 art addresses ^ according to taste. Us ° ^ of alnu taste, and his command «»^°™ n, is artist of refined ^ ,, „ tren Siss^tfit^Ji^i-^ « — -

-trrs:ts - iffit^KSsasSA8 and figuration, an op, oons: abstraction figure and ground, c of h - is Kelly . comman^^Jg^ these ^ lm, ca the most important of ^ redefined b , the sharp focus » «*» «« into , opposition that he brought ^ ^ ^ red *'~' his later^ork- Th.s and evolution of < ,,„, (cat. no. 104) deliberate oncs_ ( „,,„ a — -* *< r< s 5 r ekssessssst - Guggenheim Museum.

tops KclIVs art. A wide arc oi Curves appeared eatlv in Jj^^^ttcSl ^nolandapairofc has explained . Kelly , no. 8). AsitSSS^^ "^"PS"wh , K saw (cat. m Ue, with Blue, 1950 M ^ o / made at a production rf lnalt in a sketch he ^ ^ shape originated cu ved in element w« , „„ 1940s. The relief dufing th e late ^ ( ^ o P ^ a. the dge I. , „0Vere Behind it appear ,„ image open curtain. ehminMeoo ^ ^ star,. Kelly proce From the lhls is not a oictured but evoked. detachment front the beyond themselves, I'm of complete '^T^J^ „ ,-,,,,- thing sculptures, ob.ects. His paintings and or large, unnameable leJlatron. fragn un things-shadows^^^^ ,„ h , m as singularitj of specific b ^ the' ChaVC hovers around harmonies refined empiricism **•££ Ces than to the An air of t „ abstracts ^He k the realm disguised as an point m tive arris, ^ ^ ^.^ fi t

painting such uM* independence. narcissism. A 4 ge en a mes mid-196 0s w «- «* 2. -«> ' - r SSSfS * k S TCSSS

permits ambigu

C«ri/« Carter Ratcliff: s7 glance, questions arise. Are we to read the orange patch orange oval on a green background. At second form? Flai or should we see it as a voluptuously rounded is flat unrolled across the canvas, or However we wall of green or is it immersed in green space? volumetric, docs it hover against a flat is its habitat. Eventually, that orange is the figure and that green mswer these questions, it seems clear that eye, subl.minally, and then to the mind, consciously, though, this certainty fades, as it occurs to the figure, sohd corner of this canvas could itself he .1 and the quasi-triangle of green in the lower right-hand then the orange. But if the green regions are figures, discrete. So could the lame area of green above the orange and the other this is a painting with three figures, one of them orange is the -round. Or perhaps reading Orange Green, not one of them persuasive two green. And then there are still other ways of of its line and color, this canvas is .m exercise enough to render the others irrelevant. For all the clarity

( urvt I. Black < urvt Y 2. Blue-Violet m ambiguity. his canvases, V, ill 1982, painter. The grand dimensions of v/. and Redi urvt Kellv ,s considered a quintessentiallv American MS their air of confidence—all these traits are typical of m KdlyY Spcncertown studio, l - their bright, uninflected colors and confident forms, figure. He also counts as a Modernist, American art in the 1960s, when Kelly emerged as a major However, this link with the Old World is which means that he has affinities with European tradition. had an American claritj ^,\ candor. Yet the) difficult to see. Even during his Paris years, Kelly's images ambiguity, and this quality is what were never simple, never unequivocal. Kelly has always cultivated establishes his connections to the upper levels of European Modernism. a painting such as Orange Green is so The stylistic gulf separating a Cubist still life of 1912 from of its knack for subtlety, and thus guide vast that we' might miss their shared concern: to remind the eye labyrinthine look makes its devotion to the experience of seeing to self-awareness. Cubism's tangled, plain. That they can be as complexity obvious. Kelly's images are sharply defined, sometimes even available only to a hard-edged style. Looking ambiguous in their way as a Cubist still life is an irony lush with interpretative possibilitv and past the simplicities of a Kelly painting, one's eyes enter a region difficult to separate from that of immersion linger there, examining the various options with a pleasure

in the sheer brilliance of Kelly's colors. ambiguities, which are, after Kellv could have spent the rest of his career elaborating figure/ground relations between figure and ground, in paintings, all. basic to his medium. Instead, he redefined the Piece, 1966 (cat. no. 49), we see the reliefs, and sculptures during the first half of the 1960s. In Yellow painting could process of redefinition brought to completion. More than six feet by six feet in size, this corners are right angles. The be described as almost square—or formerly square. Two of its opposing can easily enough other two corners have been smoothed away, leaving curves in their places. One imagine the missing corners restored. and purposes, the rectilinear corners are In fact, it is easy to suppose that, for all pictorial intents figure that almost but not quite fills up a still in place there, permitting one to read Yellow Piece as a thus the usual ground of the standard, rectangular kind. Where we see curves, corners are implied, and painting into relationship between figure and ground persists. Yet facts defeat implications. Turning this relationship. Yellow sheer figure, the curves of Yellow Piece release it from the traditional figure/ground Piece contains no ground. A figure filling the entire canvas, its ground is the wall. To his Throughout his career, Kelly has circled back on himself, posing old questions in new ways. grounds, he continued eye, pictorial devices are inexhaustible, and so, even after releasing figures from series of to refine the interplay between the two. In the early 1970s, he launched the Black Curves, a between a triangular canvases. In each, a curved line runs alongside one of the edges, forming a border as figure the large area of black and two slivers of white. One's eyes perceive the largest form the and reversal of smaller ones as fragments of ground, although, as usual, Kelly's elegance permits a smooth

this reading. one The same finesse draws Red Curve /V, 1973 (cat. no. 71), into an isosceles triangle lying on zones of side, with an arced line connecting the two acute-angled corners and dividing the surface into red and white. When the white portions of images such .is these fell away, the monochrome Curves emerged. By a new path, Kelly had arrived at a destination reached earlier with works such as Yellow

Piece—the painting that is all figure, and thus converts the wall into its ground. In 1983 Kelly published a statement about the need, first, to clarify -angles, curves, edges," and then to adjust these linear elements to "color and tonality." With the adjustment complete, a painting freer, more displays its "freedom and separateness."' It may be that none of Kelly's works are any any these qualities fully endowed with "separateness," than the rest, yet the big, one color C urves displa) would be their leading point. with particular force. If these canvases were arguments, independence

( urves more independent However, an objection occurs. What, if anything, makes Kelly's monochrome separate and tree than monochrome canvases by other painters? Isn't ever) one-color cam as a figure,

it it appears within a four-sided, right- and thereb) able to convert the wall to its ground? Not, I think, aside with paintings such as White angled frame—the traditional enclosure that Kelly began to set Plaque: Bridge Arch ami Reflection, L951-55 (cat. no. 24). canvas posits a space of its own. In Closed off from the space of the room, the rectangular frame does not appear-the image is, in a monochrome painting, much that we expect to see within the Spencertown could defined. Curved Panel, 1994, in Kelly's is implicit. I lorizons be 3. Red way, a blank—and vet the full range of pictorial possibility Brice Marden's monochromes from the 1960s, studio, 1994. Figures could emerge from the ground, especiall) in colors-into the dense greens and grays of which seem to have absorbed anv number of forms-and implications by the vers fed of being framed. their surfaces. A monochrome canvas is laden with paints of rectangular surfaces of his paintings with white For vears, Robert Ryman covered the manner. lor every kind of paint. Ryman devised a various kinds, each of them laid on in a distinctive areas to Recently, he has permitted certain anomalous then spread it from edge to edge. ,pecf,c texture, how form, figure/ground relations and serve to recall appear and to remain. These produce, in concise white Yet even the most evenly brushed of Ryman. adamantly he avoided them for most of his career. blots out the possib ihty even figure and ground. The whiteness re haunted by the memory of relationship-the product o the this ghost of the figure/ground frame itself calls out for it, and as the canvas. hove, nea. ever, four-sided monochrome on a blank canvas-seems to oa hc, first mark between ' painters maintain the familiar difference B -TvTng the traditional frame, monochrome S rectangle, Kelly s b) the usual space of the picture. I Inenclosed ordinary space and the imaginary

label a bit. had to fight the Minimalist with them. A, he says, "I've Suggestions ol effects were unacceptable. u ,k„ properlynmnerlv beatbear thath label, pictorial For Judd and others who paintmg, h |ts inherited from evocation of atmosphere depth, hints of perspective was for art T eed Minimalists, so that art could prog «s » errors to be expunged ^ ^ ^ ^ arty tself In he . „ the literal truth about ,„ d* declared ^ $ ^ ^ he put tlu .dealUnapn among its proponents Stella was still ^ ^ ^ of self-evidenuary ob, space, ,, h ,eve this state »» another, imaginar, wher"T^^ *,^ » 5«P and the place « • - distance between itself ^ ^ ^^ „„ K if it

planes, straight lines constructed of: flat

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own gray cubes, in particular-could be Morns acknowledged that Minimalist objects-his nroliferated" should not focus on in , 966 Lir dullness a fault. Attention he argued ,, to consider makes takes relationsh.ps out of the work and on the way "the better new work , , fs work but

3 Alerted to the our perceptio to a literalis. key. flirty "pare object would immediately shift no more an J— we would presentedI, erh, factual, , o) lorn' and material's that the object no facts have a Mm m.i shape our immed.ate environment and would .live to all the tacts that then come ,llusons We would perceive the world purged of the xperienTnot only of art but of out surroundings. Th.s was the Mmunah t that art has traditionally encouraged. , errors and delusions, d s the the share this hope for he does not sha literalist, Kelh does no, is in some ways a i 1 h Sough pleasure m these depth and other pictorial effects. He fmds Smalls, wfsh to suppress illusions of them. his audience not to be led astray by , tt< t rs ind he trusts ever m.staken difficult to see why Kelly was decades alter the Minimalists appeared, i, is TH they M.n.mal.st habit when not impossible. For his canvases enter the for on o them-difficult bu, ground Ye Kehv space, to commandeer the wall u tor ou« of pictorial space into real -ve .pint. LeW.ttslatt.ces, not make th.s maneuver in a M.n.mal.s. paintings, whether Curves or Panels, do of the architecture that and Morris's ho.es. rework the premises I,,!, "Id's .national abstract form, on bu.ld.ngj^Jj^*^m the Int Minmalism could he understood as a commentary, in Curves have the swee of so constricted. The flat arcs of Ins larger p The focus of Kelly's art is not ^ Kell shaped the .rankest, most l.teral manner, horizon. Entering the space of the gallery in SL or the un-M.n.matat never contain. Tins is a thoroughly space with allusions that i, can , v ses fill that open onto depths f.lled the Curves and Panels, these canvases procedure! For all'the literal immediacy of a pa.nter command of h.s med.um i is also a pictorialist, m with imaginary light. Kelly the literalis.

tr3di he seen as the walk An asymmetrical Curve could ahlu"s°;m-trica., Blue Curve lies Hat against view from which surface. This reading impl.es a pom. of depth, a form piercing the wall's a lunge into .tape unattainable vantage, this powerfully skewed wLld confront the canvas straight on. From that w tour-s.ded Panels art as Blue Curve Many of the would look as calm, as securely balanced on its point, squared-away, thee look to us, they might well appear to be similarly ambiguous. As irregular as imaginary space see them from the right standpoint in perfectly symmetrical, if we could possibility n triplicate. (cat. no. 86), presents this Orange, Dark Gray, Green, 1 986 Three Panels: complex idiosyncratic way, the work ,s ungraspably With each Panel tilted out of symmetry in its own, .mag n three different atmospheres, tunes o daw Moreover, the orange, the gray, and the green imply as ,n Three I anels, Kell) complexities, yet even when they arc tripled, worlds There is no end to these mistaken for the work of a Minimalist. forms remain crisp and clear enough to be asymmetries, we begin to see anonymous stretches on the symmetry implicit in Kelly's Speculating moment. was architectural becomes pictorial, it only tor a of nailery wall as elements of his art. What then-v.cn.ty. canvases g,ve an aesthetic charge to everything in Like h.s sculptures, his monochrome different-literalist, not pictorial. Kelly . art Minimalist sculptures do the same, but the charge is Insinuating the teaching each to inflect the other. mediates between the literal and the pictorial, redraws boundaries or simply erases them. He complexities of abstract art into ordinary space, Kelly shows his sculpture-and the elegance of this redef.mt.on redefines all his mediums-painting, relief, Modernist impulses at their strongest and most subtle. and others the previous century, when Edouard Manet Kelly carries on a tradition that began ,n The painters mark s ambiguity, inherent in every touch ot paint. began to emphasize the doubleness, the potential while itself-potentiaU) an object, To bring out that element in a picture and also a thing in an abstracts. painting evolved from representation to preserving the premises ot pictorial art, Modernist —

This evolution can be described .is a series of progressive steps, yet it has never been easy to fit Kelly's

art into an account of that sort. Not only does he circle hack on earlier concerns, making new abstractions by renewing the old of he refuses to choose between abstraction and figuration. Throughout Ins career, he has made pictures plants and portraits of friends. He has produced collages and photographs. Kell) does not advance b) the discarding his past, nor has he established a strict hierarchy of values. Playing the abstract off and image, real space and figurative, mediating between literal flatness and illusions of depth, object opposition—and persuades them, in his best pictorial space, he gives equal weight to both terms of each works, to blend. premises, conclusions that one must accept There are no absolutes in Kelly's art, no unshakable no canvases such as Blue Curve for a moment—their unquestioningly, without amendment. To return to grand unease of an asymmetrical canvas. Kelly does not posit serenity is no less contingent than the evolves. In his art, symmetr) could be seen as a symmetry as the given from which unbalanced form departure from asvmmetrv, a variation like any other. forms as independent-and as dependent-as Undermining hierarchies, Kelly renders each of h,s value to one of his forms, that form stands every other When an artist attributes absolute Kc IK is not an authoritarian. if you prefer, politics. metaphorically, for absolute authority in life—or, responses to specific us to see his works as particular Guided by no overarching program, inviting not moral lesson but ,n the resistance to authority. The point lies ma Situations he offers metaphors for ux .dncss. transposed to painting with astonishing experience, the perception, of certain ideals architectural plane becomes as wall, wall, into a ground, thai When a shaped panel turns a any

of the forces encountered there. disinclined to capitulate to any

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urves 61 Cart er Ratcliff < Experiencing Presence

by Mark Rosenthal

The self-contained, abstract paintings of Ellsworth Kelly demand a rapt gaze. Approached this way, each something work—beyond the sum of its physical attributes—exudes an ineluctable presence an aura of palpable. A look at Kelly's history, practices, and interests suggests the artist's desire to court and encourage such a response. During the early phase of his career, in Pans from 1948 to 1954, Kelly formulated many of the central premises that would shape his subsequent thinking and work. Partaking of the aesthetics of early abstraction, he was deeply interested in the subject of the spiritual in art. While noting that this quality-

was present in "all the art man has made," he was especially cognizant of the often large scale and anonymous authorship of spiritual art made by craftsmen during earlier periods. 1 In this regard, Kelly greatly admired Cistercian, Romanesque, and Gothic architecture, medieval stained-glass windows, Egyptian pyramids, and Sung vases. He sensed that the people who made these works were filled with a

: religious feeling, which they conveyed in virtually every detail of their craftsmanship. To emulate this elusive process became Kelly's ambition: to imbue art with his own expressiveness, his own spirituality, not through the depiction of a narrative but through color and form only. Because he was uninterested in spiritual fire" with 1. Vrchaic North American birdstones from the the specific dogmas of earlier cultures, however, Kelly needed to cultivate his "own to sustain his art. 1 evolved, he to find the preponderance of his inspiration in artist's collection which As his art was nature, so that its phenomena became the source of his spirituality. Looking at immediate predecessors during his Paris years, Kelly spoke of the distinction between

1 Pablo Picasso's and Piet Mondrian's art. Each possessed an equivalent degree of spirituality, he said," but as opposed to the highly personal and outwardly expressive approach of Picasso, Mondrian exemplified

a restrained, "impersonal style"' that was nonetheless spiritual too. Kelly was very much attracted to what he thought of as Mondrian's anonymous style, feeling that the same approach suited his character,

and sought to achieve his own version of it. He found further support when he visited Constantin i

intention to make .in art that Brancusi in 1950: "For me. Ins art was an affirmation: it strengthened m, the 1 spirit just into [abstract] form," is spiritual in content." Similarly, he struggled to "get that accomplishment of which became central to his art. Kelly began collecting anonymously Beginning about 1965, following a long-standing interest, appeal of these iconic seeming, singular wrought, stone objects from archaic cultures. Describing the concerns himself with creating an forms, he claims that they have an "aura of shape." Similarly, Kell, have a undeniable presi nee I he ob]ect must abstract form that projects an intangible yet eloquent and concrete and magical all at once. bearing, a condition of being present and notable, cultural source of these and it is probabl, the Kelly says, "I collect things that I see myself in,"' thai C Kltional and has a strong dislike tor much ,S stones with which he feels the closest affinity. I le that "communicate m a dillccu way daily hie, instead preferring archaic civilizations anecdotal in again, possess "s* mbolic no, practical use. Here the vehicle of mysterious objects that One way is through stones the anonymous makers of these spiritual o, religious impetus inspired there is he suggestion that a "spiritual fire u« or Certain!, a burning , . do^s Kelly himself arrive at a similar effect? How rfK is no, enou Ea h the making of h,s abstrac, works h the application of design principles in

these strategies, an alluring color. I hrough hand drawn, or invested with a wildl, or^rt^ssa^^^SS:ir gla form

anonyn - unsigned, ' "M-ts, *£gT^^&™ *"-*-»> ' P B «*» ed endeavor rom the mid-!ft Wto,Keg concentrated emphasizing the relationship fo a mass < as kind of unique bod, ,he shaped canvas a ^ a ,ways - reside. < wall on which ,t He of the canvas to the diose „ K , perhaps th Jd and separates. Although demands its freedom ^ ^^ ' JS5=S?3SK5 aSTSTSS =. ' * work. w.th.n the form of each this favorite word o( his ce tain ^volu,"voluptuousness";" ks--P eew h „, Kelly, objectlike ^ ^ his ammg degree to which | helps convey the r ^ sensuaht, and even withm th living existenc . . „,,, assume a natural and d .^ „ u crucial to Kell, . art * potential spirit of |0„ hedonism are «d

Fr, ' Rosenthal Experiencing 63 M ark has always been difficult to assign. Although a member of Kelly's Place among his contemporaries Robert Rauschenberg, and Cy Twombly, he shares very the generation of [asper [ohns, Roy Lichtenstein, one of the "hard-edge artistically. Lawrence Alloway termed Kelly little with those individuals edge designation rankled Kelly because of its emphasis on painters; although not entirely unjust, the oversimplification of the character of his art. Sometimes rather than mass, and is, at any rate, an epitomized by Clement Greenberg, Kelly in fact possesses identified with the formalist type of thinking Kelly is far more newest, purely pictorial innovation. In the same vein, little of its aspiration for the truism—"what you see is what you see -would romantic about his work than Frank Stella's famous Kelly is often called a precursor of Minimalist permit Because of the apparent simplicity of his art, no way docs his love of alluring color and idiosyncratic form—in manifestations but—as is evident from deadpan approach. In terms of Kelly's own thinking at he exhibit a similar, overly geometric, pragmatic, not Abstract Expressionists of the New York School. While he did least he might best be related to the years in Paris, he shared their wish to express a know their work to any significant extent during his on a large scale; moreover, the paintings of transcendent experience through an abstract language seen and at at a presence too. However, Kelly's voluptuous Barnett Newman and Mark Rothko often hint high degree of individual expressiveness of the New Yorkers once .mpersonal stele is at odds with the sensuous qualities of nature is rarely seen in the usually Also, Kelly's joie de vivre and veneration of the III. I"" s >. Diagonal with ( urve Expressionists. more moodv and urban-oriented paintings of the Abstract cm), Oil on canvas, 135 x 99 inches [342.9 \ 251.5 twentieth-century abstractionist movement, demonstrates Kelly's art, like that of other art.sts of the Philadelphia Museum ol Vrt, Gift ol the Friends ol created on a picture plane—an effect that might that there can be a there there, that a presence can be of oi craftsmen or in historical depictions rlu Philadelphia Museum compete with the spirituality inherent in the work of anonymous gaze that Kelly, what is required of the viewer is an aesthet.c a divinity. In contemplating a painting by that be moved by its mere description. Kelly has observed is, eves willing to look upon the artwork and pregnant with a kind of life substance. -' It everything has presence, that all spatial arrangements are presence in the objects he crafts. remains for us to share his vision and experience the Notes artist's archives I Fellowship, < Guggenheim Memorial oundation I Kelt) in his 1951 application fot |ohn Simon and Sculptures I96J 1979, exh cai (Amsterdam Stedelijk 2. Discussed in ibid.; Kelly, "Notes from 1969," in Ellsworth Kelly Painting, 1995 \i,, M nin. 1979), p JO; and K< lly, interview with th< author, Di ccmbci 19,

l Kelly, interview with the author, Dccembci 29, 1995

1 Ibid

5 Ibid I), unpaginatcd York n of Modern Vn I 6 Kelly, Fragmentation and the Single Form, exh brochure {New Mw

Kelly, interview with the author, Decembei 2.9, 19

s [bid

v. Kelly, interview with the author, Augusi 25, I

in Ibid 1969," l i Kelly, "Notes from p M

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14 Kelly, interview with the author, Decembei 29 I

15 Ibid August 25, 1995 16 Kelly, interview with the author,

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F« Rosenthal Exp.ri.««i.f 65 M ark At Play with Vision: Ellsworth Kelly's "Line, Form and Color

by Clare Bell

paper; next came a series of random dots scattered over It started with an ink dot on a single piece of (fig. But it would be the another page, then a horizontal row of penned dots traversing a third sheet 1).

1 19.1) that, to Ellsworth Kelly, unbroken horizontal line on a fourth piece of paper (fig. 3; cat. no. 19.40). In a constituted the true beginning of his book project "Line, Form and Color" (cat. nos. 1 L9.1-1 Coburn describing the project: "1 letter from Pans dated May 28, 1951, Kelly wrote to his friend Ralph (linoleum) prints." 1 That am planning a book, perhaps a magazine, with no writing whatsoever, just J eight inches, encompassing summer, Kelly created a series of forty-six works, each seven-and-one-half by on supports. He reserved ink on paper, collage, and single pieces of commercially colored paper mounted mind. Later that year, he two-and-one-half inches on the left side of each plate for the binding he had in York for the submitted an application to the John Simon Guggenheim Memorial Foundation in New book which shall be an money to publish them. On the application form, Kelly wrote, "I will create a scale of painting, a closer alphabet of plastic pictorial elements, and which shall aim at establishing a new modern architecture."' contact between the artist and the wall, and a new spirit of painting to accompany

1. in a Run: 1951. other Dots The book, according to the artist, was conceived as a way to distinguish himself from " is more than I much I x Color" Ink on paper, x 8 inches (19 20. cm applicants, most of whom sought painting grants. However, "Line, Form and critical time in kell\ S an ambitious proposal b\ a young artist in serious need of funds. Completed at a idioms anticipated the very shapes, career, it represented his first in-depth exploration of abstract and and his color relationships, and uses of line that define Kellv's more mature paintings and sculptures, the project signaled a highly contemplative, inventive engagement with form and architecture. Moreover, reconciling the leap into a unique new model of abstraction. It would be the artist's first attempt at contradictions inherent to abstract art and would, in turn, forge new territories for it. as much Kelly developed "Line, Form and Color" during his years in France, yet it owed its genesis Kelly enrolled at the to his experiences as a student in Boston as it did to his formative Pans period. had ^,

Kinds horn the G.I. Bill of School of the Museum of Fine Arts in Boston on [anuary I 5, 1946, using

4 issue Rights. His decision to go to Boston was prompted by an article he had read in the October 1944 the of Esquire magazine, about Karl Zerbe, a so-called "Boston Expressionist" who was teaching at attitude of school/ Zerbe's paintings combined the emotive gestures of Expressionism with the detached 1920s and 1930s. Kelly Neue Sachhchkeit," two trends that defined the Genu. in avant garde during the afternoon drawing Jasses recalled morning classes with Zerbe in which he painted from the nude, and credited .nurses in design and history, which he later with Ture Bengtz, also from the nude. I le also took as helping him with his painting." this period reveals 1 work from Like most voting artists, Kcll\ experimented with many styles. lis were located within the Museum of I inc an eclect.c approach focused on figuration. Because his classes apse from Santa Maria de Mur m * ataloma Arts; Kelly had ample opportunity to savor the frescoes of the his would have a profound impact on and other 'examples of Romanesque and Byzantine art, which immersed in was in Boston that he became choice of motifs and deployment of scale. Moreover, it work of Max Beckmann, who, at German Expressionism. Of lasting significance for Kelly was the student years March 1948. Kelly's use of hue during his Zerbe's invitation, came to visit the school in oi which entomb his contorted figures, whether can be traced to Beckmann's weighty dark outlines, Tuxedo, '_ admired Beckmann's Self-Portrait in 1 German society or of himself. Kelly particularly to be bought by a museum m the examples of modern German painting (fig. 2), one of the first major ol his bourgeoi functions as an emotive jolt animating the flesh Boston area.' Line in Beckmann's work could have inspired Kelly on hue for narrative purposes certainl, caricatures. The German artists emphasis opening la,es ol the book ( olor." The seven P m Tuxedo as a subject in "I me. Form and 2 M.i\ Beckmann, Self-Portrait o explore its potential Beginning with the Lor* " on the effect of hue on the space around it. 1927 m-M-i solely Selbstbildnis mi Smoking), ^ — Itfa no. I 2 similar!) drawn vertical (cat. > \\ KelK then created another plate using , . ^"4 (I x horizontal vector. Oil on canvas, x J7 inches J9.5 mute and found introduced the complexities that P«^ trok , Kelb *^ Universit) An Museum, I! 95.5 cm). Harvard

Busch-Reisingcr Museum, \ssociation Fund.

paracula, cillate. Th.s page, in "«P«»™ r . ol composition h K observed ,„, the surface ** * .":;::;: •":; - - *» drawing (cat. n< »/ ££S - full-scale the b^Seme into .1 t,.Ta' crossing them to create together, I orizonta an a etnea , . 8 119.4), he used . (cat. „„. ^ ( ^.^ works u h « m « . vertical panels »~ , pictoria | horizontal and d b „ K , |U „ I mdependen It , functions as an , |U reSulting form ^ ^ , ob.ee. even „,. reu I . segued into Minimalism , ground. I ine ^ ^ ^ P wh.ch would ea k« the gr,d, . in ;,„ of k l,k's motifs, hical "grids" he observed ysgr northern France. b l.nes cultivated MchK ,n consequential than the ind.vidual each aurcnorc ous^ub< w _ the shape of J|s , |||cd sectors. Fo, him, ^ ^.^ ^ ^ ^ pushing formed then, By l«« expressive force. that ^aphysica and u e t w.th sough, to 1 d , KelK. like Beckmann, ^^ ^ wh(j ad I Horizontal Line, 1951. heda - tent-' " x 20 J cm) - Ink on paper, 7 k 8 inches (19.1 , i:;::^:!':;::;::::--"--- collection

PlflWrt *'>'"" larl Bell w "

climax. These differences were exemplified by the rift between the Museum of Modern Art in New York (founded in 1929) and the Boston Institute of Modern Art (a branch of the museum, established in 1936).

Under the tutelage of its director, Alfred H. Ban; Jr., New York's MoMA championed the work of the French school. However, James Sachs Plaut, the Boston Institute's director, focused on figurative art, especially from northern Europe. Among the first exhibitions that Plaut initiated was one devoted to German contemporary artists, in 1939. An exhibition devoted to French painter Georges Rouault, whose work was far more aligned with German Expressionism than with the French School, followed in 1940. At this time, Barr published a pamphlet, What Is Modern Painting?, in which he identified abstraction as the apex of twentieth-century artistic efforts. Arguing that "how they paint can be separated from what they paint," Barr concluded that the Expressionists' "colors and shapes and lines have a life of their own

4. United Nations Building, New York ( irj which can survive without any subject at all."" Taking umbrage with Barr's beliefs and MoMA's embrace of Surrealist automatism and other Modernist tendencies, Plaut began a campaign to sever the institute's

ties with MoMA. Striving to expose the "cult of bewilderment" and archaic sensibilities that he felt gripped the term "modern," Plaut issued a written declaration in 1948, the final year of Kelly's studies in Boston, announcing that his institution's name would be changed to the Institute of Contemporary Art. "This apparently harmless, one-word change," writes Serge Guilbaut, "sparked, not only in Boston but

1 in the whole country, a critical upheaval that would shake up the American art world for several years." According to the manifesto, "Modern art failed to speak clearly. ... It describes a style which is

taken for granted; it has had time to run its course and, in the pattern of all historic styles, has become H both dated and academic. Ten thousand copies of the manifesto, dated February 17, 1948, were printed and distributed internationally. The proclamation touched off a firestorm of criticism. For many artists, the pronouncement reeked of institutional control and, inevitably, of censorship. Given its timing, the manifesto was, in their view, reminiscent of Hitler's systematic suppression of avant-garde practices during

the rise of National Socialism. David Aronson, Hyman Bloom, Jack Levine, H. W. Janson, Karl Knaths, Lawrence Kupferman, and Zerbe were so offended by what they felt was "the injurious meddling of The Institute in the affairs of creative artists" that they held a meeting in Boston on March 25, 194S to

14 call for its retraction. While not directly involved in these debates over aesthetics, Kelly certainly could not avoid the paradox of trying to reconcile his immersion in German Expressionism with his proclivity toward School

of Paris artists such as Pablo Picasso and Fernand Leger. Instead, he incorporated aspects of both in his art at that time and sought a new channel to painting by thinking beyond the traditional scope of the frame. Kelly vividly recalls Herbert Read visiting the school and delivering a lecture in which he declared that easel painting was no longer a viable option: art and architecture must instead join together. Read's sermon made a lasting impact on Kelly, so much so that he echoed those very sentiments in the statement he wrote to accompany "Line, Form and Color." He claimed to seek "a closer contact between the artist 5. View ol the half-finished Unit£ d'Habitation, 'the oil painting,' sold through and the wall. . . . Creative painting today means easel painting, original

Marseilles, France, designed by I > I orbusii c galleries to private collectors, and to museums, to be hung on walls. This painting has no relation to the

architectural wall; it is an expression of the artist's separate personality. I believe that artists should work directly with the architect, building as the architect builds.''

It is not surprising that Kelly would seize on the power of architecture to communicate his ideas. Building experienced an inevitable boom following the war. Among the most ambitious plans set into motion after 1945 was a complex of offices located on seventeen acres along New York's East River

designed to house the newly formed United Nations (fig. 4). Led by American architect Wallace K. Harrison,

1 ten international architects were commissioned to study the schemes for construction and to develop them. arrived The first to do so was renowned French architect Le Corbusier | Charles Edouard Jeanneret], who in New York on January 25, 1947 to participate in the planning for the Secretariat, General Assemblies,

and General Agencies buildings. Although Le Corbusier left the project before construction began—due t<> political clashes with the international committee— the finished edifices (completed 1950-52) ended up r

project and the issues it raised looking very much like his earl) sketches. The magnitude of the building architecture were clearl) on about the type of artwork that could measure up to the new modern

America there is no painting to accompany Kelly's mind in 1951 when he wrote in his proposal: "In Art there, was a 'Symposium: contemporary architecture. Recently, at New York City's Museum ol Modern solv< their dilemma: 'what kind Art with Architecture/ headed by Philip Johnson, rhej were unable to of art should be used with the new United Nations building?'" taking place in the postwar climate. He Le Corbusier's ideas coincided with the rapid urbanization independent 1920s as a wa of achieving an had been advocating the use of reinforced concrete since the 5 permitting the facade are independent ol one another, structure-a building in which the structure and the concrete he referred to as a "free plan": "Reinforced elimination of load-bearing walls in favor of what rooms oi the same sue. he) plan! The floors no longer superimpose in the house brings about the free rigorous use of each centimeter. A great financ la great economy of constructed volume, a ire free. A oofs columns, strip windows, andconcav easy rationalism of the new plan!"" Recessed economy. The to wave ol homes and office, needed that Le Corbusier conceived lor the e among the basic elements we -bgh building an eighteen-stor 5 I [is Unite d'Habitation, accommodate the burgeoning middle .lasses.

whole. Thus, Line, rorm ana ^ his columns, windows, and as Le mrhusier conceived to the way an architect such ( elements similar »^™~^I concrete frame. To this

6. La Combe III, 1951

inches Oil on canvas, 63 n M - eehis collection (161.3 x 113 cm) Private i^ss«^ bu, Id k about we,, shape's from the easel ^-^SSSS ' >* "ion as in Boston was late Kelly's schooling Kell, begi durmgn in I that and certam moufs <£Z£££fi£il« alsc as his use of colot e ^^ q| ^ subject matter gr< ded - and his approach to , ,„ :nts of ,,„, civilizations , lu m u '• Boston also reaffirmed in Kelly's years in (>l work being done today. , ited But, to European art. his battal his attraction „, geptembet 1944, when hid. hehadv, . JT^JKSPans, « . to relocate ,,. access Boston, Kell, decided to ^ 1r um , ia m ,, hvSal ( ,m ' modern artists. »-—Jl — meet the cirj'spree n, "V r he dm. ^1ul. nd"ld r':, , antiquit.es and shnnes NnK rK , n student t0 the cultural ^ , u certainly no. the onl, urn there « g Kelly was «^™ fo„owing , w u ^ phenomenon ate a social expatr , , colon, in Paris is d profi,ing ^ ^ e^deman and g amorphous as to at on d * ^ the 1950s, "so ^ ^ ^ u pa . . rench, "student - , fa th« Baldwin seized on the ; w|s m)[ $wdy> or admi a theses, ud ents «. o. What drove k „u| ol socia | | irab vague at best. ( where As a resuV des Beaux-Arts, ording t0 Baldwin. £*~ clasSes a, the , cole .j Oaota^48,^J h,,,„ arriving m Pans m y swdying th the S < after ^ ^.^ Younger friends with Jack funds were and became Cose government he met year before. g Pans* ., d tl who had emigrate ^.^ G.I. Bill, ^ Swiss amte Spille . a |im ol,, summer, |urg , (hin was I hat ne,«,rlv depleted. "" 1 germ, PPb - ' " ** KeSans «2"^ffi^££- *»« ^ Jean Arp, Franci circle that included

*'>"'" 1UH. U P/«) ""'' 69 CI, re .n New York at the Guggenheim's Museum of Non-Objective Painting who was director of Solomon R. references on his application, as well as Michel Seuphor, an Kelh enlisted Arp and Vantongerloo as Le Seuphor had and founding member of Cercle et Carre. In 1950 ^i rian cLmpion of De Stijl, member of Kelly met Belgian artist Vantongerloo, a leading introduced him to Arp; and through Spiller, Cage, Edgar Kauffman, Henn-Pierre Roche, Foe other names completed his grant package: John „, Mil photographs Frank Lloyd Wright." Fie sent twcntv-s,x Youngerman's father-in-law Henri Seyrig, and .as stamped rece.ved a the along ith the application." The proposa of his drawings and paintings « 1951. later that month, Kelly arranged to have his oil foundation ,n New York on November [8, of sent to the attention of the committee composed Combe III. March 1951 (fig. 6). painting U The Frankhn Watkins, Mahonr, Young, and Carl grosser.- Charles E Burchfield, Oronzio Maldarelli. Arnaud in Pans then sent to that April in his fust solo exhibition at Galerie c „n as had been featured of the School o exhibition celebrating the seventy-fifth anniversary Boston for inclusion that June in an the Hotel de Bourgogne at 31, 6, 1951. writing front his room at the Museum of Fine Arts. On December Kelly explained, (then secretary general ot the foundation), rue Saint Louis-en-1'Ile to Henry Allen Moe the Boris Mirski Art Gallery. He further twe, 1951 sent to you from Boston, from -I am havng a recent painting tor to explain that I am not applying a [19.1x20 J cm] advisedly however and w.sh Ink on paper, 7 v 8 inches noted "1 am submitting the painting have a ready outlined to you. fellowship enabling me to execute the project 1 Private collection. pamtmg fellowship but a be carried out. Despite the spirit with which the project will This painting will, however, help to clarify applicants, dated foundation in a general form letter sent to his efforts, Kelh received word from the applied for was denied." April 2, 1952, that the fellowship he had spent his days at the Musee du Louvre, the While enrolled at the Ecole des Beaux- Arts, Kelly Asiatiques-Guimet, as well as the Byzantine Musee de l'Homme, and the Musee National des Arts surmise that collection of mosaics and manuscripts. One could Institute which boasted an impressive stems from the subject developed in "Line, Form and Color," Kelly's interest in calibrated arches, a inescapable view from the of Notre Dame (fig. 8), of which there is an flying buttresses of the Cathedral see from his visits to the Guimet, where he could He Saint-Louis, where he lived, or, for that matter, Katsushika shapes in the epic prints by Japanese master the pronounced curves and quasi-abstract bronze bow and arrow from the Khmer Empire (tig. 10). Hokusai (fig 9) or a twelfth/thirteenth-century "Line Form mandorla shape, a version ot which occurs in According to Kelly, the specific origin of his in recessed eclipse in the stonework of Notre-Dame-la-Grande and Color" (cat. no. 119.11), was the correspondence-whether acknowledged by Kelly or mereh Poitiers France, Despite any apparent visual of their sources. Rather, they are reassessments surmised-his forms are never meant to refer directly to but with no immutably fixed meaning. perceptual dynamics, not entirely without narrative; and be traced to Curve, a plate from "Line, Form One of the earliest examples of Kelly's arcs can voluptuous shapes ot Kelly s 7- bowed curve, it is one of the most Color" (fig cat no. 1 19.8). A deeply Pans form. The curve was an essential element in his oeuvre. In this work, line appears to genuflect to Marker (cat. no. 3) and Mandorla cat. no. 4), work, as can be seen in such canvases as Kilometer eventually with Blue, 1950 (cat. no. 8), would both 1949. But its use in early reliefs such as Relief that of the shaped canvas. After he moved to New lead him to one of his most critical breakthroughs, his defining, factor ot his painting, and revealed York the curve once .mam became a significant, if not featuring in 1954, he began a series ot canvases preoccupation at the time with organic forms. Beginning their contours for example, cat. no. 29). He rendered large, swollen forms, with undulating edges (see, hook, which was one of the first instances to even more elusivelv than that of the pliant curve from his precision. not only the nuances ot nature but its sp endid disclose the artist's proclh it) toward capturing fan-shaped the more precise arcs ot his expansive In later years, Kelb's surging motifs gave way to to the artist's use ot fragmentation, it ,s tempting paintings (see, for example, cat. nos. 85 and 99). Given concisely drawn circles that followed in the book read Core, as merely an enlarged section of the contours do not conform examination, however, it is clear that its 1 ID). (cat nos 119 9 and 1 9. On closer -

Kelly's work, since each nuance of to theirs. These often subtly rendered differences are paramount in form, every calibrated proportion, opens up new vistas lor observation. other artists. Through Spiller he became acquainted During his stay in Paris, (Cell) also sought out Brancusi in his studio and later met American with Alberto Magnelli and Picabia. He visited ( onstantin made me in L950, KelK later remarked, "He artist Alexander Calder. About meeting Vantongerloo mine didn t. One ol the reasons. I was glad that understand that his kind of paintings had to have composer/ at that time was with young American most fruitful and lasting relationships he established the Hotel one ,hs in |une 1949 at Kellys residence, performer/artist [ohn Cage; the two met by chance Kelly also happened to be staving. In addition, de Bourgogne, where Cage and Merce ( unningham Quarter on the rue de la near the Bastille, or in the 1 atin frequented jazz clubs along the rue de Lappe, his there and for the most read a newspaper during years Notre Dame, Paris, France according to Kelly, did he , ol Seldom, B ichedral Huchette. nirr he remembers Paris as being a "closed society." P American aid the European Recovery Plan (ERP)-*n SevZ "ears before he arrived in the city, action It wa des gned Marshall Plan by 1948-had swung into program that became known as the Communists' agenda.' Many Americans living European autonomy and to obstruct the resuTcitate During thes m and undo the auspices ol this program. mcu lin Kelly, found employment bro d of the MarshaH custodian in the Par, headquarters sessssssissss-I" oSl, when Kelly worked nights as a

ob.ee, were on the Open Sea play, and the found ^> Hokusai, Stonn Haphazardness, d on the Katsushika l920s. ^^™^Jw)Wli x hll cavorte in series Thirty A * Breton !924 recesses offKanagawa. n.d., from the christened b, « expected ^%?*£gSE£I >30s tngag. society throughout*. .^ prim ... bourgeois ( ^^ Views o\ \!<""" '»" Woodblock fringes subconscious, the Surreato product ^rts .W^ ... a human automatism, Musee National des ot tne act iCe 14 inches (25 x $7 cm) h "^toJ p Dadaists, and later the u r «* spectacle for the eves. ^ ^ Asiatiques-Guimet, Paris act of spontaneou -•«;'' for Kelly, of the unconscious ~ |ust as inescapable WJS

; of American it aeration ^^S^^SSS£ and Surrea , *>, mk u,,K acknowledged " s :^X^ZrJ^T£p^ ^ ««>. wh- stages of his art." h vtal role in the early M experime„, wit newly a B fell) and Coburn, prominent In summer 1949, 1950. Two chance saw I 19.35) spontaneous drawings. Kelh ^^^^bLc*. Brou* wte (cat. no n me 1 are plate, . geometr) examples of chance collages ed ^ [|k rigid ll c no ' J ... »"• ' ' Arp chose I >ra«g« (&g- And where and Pink and wl|h mmetrical forms. plates f J as the preceding accident to pla, established in ^"^T, after .,,1 .g paper scr ps w hi* n the cutout or torn diffe K , recompose his Waldman ^ ^^ as Diane . And vet. \ rp . who .. KelK. linllU pirt o ..... did dkJ mJ >ev to the • most h Ha.es . * sh Kelly brought — , Khmer KelK rarel) .J ^ Arrow, SS ID. Artist unknown, Bow and paper scraps ,,,„ he , ,,,„ different , K ^ployed a variety of ^ .^ Ke, Bronzi and iron, 1 mpire, 12rlt-l Mh centuries. ugh a or sto -b . . are d nsof n drawings , ements the, often used h ja arrang ; arrow 15 inches bo\n 10 inches long (78 5 cm); tah-' idethespacea Asiatiques- long 10 cm) Musee National des Arts spt^j^^iSiSiA—

< !uimet, Paris

""'' " '" dare Bell: ll P/a> ^ 12. Marcel Duchamp, Tu m' [You-Me), 1918.

Oil and pencil on canvas, with bottle brush,

three safety pins, and a bolt, 27 % \ \1> inches

[69.8* J13cm] Yale Universirj Art Gallery,

the I state ol \ru I laven, ( onnecticut, Gift from 11. Pink and Orange, 1951.

kachenne S. Drei< I g< on paper, 7Kx 8 inches [19 I x 20.3 cm).

Privan collection

Although he may have chosen not to delve too arrange the forms. I am not interested in composing." evidence deeply into the gamesmanship of Dada, some plates from "Line, Form and Color" do show that of the of their derivation from the collage technique and display the sense of randomness many Dadaists and Surrealists brought to their efforts. Kelly's decision to use, for each of six plates, a single

sheet of commercial colored paper to constitute an entire page in the book— for Green (fig. no. I 3; recalls the practice of using found cat. no. 1 19.24) and five others (cat. nos. 1 19.19-1 19.23)— and commercial objects to make artworks, first by Marcel Duchamp and others associated with Dada, others on a later by the Surrealists. The colored paper swatches Kelly glued next to one or several Tu page bring to mind the colored paint samples Duchamp laid over one another in his 1918 work m Kelly was (You-Me) (fig. 12)." Kelly's method also invites comparisons to Picabia, an artist with whom familiar and whose later work he admired. While not directly related to Picabia's canvases of floating project spheres, such as Lachete de la barbarie subtile, 1949 (fig. 15), several works from Kelly's book

utilize similar motifs based on the workings of the eye (fig. 14). Optical devices and themes, and the phenomena of light and movement, were explored by many 13. Green, 1951. Ray. artists associated with the Dada and Surrealist movements, including Duchamp, Picabia, and Man

( ollage "ii inches 19 I k 20.3 cm) i to For example, Duchamp's rotary disc (fig. 16), made in collaboration with Man Ray, was designed collection, late open up new dimensions in art through the production of simple optical illusions. Beginning in 1948, Kelly became interested in observing natural phenomena, and started to sketch and photograph III the shadows on stairs, bridges, and gnarled tree branches (see, for example, eat. no. 159). La Combe

.i stairwell was part of a series of works completed in the winter of 1950-51 based on shadows cast b\ that he sketched and photographed the previous summer at Seyrig's villa, La Combe, in Meschers (see as Lit. no. 159). The inked lines, grids, and bands in "Line, Form and Color" can thus be understood 19.17-1 19.18). light patterns reconstituted and emptied of all modulations (eat. nos. I L9.1-1 19.7; 1 baste created new way of mdexmgthe real Once th.s By simulating the effects of light as line, Kelly a ac and .magery, planar forms, chance and achroma prem.se was established, he was able to employ serial pared down Form and C olor" funcnons as a anguage chromatic saturations with the same effects. "Line, Baudnllard s se, t.ment of his project are reflected m Kan to kev modes of vision. The implications hanks and command models- miniaturized units, from matrices, memory "The real is produced from h no longe, has to he ranonal smce reproduced an indefinite number ol times, andUth these i, can be some ideal or negative instance. it is no loneer measured against the properttesof have been interested in explormg Smce he Renaissance, artists and philosophers 1M?) approac fifteenth century, Leonardo da Vine 1452 p color in reflected ravs. In the bodily mass and structure. Hght primarily as a way to represent ^^™ etneeuZg JJ^

mdgo, nd oh-by o red, orange, yellow, green, blue, ^ ™[ . arguing 1951. ^ by 14. Random Dots, I homas Young (1/ 1 .m,. ^ varying degrees by a pnsm. ,,,,,,,„,,.,.,,. Theory 20.3 cm) bent to | x 8 inches (19.1 x be un ry ,nkonpaper,7 green, and Mu^olet-*hould cohered p that three colors alone-red, *he (174 - mov M P^ Private collection. [ohann Wolfgang von Go of Co/ors,, published in 1810, ^ contemplated color m more of science and derives wholly from subjective :™^.""*j^Xhe xpenence^.fated- tor Ke color sensations. However, % y ,eld individua. . ^ measures such uwn as opposed to ob,ect,ve * perception, ,, qualities h^speemmt J k j ull „ open to colors that exts. outs.de <\ ,„a Lily was ^ n „ his paintings a ^' (see, tor exampl , In green and yellow . forms. of us, before he had c e color orc0' "' the ^J**™^l . he rarely determined ,„|o,. At th.s |uncture, sculptures, , m rea , form, form eventual,, ' where line mutated mto c ^ " squares, Kelly's book, b p^nts.1 to readymade book seem more .ike objects than plates from the J^ ^ green (cat no,™*g£Sl > red, yellow, blue, and that Kelly in black, white, combinations two or this which - establishing ,ater plates in me paintings. Be, andf^*^^SSSLColo became ... forth in "Line, Form ., brown, and gra, paper put ,ight blue, colors, Ke.l, «* th« palette of elemental -*^" years. Intrigued by pan colors in nil *J^V«*»1 . of the muted g t|) n rcba hook, recalling some ^ the and then h.nary oppo «*K Uy of black and „ hite ^ ( .^ oPert,es cka J mclude ., another. These plates p , ns closely with one .^^ ^ white ground or a 119.10-1 19.18). positioned on a ^££S^ffi uM (ca, nos . £t5^£££ 25SSSV-. - - - colors was ^SZSXSE*. the selection of -^-^--J^S foliage **£** earliest^ ^^^S^jfiSSSS*^- by < («* tradmonal Colors Arranged »- . the othet as ,n ser,es Spec,,,,,,, m „. o-d- „, hirm and work in tandent ,„ Mll , Color and form ( J*Mi . ^ H.s dec son to focus o concenttate representational practice. ^ M of had* and ton . „_.,. vanety ( was " opposed to an ever-shifting .^ ^^ Colo as v.s.on rathe ' sprayers. of • anomalies . Uers or the acute ^ suJl as bareness on ^ abandon the bft*. HI to Ac Kelhs intention to ^.J"^"^ L to send / a «

subtile, la barbarie l v Francis Picabia, I eichete de

x 52 cm). 1949 Oil on paper, JO x 20 inches (76

C ologne. Collect...,, ol Galeric Michael Werner,

Vision \t ?lay with 73 e, ar e Bell: [representing Kelly was not interested in c 1 f IK, Amrt the visible world.

was and Surreal he admired, Si J—^^i'^S5 seizing on the Integra.

strangeness *ejeah referred » as "the infinite * Baker once , ts part ort. A abstract™ gamed momentum m the earl Geometric | evich was h am Moml|.,„, Ma I D Rnssian ams. Kazmur Mn• and , leading proponents were dated to 91 bas« on ^^the p P an aesthetic theory I che originator of Snprematism, sensations tc.convey relationships andIspatia. ^~^^^^^^^^ „. Mondrian with 1 ^visual world. Despite the respect foster the ,de. I ur > in^^^SZ^dl^Zorder to I " restrained hne thev cam£ achieved a. m ingm ^ soon after abstractionists, the Surrealists J given the work of these

Man Ray), Rotative 16. Marcel Duchamp [with (Rotary Glass Plaque Verve (Optique de Precision)

optical Unable ro arouse tne a {Precision Optics]), 1920. Motorized Vanrongerloo, among orhers. Plates Taeuber-Arp, and Abstraction- plates, wood and metal device: five painted glass

axis, electricallj brans, turning on .1 metal

I cm). operated. 4" x 72 inches (120.6 x 184

Universitj An Gallery, ( ollectionol Yale

Societe New Haven, C onnecticut, Gift of the

Anonvme. 1941

' '™»°' • ™ weld, rf.ns ms,nd to «-« ""TVJ V Ja „

the fir* Kelly's years there. In 1946 considerable attention in Europe during ^AttaTrt'enjoyed ^mvolved w,th Abstraction-Creation. Among those &/o„i« SS N .,«,-//« was held, established by

„„, „„ ,— -sr^f^irstzs^ts -»

J £ ^

the traditional figure/ intention was to shatter the cohesion of opportunity to exhibit with the group, his hold dear. that these artists contmued to eround relationship, a pilla, ol easel painting out h.s own place within the canon waves in an effort to cam And so hv 1951, Kelh. was making he a plan have arris, < leorge Koskas instated » Youngerman and I an of abstact « Along with

and La ^omot had completed in February 1951, monopoh ofReaites b *ging artisan. -hide to show works 5 Ibsl «—£££; le« S iTby Nouvelle,'" Rebay, Paris. confidant of Kelh during his years in prove to he a strong p Creation, would eventually . ^^^Z^^ , u r fot ^ ,o.nth -'- K " Both Kelly and Youngerman encouragement, \ > shay's ung>e ^ eni next *r« y«r^ the ' first rime that May Over them, she s work either of and cirde of a ne« generosity, ^"^™^™ hundred dollars to move into and l them to an e abor « . ,1 ^ would often treat ^ s<)lomon R l Lukacn, kh ^ to loan ^J l According stud.o in 'a2. , resignanon GnggenheimScho^^ Ipr

{Island), 1953 17. Augustc Hcrbin, lie 120 cm i inches (159.9 » ^twenneth Oil mvas,59x47 Bauer, and other earl, work of Kandinsky, Rudolf q| the _ ^ ^ Denisc Rene, Paris. , ollection ofGalerie article pubhshed m a 1942 . , m to America. In , kn t0 us - J,^ «Non-ob,ect.ve pamtu^*"*«£J£gr« ^ wrote, objectivity, Reba, ^ ^ col< rs a, d for t ^ beautiful organization of earth. It is simply a ^^ d fro , , »• order.- No form, . *«* ^ arranged in rhythmic ^

: - lM StK^^^w «

art world ' the French * "" .,11 fairl, clear that in , -ft soon became ^ us ,„ ,eS] , tendencies In then place was ^re g - ™« * " f^S^^SiSS^lines *«™6 'Tfrstfirst along political Despots manifested itself clearly defined enomn abstraction, which advancement of yet anoth r hwork to the burgeoning ^.^ Expressionism Abstract ;' ;' oi th. canvas. United States as „ nin , „ r spotring , n the , b „ while he to the former, , t ,, | „ are the hallmarks of ^ ^ vh(]( and dr,ps _ as Philip 'ollock, EpitomLd by such painters -'»;;; WllkJ dl . Kooning, lack

in <- " I to Fine Arts when he was ™ York Sc began Museum of , Smith, the Ne, Sn and^ id lyfibri . , ( „,, c „, Rothko ( I m p Ad Reinhardt, Mark ^ par u. I A new styl.strc heir ap n T illiam Baziotes, gain currency as the ^ Motherwell, « b C o Teheran) exhibited w< As )Ku h jd show (at 1 rue de ; Maeghr 3, ( ^^ Hohy to an-uary Byron Browne, and Car , reorganized Romare Bearden, ^ ( ^ ^ on same year Kelly embarked Nina Dausse, on there.' The Ga ,erie of his works through* place from March 8 . \ which took painKrs Jean 'J",,),,,., , confronts, ^ ^ ^

paintei Pollod

Vision A. P/a> with 75 Clare Bell: "

show featuring the works of many of sur la pemture americaine, a Galerie de France mounted Regards It was in devoted its space to work by Pollock." later tha, March, Studio Facchetti rhe e r , rv and Abstract,on-Creat,on s Surrealism's overwhelming influence, d art scene-characterized by h s ra tu, abstraction- and the increasing attention pa.d to gestural condemnation of representational practice, as he was m Boston, though came to fruition. And so again in Pans hafS" "I - Form and Color" place around htm Kelly was .mphctly even cognizant of the events taking „„ , lv involved in or clouding the local art world mores of the aesthetic and political sensibilities enmeshedI in the changing in Pans, he began to fee that, the critics. < >nce he arrived From the onset,' Kelly's work polarized too Amencan by Parisian audiences, qualities, it was considered to his work's dear and open due reaction to his European geometric art nor to Tachisme. Yet the conform na neither to the program of September 1957, yielded ,ust the at the Betty Parsons Gallery in : hi tion in New York, do T„„cs. characterized the the Parsons show in The New York opposit response. Stuart Preston, reviewing acknowledged Kelly s painting as an act non-objective paintings," and while he work s "geometrical modern art m he could not help but mention ,ts "ties with ^dividual esthetic distinction," Preston Dore Ashton certainly no, another exhibition of his paintings at Parsons, Z" es sense In .959, after canvases, wrote, "Kelly is one to pictorial log.c found in Mondrian's alone in linking Kelly's work the neutrality the speaal able to carry out Mondnan's program of m ot the few painters who have been this misinterpre anon. in surface style alone contributed to sense Mondrian meant it."» Resemblances calculated arrangements. Kell, , based in Utopian prototypes and Mondrian forged a discipline of painting memories. In his about reconstructing nature from personal work has never been about absolutes, but picture plane by using a synthesize a total environment within the canvases, Mondrian attempted to extracting and isolatmg squares, whereas Kelly's art ,s based on gridlike armature to anchor his color shed their contours and frames, Kelly's lines, forms, and colors derails from nature. Wrested from their the European the world. Indeed, the inclination to sum up edges and assume their own space within Lawrence Moway, a ermefor-the In 1960, , on Kelly's work continued for many years. influences mistaken commented on the problem of Kelly s work being London periodical Architectural Design, his native artistic heritage left at that.- Yet, Kelly's debt to for a evLl of geometric abstract art. and Kell>-, work William Rubin, writing for ART— in 1963 described did no go unnoticed by the critics. even John Coplans, of the hedonistic and the puritanical/"- And as "a peculiarly Amencan combination him as "an American pragmatist. Se t- monograph devoted to Kelly, went so far as to refer to in his understand himself, conceded years later, ". don r really conscously aware of his own background, Kelly, limitation. s anvthinebut America and sometimes I feel it a by European Modernism a,med at transcends The confluence of the type of abstraction epitomized Kelly s emphasis on vision, clarity, and serial.ty was central to the discernible world with Amencan art's Form and Color can be understood It within those gaps that a work such as "Line, practice; it is times into Kelly's synthesis of these two at turn to Baldwin, once again, for some insight is possible to Amencan search for one's identity was the prototypical disparate cultures. Baldwin claimed that the asserted, te "™ the vantage point of Europe," Baldwin ™ experience in Europe. "From *^ American from h mselt,|f only brings to an end al.enat.on of the country. And this is a discovery which not of Europe time, the extent of his involvement in the life bur which also makes clear to him, for the first influence tempered by the need to move beyond Europe s Tired of the School of Pans, his interest ,n P.casso reception tor his work leave Pans. As far as finding a more convivial Kelly, who was quite ill, deeded to the December 1953 inspiration in an article on Ad Reinhardt in ,n the United States. Kelly found such at Betty bookstore in spring 1954 Remhardt s show issue of ARTnews, which he found in a French Thomas B. Hess, who described the <"*»«""* Parsons was given an enthusiast,, reception by critic Kelly saw to noth.ng-except perceptual existence. [Reinhardt's] paintings and their relationship only so, in Jul, being warmly received in the United States. And in this rev,ew the possib.lity of his work 1954, Kelly moved to New York. n , gu

hound to the inescapable pull of the industrial Kelly's relationship to his American precursors was harbor area, 3-5 Coenties Slip, Manhattan's southernmost scene. Even his first studio in New York, at build rather defined America', cities. Kelly's desire to evoked the nostalgia of early commerce that once Preas.on.sts. These artists, engineering that also inspired the American than depict is tied to the feats of the expanse o enterpr.se War 1, were transfixed by whose work emerged in the aftermath of World formed the backbone of many of these artists, European Modernism sweeping the United States. For m painting vacillated between degree, ol heir work. As a result, much of then ^"' photographs- )t been argued that Kelly s early ^^\ . It has focus was rooted in the urban environment. their h.ghways factor.es the concise, flattened rendmons of bans bridges smokestacks, and so on-relate to

Stella, bteiia Curves, 195 1. artist Joseph 18. Green was Italian-born , similarities Each introduced recognizable cm) beau 7 k 8 inches (19.1 < 20.3 shared an mterest m k on paper, d, like Kelly aiture. Collage j ^^J^teffi ,„ abiding inter portt Private collection. ^worl ac, SSTJS^SSJS -rio": md myster, that perva ^suggests the feeling of " ' - °' expressed dv ne > is a certain tenacit) ^ Just as there |E£^^^£3 T^ machine-driven lorn, {<««--* American artists. the Kell/s I , and Color. U like t J^taS, and archetypes from T me Form penned lines even p ^^ deviations of ptic 1 based on hard edges but on P- n style is not ^ Kc v to^u «. * that bought , Je .regular and split forms ^ ^ R , K , Green tig. ^ >4 and 38). UW example, cat. nos. ; generate (see, for uchrng th seraicircles within a vmd A ImcKt to a forcefnl dynamic biltoy to generate ^ ^ elcctr, I n. - themselves and y • ,>„„,. tension between ( ,„,,,,, mag„etic - ( „,,„ toward sculpture v.rhich he . an£ipated Kelly's move d shapes pamted aimnmu d pt the earliest of Kelly . m « (cat. no. 351, ^ ^ ^ which creates an edges, 1 anened resting on their pe and gr id, within»^££^th reces e Kelly's sculptures toyed Owiw, | ^ J9) ^ ^ G»» ' suit ace . dependent on a flat W „ n „, fotms were m , longet ^ ^ mcmi feature thesam 1 19.40) hybrid or Black (cat. no. , interesI in relief, a on ~^™^ kclK1 The coU al efl serial mot* g o h , s K,,b's preoccupation with ^ ^ which, m u and sculpture, . | minatl0n mingling of painting ^ mnuitc t|u cu es th last tN object. I hese p.e jMrja forms . work to the status of ^^ rf pa.nt.ng byfij create monumenta ^Jzmg terparts of his aspirations to ^ crmca to Kell -~ .le. . scale was of „ . tl „ spiritualit) ||K ideolog, , n „ n o( ^ ,, nk t K tor u Co from his proposa 1 , Severa. paragraphs £ .^ ^ - 1 wrote, Sp • bu. a .1, Ke 1, n ,„ abs„actl0n grant proj , readings 19. White on White, 1951. In his functioned n artist. buddings." Vale identit) as an Amencan (19.1 k 20.3 cm). walls of °L°^ of Ins paper, 7 '/.x 8 inches the firmarion Collage on I uropet . , o\S t0 his expenences „„.,„ synonymous le for harnessing ^ m , vehic of K Private collection represents th begmning l e ( olor" ( B -Line, form and ^ ^ ^ and E h in both America . years. Uthough .„,b, t cc,ure W i|k modern has. M) bstracrion and "' .bular, to advance o« » o i. , .1 ^ ' k-1 mi, and never publishedfT Kelly us pioneer.ng the book was „, own space." In P „, « eehngf"™.*^,,.rf -* * „ „, „ -k he recentb said W- -Jr ^ ^ lis run imaginative spirit. Line,

Vision Bell: At Play with 77 ( i.nc ,«

Notts

1

1 - -« ;-::;:;;;::::;r:::::;:::: '•' ' *-** 1 ::::::;:;:::;:;:;::::::: « *-?*. ,ttrv, do. otbe, ... the - b) Kell, is from .,11 i„(orm.t , led Z ,H „ „,„ f ||ow, • :;::,::::::;:;::;::;::::^-::::::r:::: :::::::::::;::;::;:::::::::;: — : tr^sr.jt^.'.ts.n-jr'ir;.': Beckmann, Otto Dix, and George Grow 14, no. 1 (spring 1996), p. 2 c., -Ellsworth Kelly." Museum Sci fl »n)

I" ol d. — «-* * SO, »r,.rd I Ml IM » * , ,v 1 JLd ,h< • M

J7. 1992), p " ' -' h <*» « ' the tute of porar, *- ' Plan, and I es * -The Exp, C haUenge, , ,. Reinhold £„er,Hell S - s ( ontemporarj Vrt, L98S), r txu ^ ititute ol porary Art and Mo, An. dp rheBrusb lk.B « 12. -TheFrightc gFrc ZXm ' - nen, b, d. • .0 - 'none, X S. ,,„, s P, "Modem Irf h« I. 13 vl,,; In., Ind reprinted in ibid., pp 52-53. Institute ol Modem An." manifesto

Guilbaut, in ibid., p. 67 14. l.above "line, Form and unpagmated (see n of his applic* ,.tOTent for CoK IS Kelly from his revised vc, „,„.,„,,

" J '"' ' '"«' ^ "" < M "* > I *.< * ' ,,:.„ Layer, Iraz* G » Soil., ux, Vilamajo, from Uruguay. from the United Kingdom, and Julio [se, n. I, a ». ' olor, unpagmated application sratemen, fo. I ine, Form and < 17 Kell, iron, his revised ve, I his tsofaNewAr, ,/D.efdnf Punhtezue euen d'une, ore Ue/TheFiveP ; „ -Us< J' la. G.rsberge, ,/ >», German I I « * I Mfr » ;,1,1„,;' ,1 Boe,iger/Girsber*r, I A •*

19 a lor ythmg. bo t. Hdfo ** k, dd gh he bright Wrighr, bu, gh, he d I 10. ,. h !e, «,,, anVscolle K«U, bee, fa. o, the Gugg. „,„ k Wrig •

I] .«. ' -ives. H Is Gugg imMe he patnung, ed.K dlatharrh, eofp, gaand of exactly wl gra, arcl J ""' X a- Me » "» '"""" »ice preside he |ohn gg 12 ,, , a, ranselle,

byjame Apnl -. I 152 signed was turned down m ., lette. dated U KeU, learned tha, the propowl uded S Utaennao, «M M. ^ny 28- 1952 tha, did race,,, go 1 , March 10, ,h. Turner. Eugene M P II, and Janet8 Ifneajol , Misch Kohn, ...ckburn. Smart D, Worden Day, An, F, l),p.20. Killy CNew York HarryN ibrams, 19 IS Kelly, quoted in John, ans, ElWort* :rn Art, 1973), 29 Ellsworth Ke//y, exh. cat. (New York N M p. Kelly, quoted in 1 I I tn, 26 Sovi., Union invading 11

- "-" "» ' " "* he I « ' * " « " he late their s we., p. ^ , , »" «-*- Korea. K« I > g< "' ' North 195 gd K b, 25, * J tha, „u, >, I < Before , M «ed he, , , p„, hi. p. , age M

b. , »< !> d* * ' - Meters, Kell, w, « K..«,. a I r, ,,, M bt ,d nn« h. en. .!,„ ,h. Spain ( no .uch h.™ » °«k '" 1" ""tad Sr, , , bi.it, *« bKk „. p „„„< his work,, .r.d M .h. * » > le.«"H, *« ' « »V,c • s ,„,..! .owichdm. „| ,„ |„l, I ., t. eched in, , ,,„, k ,« ,„d m

gio d, Chinco, S .dorD.n,M .taMM. II ™n toon, Kindu-ied work, by. f"M*«* ft* hi, * - ,. », .«, » N» M Z, F, , J ^^ElT -;^^^^^ : :- E^C^^ the author, August 8, 1996 .. rams 19921' '° '" rk HarryN "> ' P „. See Diane Waldman, Co//^, b^.^' 18 12 See Waldman, KeWy Drawings, p ..plans. 25 in C Ke/iy, p ,. inFrance, Kelly, quoted , Bois e| (| K //v years

i - . ;;:;: :;::::;:::r: :;":^^r::"::::.. - EiS-SSSSBKss - 162 special issued 1972),p «t,Kellv" in Hindry.ed.,Sp^/a/E//«<'ort*Ke//y, ersanon w,th Ell d> Kelly, rsation avec Ell th KellyA ,7 SeeAnnHindry,"<

(spring 1992). p. 26 8, ir^udio. no. 24 Metropolitan Museum of Art, 1979), p. S «« ' Eft, <* * Bake, * ' '* «~* ' »8 I lizaheth ( U *« — e pi **» a - s ££^ I* regarding Writing a, , the o. ^ lid ^ , - ,, an M struenve Icaoffon g a group of artists w.tl ^^ H ***** tot ., tran, M c M,che.«^^^Seuph ... < Faire le P - by SeeSeup "Excerpts ft 'P York: R. Adler Theatre,* *. (New ,930, ,,^-v^ 1 „M,'—

,, ' '''•'•"• w ' , "' ' 4.. [bid extracts reprinted in ffcr&w ; i , ; , ( nt i 19491

' i,,i- -;•-";;; ! - , >. ™ '

| :::::::::":::=:::- :;:: ::::=.::;-.:::: I - in Lukach. Hiik *** P "« J3 (n 15) . excerpts re, ted Pr 23and [942) 473 75; ctiveArt,' " 45 Hi.,Rebay."Non-o ^^^££^£* - «

; :2=::H=:=:

, *hib,< fed) » « d*H „ .„, teeh. un, SI. h. did „ „ * ; , 48 . JU "r; ;;; :: s .1, -

: :;:;:;;:;:;'::''';: ::;t',, -»«».*.

- ;i s r:;s::s-

, ij l > - -::,:;:: ;:: '':;:r::

,

1 ::: :::::::,^r ;:::r;;:; ---—^— ;;: en W- ,„,., :1 "I „„,,.,„„- Mg , ,. , W

Vision \t Play with 79 CUre Bell:

i Plant II, 1949

Oil on

1 1. .. 12 inches [41.9 n 12 ? cm)

Private colle( tion

J 2. Window I, 1949

i )j| on wood

x S3.3 cm) 25 x 21 inches (64.8

Privau collection 3. Kilometer Marker. 1949

Oil on wood

:\ k 18 inches (54.6 k45.7 cm)

Private collection /

\

/

A.Mamlorla, 1949

Oil on canvas

(73 n S0.2 cm) 2854x19 5 inches private collection S. Window, Museum of Modem Art. Pans. 1949

( )H mi wood and cam as

rwo joined panels, 50 k 19 inches (128.3 x 49.5 x 1.9 cm) overall

Private collection \

6. Window V, 1950

Oil on wood Jem) ,- - 18.4x1 „ , inches 69.9,

Private collection - ( utoutin Wood. 1950

Gesso on wood

15 xh k3 inches (38.1 x 15.9 x 2.2 cm)

Private collection 8. Rebel with Blue, 1950

Oil on wood

n Ucm) v (114x44.5 44 K r i i inches

Private collection 9 White Relief, 1950

Oil on wood

LOO v 70.2 k J.2 cm]

Private collection

10. La Combe I, 1950

Oil on tamas

?8 x65 inches (96 5x 16

collection U. November Painting, 1950

Oil on wood

86.4 cm 25 k34 inches (64.8 %

Private collecrion 1951

Oil on wood

pwent) joined panels, S6 70 inches (142 9 n 179.1 cm) overall

i'n\ ate Lolltction [ 13. Meschers. 1951

Oil >»n canvas

59 k 59 inches (149.9 x 149.9 cmi

Private coll©

14. Seine, I

'' 16 , 45 inches [41 • 114 9 cm)

Private collection

1951-5 > 1 v Spectrum Colors Arranged by Chance,

i >ii mi wood

60 i 60 inches (152.4 x 152.4 cm)

Private collection

16. Colors for a Large Wall, 1951

( >ii on canvas

v24is cm) overall Sixty-four joined panels, 96 k 96 inches (243.8

of the artisi fhe Museum o( Modern to, New York, Gift

17. Red Yellow Blue White, 1952

Dyed cotton

22-inch intervals, Twenty-five panels in five parts separated b>

inches ca.h panel 12 x 12 inch« W8

overall 1 x 175 9 cm) 1 52.4

Private collection

L952 18. Painting for a White Wall,

Oil on canvas

181 cm -all oined panels, 23 *71 inches (59.7 >

Private collection

20. Tableau Vert, 1952

i )il on

.' inches (74.3 x 99.7 cm)

Private collection 21. Train landscape, 1952-53

Oil on canvas (111.8x111.8 cm) overall *d panels, 44x44 inches

Private collection 22. While Square. 1953

Oil on

4; . inches (109.9 x 109.9 cm)

Private collection 23. Black Square, 193 I

( )H on wood

(109.9 n 109.9 cm] i | , 43 inches

Private collecrion 1951-55 24. White Plaque: Badge Arch and Reflection.

( )il on

48 x iinche 11.9x1 J cm) overall Two panels separated by a wood strip, 64 x

Private collection V IS. Gaza, 1952-56

i >ii on c

200.7 c verall Four joined panels, 90x79 inches (228.6 k

collection _

ami Blue, 1955 26. Two Blacks. White

| .,1 on canvas overall 24 inches (233.7x61 cm)

collection

27. South Ferry, 1956

i )il on canvas

96.5 cm) overall i, joined panels, 44 v »8 inches (111.8 x

Paul Sternberg, Glencoe, Illinois ( ollection of Dr. and Mrs 28. Bar, 1955

i >il on canvas

13 \ 96 inches (83.8 x 243.8 cm)

Pi \\ ate collection 29 Black Ripe, 19

( >il on .

.-, inches (160) 151 I cm)

Margarei Vnd Collect fHarn W.andMar)

S JO. Broadway. I ^ X

( >il on t

78 v ft** inchtt (198.1 x 175.3 cm) Powei through Tate Gallery, Lond dbyE.J

1962 thi Fri< ndi of thi ran Gallery, jl. City Island, 1958

L44.8cm) 78 «

tion mi Stephi n Mazoh

^2. jersey, 1958

I Washington, D.C ., Smithsonian brio. ( iarden, orn Museum ^ Sculpture

Hirshhorn, 1972

J3. Sumac, I

1 i > 1 on canvas

x 160 -4 x 6 J inches [188 Braman ...... and Norman , . Irma I .n. ol u Bay, 1959

Oil on canvas cm) -Ox SO inches (177.8 x 127

York < ollcction, New i l K Helman K.Pony. 1959

Painted aluminum

" tml 31x78x64 inch 1

. andShiriej Rterman

*6. Blue Ripe. IVS9

152.4cm) ; 2.4*

' ollecrioo, Rotterdam I rfdk

37. Orange Red Relief. 1959

Oil <>n canvas

overall 1 >2.4 x 152.4 cm) [wo joined panels, 60 x 60 inches 1

York, Gift ol the artisi 96 4550 Solomon R. Guggenheim Museum. New

58. Rebound.

i ill mi canvas cm] 71 inches [173.4x181 6

I os Angeles Franklin Jn J Susanne Konigsberg, , oUection ol

39. Gate. 1959

Painted jlummum

67x63> l" inches (170.2 x 160 ic43.2 cm)

Walker Vri ( enter, Minneapolis,

gift of Kati son, 1995

40. White Black, I960

( til on canvas

218.8 x 124 Bern]

Kansas ( ity, Missouri, IcUon Atkins Museum of to,

Bequest d! Doroth) K. Rice Purchase, Nelson [rust through the

41. Block island II. I960

Oil "ii i 6cm]

Nashcr Collection, Dallas Dm Pats) R and Raymond D

42. Red Blue Green, 1963

( )il on .

84 x 136 inches (213.4 k J45.4cm)

San I li( go, Museum of Contemporary An,

Farris Gift of Dr. and Mrs. Jack M.

44. Orange Green, iw»4 43. Blue on Blue, 1963

Oil on canvas Aluminum reliel SO inches (170.2 x 127 cm] - 19.1 cm) 67 x 80 x 60 x inches (203.2 x 152.4 x Nev. York us Angeles, Private collection, < Museum ol Art, 1 ! os Angeles n

Weisman, Gift ol Mr. and Mrs Frederick R.

I sq in Honor of Richard E. Sherwood, 45. Green Red Yellow Blue, 1965

\cr\ lie on canvas

^" inches Foui panels separated bj 9 inch intervals, 76 x

647.7 cm) overall 144.8 cm) each; 76 k 2>s inches (193 x

Brain. in ( ollection ol Irma and Norman

46. Blue Red- 1 966

Acrylic on canvas overall (205.7 x 1 52.4 cm) oined panels, 81 x 60 x 81 inches

Private collection I

u 47. White Angle, 1966

Painted aluminum

183.5 cm) .. 72 inches (183 5 it 91.4 >

Solomon R Guggenheim Museum, New York,

,t the artist, B% exchange 72.19 ah. Blue Green Yellow Orange Red, 1966

Oil <>n C

overall Five joined panels, 60 x 240 inches [152.4 x 609.6 cm]

Solomon R- Guggenheim Museum. New York 67 1833 49. Yellow Piece. 1 966

Acrylic on canvas cm) 75 k75 inches (190.5 x 190.S

collection i

SO. Black over White, 1966

Oil "ii cam is (218.4x203.2 cm) overall rwoj ed panels, 86x80 inches

I'm it« collection 51. Black While. 1967

( )il

cm) overall rwo joined panels, 82 n 144(208 \ n 165 8

Private collection 52. Ri ,,lS

»0.2cit oincd panels, 112 x 130 inches (284.5 x

1 inci Privau collection, San 1 I

S3. Green White. 1968

t til on canvas

overall *58 I cm) rwo joined panels, 71 n 141 inches{180 >x Ginny Williams Ginny Williams Family Foundation, Collection of 54. Yellow Mack. 19**

< )M on canvas

92 k 116 in<

Private collection

55. Black White. I

< )il on canvas

ov. rail Iu.> joined panels, 96 x 96 inches (243.8

Private collection

56. Hlue White. 19!

Oil <>n canvas

Francis Privatt collection, San 57. Red White Blue, 1968

Oil on canvas

101 \ JO inches (256.5 x 76.2 cm)

i ollection ol Douglas S. ( ramet 58. Mack Square with Blue, 1970

( )il on cam as

[wo joined panels, 120 n 12 J04 B cm] overall

tilery, I ondon, Purchased 1996

59. White Black, 1970

( ill on c

Pwo joined panels, 111 x 64 inches (281.9 k 162.6 cm) overall

< alifornia, Robert M I lalff, Beverl) Hills,

Vngeles Promised gift to fhc Museum of Contcmporarj to, Los 60. Black Yellow-Orange. 1970

Oil on canvas

85 x 117 inches (215.9 x 197.2 cm]

Private collection 61. Great Angle, 1970

Oil <>n canvas

70 k231 inches (177.8 k S86.7 cm)

( ollection, The Eli and I dythe I . Broad

jigelcs hi. Black with White liar //. I 97 I

Oil on i i

rwo joined panels, 78 x [60 inches 199 I • 106.4 cm) overall

Stedelijk Museum, I

63. Blue Yellow Red III 1971

Oil on i

Three joined panels, 72 x 74 inches (182.9 x 188 cm) overall

( ollection ol jack 5heat

64. ( batbam i\ Black Green 19 I

Oil i>n i.nn IS

Two joined panels, 109 x 96 inches (276 9 overall

* ollection "t Irving Blum, New York

65. White »." with Blue and Red 1971

Oil mi canvas

rhrei joined panels, 62 > 140 inches (157.5 x J55.6 cm) overall

Private collection

66. Blue ( urve III. 1972

Oil on canvas

\ 422. cm) 67 « 166 inches 1 172.1 ^

ol Art. 1 os Angeles, i os Vngelea ( ounrj Museum

Purchased with funds provided b) Paul Rosenberg £«, ( ompany,

Mrs. 1 it.i A Hazcn, and the David I Brighi Bequest

67 Blue Green < urve, 1972

Oil on canvas

- I

( I la Museum "i ontempoi u ) \n,

Los Angeles, fhc Barrj Lowen Collection

68. Curve I, 1973

\\( ithi ring steel

4 6x144x119 inches I 100 cm)

Private collection 1 69. ' urve i\. 1974

Polished aluminum

120x21 x I inches (304 8 x 53.3 x 1.9 cm)

Prh an collection, San I rancisco r 7\.Rtd Curve IV, I' I

Oil or canv.is

ini) v 100 inches (2^4 s 254 cm)

dc drcnoMi 70. Black ( unit Ml 19 6

I 111 .in CUl\ as

6 inche Z43 B n 194 Jem)

• ollection "t Stephen and Nan Swid

72. Dark Cray and White Paneh

( )il on caiH as

rwo joined panels, 110* 151 inches i cm overall

Maryland (. ollection ol Roben md [ane Meyerhoff, Phoi nix,

73. Kluc Pamll . 1977

(ill on canvas

~ 266 v 144 l cm]

Whitnc) Museum ol American Vrt.New Vork,

Vgni I s Fiftieth annivcrsar) gift ol th« ( lilman oundation, ln< and Gund

74. Dark Gray Panel, 1977

I )il on c invas

~4 v 144 inch 165 Sum

Private collection

75. ( nrveXXI, [978- 80

Birchwood

75 \ 170 n inches 1 190 Sx 431.8 a 1.9 cm)

Private collection l Orange I'.unl. l 'SH

( I'll mi canvas

114x92 inches (289.6 x 235

collection 76 Diagonal with < urvt I 1978

i hi on canvas

Hi" K LOS inches [276 9 x 266 7 cm

Private collection

78 Dark Green Panel, 1980

( )J on cam .i^

101 v 101 inches (256.5 \ 257.8 cm)

I'm in collection SO. Dark Blue Panel. 1980

1 til "ii cam as

I 16 inches 262 9 -. \

' ollection ol Stephen and \.m Sw d 79. Red-Orange Panel, 1980

i ill on canvas

91 \ 113 inches [231 l x 2S~ cm) ramei to, Los Angeles, Gift ol DouglasS < The Museum ol < ontemporarj

< \l\ m Diagonal with urve . 1982

W( athi ring steel

>, I 67 n 192 x inches (170.2 ^ 487.7 Jem)

San Francisco Museum of Modem Vrt,

Gift "i the artist in memor) ol |ohn ( aldwell

82. < urve KXX1 1982

\\, athering sti cl

x I los % 104 x I i. -Jus [274.3 265.4 x 2 cm]

I iu I iallery, I ondon, Purchast d sv < urve KXXI1 19

Weathering steel

• , I 16 1 cm) 108 ^ 104 . x is inches (274 164 8

ol \x\ Vnonymous gift I h, Mi tropolitan Museum s-i Yellow Panel, 1985

i >il on < anvas

ids v 104 inches (274.3 v 2fcS 4 cm)

Private collection, < ourtes) ol |anie < I" Gallerj

86. //"<-• Panels: Orange, iKnk Gray, Green, 1986 i >il on canvas

' Threepanels, I • 104 k 94 inches I 165 18 B cm); 88 x 98 inches (223.5 x 2 (8 9cm and 9 x 119 inches (24 x 303.5 cm); 116 x 412 inches (294.6 x 1047.8 cm) overall

Collection of the Douglas S Cramer Foundation ind ["hi Museum of Modern \n, New York,

n il i'ii! ( ol the Douglas S rami i I ound irion

87. Untitled, 1986

Bronze

k 120 x r v i inches (304 8 x 43 B

ii„ Paisj i< and Raymond D Nashi i

< olleccion, Dallas 88. Untitled. 1988

Bronze

>, 24' k <^1 k IS cm) 120 v 1 104 B inches I

National Gaiter) ol Art, Washington D.G,

anniversary (.iti ..i the artist, in honor «>i the fiftieth

oi the National Gallerj of Art. 1989.88.1 89. Untitled

Bronz<

ii c 92 c 18 inches [112.4 x 235 x \7 cm]

i ourti bj ol Vnthonj .1 ( >ffa) ' ialli ry, I ondon

"ii / ntitled MandoHa 1988

Bronze

1 mi x s; \ 21 inches (2S6.5 x I J5.9 k 53.3 cm)

Privati i olli ( tion

•'i Yellow Black, 1988

t )H on Inn n i am is

overall (255 I n 153 I cm) rwo joined panels, 100 k I 19 inches

i ollection ol Douglas S * rami i l >2 Purple Panel with Blue I urve, 1989

* >il mi can> is

289.6 cm) ovcmII rwo joined panels, 76 x 114 inches (193 »

- ( apian, Baltimon ( ollcci i onsnno K 93. Orange Red Relief (For Delphiiu Seyrigh 1990

i )j] <>n canv is

106.1 x 2 cm rwo joined panels, 120 98 inches I 250

ina Sofia, Madrid Museo Nacional ( i ntro d( tot< R< 94. Yellow Relief with Blue. 1991

Oil on canvas

rwo joined panels, 120 x 52 inches (304.8 x I

Museum ol Modem to, I isbon Berardo ( ollection, Sinrra \range Relief with Green 1991

t • hi on ( an> i

'• lun joined panels, 9 I k B I ini hi s (23 • x 115 cm] ovi rail

I in ( lallery, I ondon, 1 1 ni b) thi American und

foi thi fan Gallery, 1994

96. Blue Relief with Black, 199 I i hi on canvas

i»,, joined pam Is, 98! k 89 inches (249.6 x 226.1 cm) ovci ill

Privati i ollcction, San Frani

' 9 - ij mge and Cray, I

Oil on > onA i

'" 77 inches overall rwo joined panel*, I x

Private colIc< i

98 Fwo Blacks and White 1993

Oil on canvas

-I"" I II,,,, joined panels 77 \ 157! inches (195 6 n cm

I'nv .ii, . old i cion

99 Dark Blm I urn

Oil on canvas

cm)

Solomon R Guggenheim Museum, New Yorl 96 1551

100 ' ntitled, 1996

Redwood

,. , I cm) i x 64 i Bxll.4 ! si inches (448

"•" Prh ate colli > • 101. Black < urves, i

Oil on canvas

144 x 42 inches 165.8 x 108 cm]

Private collection 102 Red ( urves,

i HI on Ci

65 inches (360.7 * 166

Privaw collect 103 Yellow I win 1996

Oil mi canvas

102.3 k 18" H9x73M inches |

Prh ik collection 104 Green ( urve [996

Oil on canvas

119x64 inches 102 I * 164.5 cm) I

Private collection niv /!//<(• ( urve, I

i )il on canvas

1 120 x ins , inches (304

I'm ate collection

106. Untitled, 1 1

Stainlt ss steel

19] x 45! k 24 inches (486.4 x 115.6x61 cm)

Private collection

II

107. Model for Untitled. 1996

; 1 i '"- " i I inished sculptun (240x1

Privatt collection Chronology, Exhibition History, Bibliography

1 .

reveal an interest in abstraction I le regularl) visits the funding coming to an end, Kell) tccepts a position teaching

Musie de 1*1 lomme, Musce National d'l listoirc N iturelle, ixt to children at the American School in Paris Delphine's and the Musee National d' Vrt Moderni brothet Francis Seyrig introduces Kellj to paintei Geoi Koskas and pianist Alain Naudi Vrtdealei Dcnisi Rem

[949 invites Kellj and Youngerman to pri sent theii work to thi

During the spring, Kell) travels in France, visiting Poitii gallery's irtists foi consideration, but thej are not accepted

t hauvigny, Saint Savin, lavant, and Mont Saint Michi I, ind

making draw ings <>t the frescoes, stonewoi k. and sculptures 1951

that he encounters. kelK submits two paintings to an Vrtist Eduardo Paolozzi introduces Kell) to Louis ( layeux,

exhibition at the American ( mum. but thej an rejected oi of Galerii Maeght Kelly, Koskas, and Youngei man

l [i moves into the I I6tel d< Bourgogm on the lie Saini I ouis, convinci |i in Robert Vrnaud and |ohn Franklin Koeni

iii> H illi w here he stays fot almost thret years, Kellj paints Plant I. mi n thi a llai ol bookston inti i i g rj ITti thrci

rlu first example ol ins use ol a whin form against .i black irtists convert thi spaci themselves and Kelly's first solo

ground Plant II (cat, no. I) marks the cmergenci of his exhibition takes place there, it Galerii Vrnaud Kellj ind

interest in biomorphit forms He begins to maki collag Youngerman write to I lill.i Rebay, founding din eti ii of thi

is nil. fi ii Vi Toilette Kelly's first painting developed bj simplifying the ;i nn Museum and a longtimi nd ol p

form of .in object, in chis case, a lurkish style toilet. Musician i nbi knownst to Kelly, shi rci ommends liim foi a

:li, ., ,. I >l.u ship, ll i' II ' and composer John i age and dancei and choreographci nn \ln nin |l w Ilk 111 doCS m" ivi

Merce ( unningham, who are also guests at tht I Idti I d< Kellj applii s to thi |ohn Simon * luggi nh< im Mi moi ial

Bourgogne, meet Kellj and visit Ins studio. Vfcei travelii Foundation with i gi ini proposal foi a booli ol linoleum

1 I ( lists r\rp, 1< nri Pierre Brittann) with Ralph ( oburn, an artist friend from Boston, prints, "I me, orm ind oloi Kellj

s, I i il kdU spends the summei there Back in Paris, Coburn and Ri H ii, . uphor, and leni Scj rig as refcrenci s; in Vpi ol

Kell) visit Mice B. Ibklas, who shows them tht late Gertrude the following year, Kell) learns that l" did not receivt thi

is never published Hi n nd i a painting Stein's art collection I he) also attend exhibitions ol works grant ind thi book In Paul Gauguin, Vasil) Kandinsky, Henri Matisse, and to the Boston Museum Si hool foi ini lusion in a group I, Photo and ink sketches in K.*lly\ passport. si seventj fifth anniversarj Picasso. Kelly completes Ins first relief, Window III, in exhibition celebrating thi hool's [954 • / < ill. Ins \ii, i i loses, painting a ombe the which he sews string onto the canvas I le prints first [hi Khibition the

I exhibitii in, is s< ni to i lithograph on the press at the Ecoli des Beaux Vrts Kellj onlj ibstrat i work in the Kellj has corresponding, until makes a series of drawings based on th< windows u thi New York, with whom been 1954 Kelly, Naudi, Musee National d*An Moderne ind works with joined pant Is Kelly's own return to thi U id States in

( onstantin Brancusi's Paris studio. for th< first time to creati Window, Museum of Modern \rt, and Youngerman visit

. i - i Vfi fei in i. •. Bi iqui id 5 Ki II) linting an , ii no. S). In I >ect mbt Ki II) goi » to S mat a p

< tli rii i< I lusrav Zumsteg, a Swiss ti «ile ( I In visit thi exhibition at M ght Med in n. M u. in i nun. to staj with oburn |

•' '' in. I I ( in.innl u lin.i ni I olll tOI W hfl 18 lis M'" b) \ I usee Picasso, at the bateau Grimaldi, in Vntibes.

I • ati fabi ii designs. i en Ki llj worl , ommissions to in Senary, when hi 1950 In November, Kellj again visits Cob Boston. Ins first shaped is a guest with Naudi and Vnni Weber, a friend from 1 \ Kellj returns to Paris 1< makes Window ,

i foui • I it. no. Ii lixtj i ol wood cutout II' meets French critic, painter, and art Kellj mal his first work compost d of separati pan historian Michel Seuphor, who introduces him to Jean (Hans panel painting,

'i • Paris n |l | oil Avrp. Kellj participates in Ins first group exhibition in

tru Galerii des Beau* Vrts In I cbruary, Vrp invites Kelly,

Ins Inspired 19 ' ( oburn, and Youngerman to studio in Meudon. I,, Sin. ii'.. whi n hi remains until May, Kellj buys dyed by the collages ol Vrp and thi lati Sophit raeubei Vrp, Kell)

.,, • bite from whii h hi i n tti Red Yellow Blue W begins making collages in whii h hi ipplii s theii prim ip

I Ii in .1 fabrii in in ad ol paini mi nt ol thi I '), his work u >ing ti i th( arrangi the laws ol chanci . to d< u visits i. ;: . ill. foi Wcbi using thi iami fabrii Kell) Magnelli, I »ada a is elements. I le meets Italian painti i Vlberto

1 i b) , n designed i nll ,| | [abitation, thi apartmi ni ompli I reorgi i Vanrongi rl pioneer I rancis Picabia, and villa i orbusiet in Marseilles. In May, he joins Naudi at the 'I" Stijl group Ft lix D( I Marie, Si i n I irj membi i ol De villagi thi Marni i on ii I i ol |oanna Wii di in Ion y% ,.ii Rialit£s Vouuelles, invites Kell) to i ol Salon des

I |ai qui i losi hi di also Kellj I laudi Mom t's itt pson, exhibit in the fifth Salon. < oburn and Youngerman

l" I ni h .mist's i thi in • l I livi rny, whi n si n Relief, is refused who im to at tins Salon Ont ol Kelly's works, White I oburn, and Youngerman i lly, i , Hymphia paintings Ki is ol art man marries t on the basis that it not a work de \rte Iphine's participan in Primera \4uestra Internaeional Seyrig l Ii nri Si prig, Di I rench actress Delphine

I Mums in I ii \h /,.,, to, i group ' chibition at lali i Juatro the onl) work Kell) sells whilt living father, buys inlibes t .1 studio at n, /ni l.i In Si pt- mbi r, Ki 11) movi s to ,,, i rancc. Kell) mal ' 1 Wall at . 1 arge i ,1, 1 1 1, in Ii 1 Khibii 1 oloi foi a ; Paris J. KJK \l< s.mJcr Caltler .uid Vugusi at in (righl with based on a collag. H pendsthei onth ol ,, Vlbi icomctti t, ,|, \i ri hi mei ts n ulptot rto Gi ! r i, ghi whi ( ol Dclphim I Delphine Seyrig, Roxhury, Con tectum, I^SH Villa I a ombe, the homi

1 and linti 1 I" in Miro" s iki tchi s, i ollages, 1 in the village of Meschers. Ki II) maki mil ing Ins stay. In the fall, with his G I Bill p |

115 Ellsworth Kell) Ci 1944

1923-29 Kelly is transferred to Chronology York. At the beginning of the year, a newly in Newburgh, New is born on May J1 1 Usworth Kell) 23rd Headquarters Special lYoops, at Camp United formed unit, the Allan Howe Kelly, who works tor the I [is father, I 1954 specializing in draws upon Nathalie Brunet's < bronology: 194 Forest, Tennessee, a deco) unit camouflag 77m, chronology York, and his mother, s, at West Point, New Pacquement, Ellsworth Kelly: nes Army espcuallv those designed to conceal troop {lain Bois, fad < owart, and \lfrtd from W heeling, techniques, Githens Kelly, a former teacher, are National Florence outfit Ie France, 1948-1954 » ishington, DA positions from the enemy. Early in May, Kelly's The Years in I brother, Allan, was bom in 192 I lis older materialon Ellsworth Kelly's West Virginia. tour dutv takes him to Fngland, Frar I992).a valuable i I mope. His of (,.;//< m o/ \rt, moves with his family to for When Kelly >s six months old, he and Germany. He is involved in the Allied invasion ol early yt 1926. During a Pittsburgh, lbs brother David is bom in arriving ten days after D day in a maneuver! his mother and Normandy, childhood illness, Kell) is introduced b) 10." keeps sketchbooks during this I watching, known as "D + He grandmother, Louisa (Rosenleibe) Kelly, to bird and makes drawings and watercolors. Kelh is stationed at passion tor color and form which awakens in Kell) an earl) Saint-Germain-en-Laye, near Pans, in September. When he later years through studying that he continues to develop in Paris for the first time, he is unable to visit the city artist and visits 1 ouis Agassiz Fuertes .^ r| u works ol illustrator which are dosed due to the war. Kelly family moves museums, ornithologist fohn James Audubon. The when Allan Kell) becomes to Oradell, New Jersey, in 1929, Casualty of 1945 an insurance-compan) executive at Accident and States. In Mav. kellv's battalion returns to the United Ol Winterthur, Switzerland. October 23, he is discharged in [acksonville, Honda.

1930-38 although 1946-47 During these years, the family moves frequently, enrolls in the Diploma Program at the Kelly attends In January, Kelly they do not leave the Oradell vicinity. Fine Arts in Boston (hereafter! High School >>i the Museum of elementar) and junior high school at Oradell Junior under the G.I. Hill Dorothy referred to as the Boston Museum School) School from 1931 to 1938. s,xth-grade teacher of Rights, which pays his tuition. He studies drawing with Opsut encourages Kelly to paint outdoors. In 1937 and 1938, magazine, Ture Bengtz and painting with Karl Zerbe, an artist he creates cover artworks tor the school's literary associated with German Expressionism. He spends mar lists Kelly as "Best Artist" and ( birp. The 1938 yearbook for apiss Cod, hours in the galleries of the Museum of Fine Arts; "Class Giant." He spends the summer of 1938 in Cape he paints copies of two Old Master works in the musei where he paints. collection, Ambrogio Loren/etti's Virgin dint Child (ca, Robusti) Tintoretto's 1 1340s) and (Jacopo 1938-41 $30s-early is especiall) Portrait o/ a Young Man (ca. I ^80). He Kell) receives from his mother the book World-Famous artist Beck discovers impressed by a lecture given b) v isitmg Max Paintings, ed. Rockwell Kent (1939), in which he a Boston, Kellv lives at the Norfolk House Center in Roxbury, favorite painting: Paul Cezanne's Chestnut Trees at the Jas de classes two nights a week in exchange attends Dwight Morrow High School where he teaches art Bouffan 1 1885-86). He Stewart (.ardmr for room and board. He visits the Isabella in Englewood, New Jersey. He makes his first oil painting, Boston, and the Germanic Museum and the which he shows to art teacher Evelyn Robbins, who Museum in attending classes at also active in Pogg Art Museum in Cambridge, while recognizes and encourages his talent. I Ie is the travels to New iork and visit, the school's theater club. The Mask and Wig, run by Helen the school. He occasionally Art and the Museum of Non-Ob|ective Travolta Kell) graduates in the spring of 1941. He visits the Museum of Modern R. Guggenheim Museum). Metropolitan Museum of Art, New York. Painting (later named the Solomon

1941-43 1948 for the first time in a group Kell) moves to Gainsborough Street, Brooklyn, and studies Kelly's work is presented Boris Art Gallery, Boston. He I applied arts at Pratt Institute with Maitland E. Graves and exhibition at the Mirski spring. graduates from the Boston Museum School in the I ugen II. Petersen. provided tv In October, kellv returns to France with funds on ruel 1943 the G.I. Bill and stays at the Flotel Saint-George arriving, Kelly travels to thi Kell) is inducted into the United States Armv at Fort Dix, Bonaparte in Pans. Soon after to see Matthias Grunewald's New [erse) on January 1. Initially stationed at Port Dix, Musee d'Unterhnden in Colmar In Pans, he registers at Kelly is sent in late [anuary to Camp Hale, Colorado, to Isenheim Mtarpiece (ca. I 510-15). infrequently tram with the mountain ski troops. Having requested the Ecole des Beaux-Arts, but attends classes 1. Ellsworth Kell) (left) with his brothers, artist lack lounger nan. assignment to the 603rd Fngineers Camouflage Battalion at Kellv becomes friends with American David [center) and Allan (right), in Oradell which arc is arrived in 1947. Kellv's paintings, I ort Meade. Maryland, he transferred there in March; here, who Pans m of Pablo New |i portraits, show the influence he executes silkscreen posters designed b) ( olonel I lomer mostly half-length art. Hi Saint-Gaudens, son ol renowned sculptor Augustus Saint- Picasso's work and of Byzantine and Romanesque de t luny, the Musee Gaudens, that are used in classes for training the troops in visits the Musee du I ouvre, the Musee the library of the concealment techniques. ( luimet, the Musee c ernuschi, and

University. 1 ell) Byzantine Institute, an extension of Harvard begin, to paints religious figures and for the first time his art sculpture I he Museum buvs Whites (1963), the first 1 964 Whitnej spends the Kelly is awarded the Painting Prize at The 1964 Pittsburgh that Kellj sells to -\^ American museum. Kellj International Exhibition ofi ontemporary Painting and summer in Bridgehampton, where he sees Waldman, through becomes Sculpture, organized In Gustave von Groschwitz and Leon whom he meets critic Elizabeth ( , Baker and

I designs costumes for Anthony Arkus .it Museum of Art, ( arnegie Institute, friends with ichtenstein. Kellj again Lento. Kellj Pittsburgh kdl\ is commissioned to create a sculpture for the Paul laylor, this time for the dance performance

1 ippincott facade oi architect Philip [ohnson's New York Stat< Pavilion begins to fabricate large-scale sculptures with Don

( onnecticut. He creates the at the 1964 World's Fair, New York. After the close of the of I ippincott, Inc.. North Haven, commission fot Governor Nelson \ fair, Kellj donates the sculpture, Two < urves: Blue Red, to sculpture Yellow Blue, a York. 1 State Plaza in Albany, New Kelly's Harvard University, where it is installed in the court at Rockefeller mpire l\ bj Arnold Peabodj terrace. From October to December, Kellj visits wurk is included in Documenta . organized

Pans, where (-alerie Maeght holds a solo exhibition of his Bode, in Kassel, ( lermany. works. While in Paris, he begins to work on lithographs with

Maeght I diteur. Visiting the south of France. Kelly makes [969 island I ctitu, Kellj visits Mir6 on the Spanish tumes designed hi Kclh t<>r the acquaintance of Marc C hagall and explores c hapelle du I arlj in the year,

1 and Matisse's chapel in of Majorca. Kellj is chosen bj William ieberman Paul Taylor Dana ( ompany, Rosaire des Dominicaines de Vence, a performance by Roland Penrose to create a mural. Blue Green, for the St. Paul de Vence. 1968. New York, tune, thirrj plant i \| S< building in Pans. For the first m Xeic York 1965 drawings bv Kellj are exhibited together Sculpture: 1940-1970, a group exhibition Kelly has his first solo exhibition at Sidne) lams Callers, Paintingand Metropolitan Museum of New York (where he will show until 1971). In May, Kellj organized bj Geldzahler for the Art, New York, ["he exhibition includes seven paintings and travels to Pans where his first series of lithographs, twentj Kelly. seven abstract color shapes, are exhibited at dalcnc \drien five sculptures bj Maeght. He travels extensively throughout France and States in 1970 Italj tor the first time since his return to the United upstate- In March, Kellj moves to Spencertown, in New York, 1954. In France, he visits Belle-Ile, Brittany, Dourdogne, theater rents a studio in ( adj s I [all, -^^ old on Mam Normandy, Provence, and St. Paul de Vence. In Italy, he visits and his of Street in the nearbv town of C hatham. Me takes first Assisi. Florence, Orvieto, Pompeii. Rome, and Siena. Kelly begins frequent trips to Saint Martin in the ( aribbean. Kellj has his first solo exhibition at the Ferus Gallery, I os Angeles os Angeles. to create lithographs with Gemini ( !.I .1 ., I (later named Irving Blum Gallery, where Kellj will show

until 1971).

The first monographs on Kellj are published I llsworth 1966 < Prints by Diane Waldman and Red /, Kelly: Drawings, ollages, Stedelijk Museum. Amsterdam, purchases Blue Green ( "plans selects / llsworth Kelly bj [ohn Kelly's first sale to a European museum. Geldzahler rankcnthalcr, Ron Kelly, along with fellow artists Helen r OHtski, to represent the United States 1972 I ichtenstein, and [ules paintings m The ( hatham Series: Thirty-third Venice Biennale Kellj shows fourteen at the American Pavilion of the solo exhibition organized bv travels Paintings by I llsworth Kelly, a Kelly attends the opening in Venice, then with Kn..x Gallery, Buffalo. San lane N. Wood, at the Albright An Geldzahler to Ravenna where thev see the mosaics at Placidia, Apollmaire in Classe, at the Mausoleum of Galla Padua see ( .lotto's later 1973 and at San Vitale—and then to to retrospective exhibition. Ellsworth Kelly, curated his first Kelly's first frescoes in the Arena ( hapel. Kellj executes o| Art, is held the Museum \b.dein 1 l . GoOSSen, at including Blue Red (cat. no. 46), in which by wall/floor pieces, ahtornia; York, and travels to Pasadena Art Museum, ( painting and a sculpture. \ew 1983. steel, 12'' x 22 <5 x work functions as both a 7. Untitled, Stainless the the Detroit Institute .it Walker Art ( enter. Minneapolis, and

I S 180.1 cm 189 inches (320 x 5" x Arts. LeoCastelli Gallery, New York, presents Ellsworth 1967 KelK's first solo exhibition at the gallery Dallas Museum "I \rt, ( Oi imission made possible ( urved Series, painting White ovet Blue is installed in Kelly: Kelly's commissioned begins (Where he will show rc;.;ularlv until 1992). Kellj ( ollins United States through funds donated by Michael I uller's dome m the Buckmmster 1 geodesic outdoor weathering steel and constructing large is the working with the Montreal. Stedelijk Museum and matching grants from I he 500, Inc., and Pavilion at Fxpo 67, sculpture, sculptures, including his first completelj horizontal to purchase a sculpture, Blue Red first I uropean museum 1982 litl.uiv ( ompari) hen fit opening. is comprised of flat planes placed ( utve I ie.it. no. 68), which Rocker (1963). direetlv on the ground.

1968 works, including 1974 to Pans and Zurich to install Kelly travels from the Art Institute of Kellj receives the Painting Prize The irt of the Real, I SA « large Wall,'m olorsfora to the National Institute of Arts and c hicagO -u^\ is eleeted exhibition organized by 1 < Goossen 1948 1 968, a group m .\n series oi totemic sculptures etters. I le begins ongoing \rt. Kellj meets Diane Waldman. I for the Museum of Modern steel and polished aluminum. studio New York. weathering who subsequentlj visits him at his in

~ Kellv : ( hronology s i Ellsworth Whitnej .Kelly's first museum purchase). He is commissioned!

mural 1 I to complete a lobbj at astmore louse, an apartment Ins building in New York. He makes first drawings of plants, explore a subject he will continue to m drawings, to the

present day. Pamter Agnes Martin, fiber artist I enore join the growing .*. Tawney, and Youngerman communitj oi SK^r^rr^x m artists In ing at ( oenties Slip. ;:;;,„„„n^ivM ^^ u,<^^ Beuningen. Boymans van 1958 Kellj has his first solo exhibition at Galerie Maeght (where

collector I 9 he Will show until 1965); English |. Powers buys of an Ad Reinhardt a long review in ARTnews Kclly reads eight paintings, one of winch, Broadway (cat. no. 30), he

JuJU^Pd^^^PT^^ 1 Kelly series Virion, gives to Tate Gallery, ondon. begins a of wood begins to think that Gallery, New York, and ltBem Parsons his first since 1951. by audiences .nNe« reliefs, work might also be well-received his Queen the United States on the York In July, he returns to at L959 a studio apartment Once Kellj has settled into _ Man Kelly's work is included m Sixteen Americans, a landmark Manhattan, he contacts, on C ages Broad start in Lower 109 exhibition ciirated b\ Dorothj C Miller at the Museum ol He visits painter Robert Rauschenberg. recommendation, York. He meets artists Jasper Johns and nearby, in Modern Art, New kne* in Paris, who lives Fred Mitchell, an artist he sculptures, which I lis first freestanding an I Stella. himself with a night |ob ranl< oenties Slip. Kellj supports , bfi at ( fabricated at Edison Price, are exhibited tor the first tii of the United States Posi New York ( it) branch , t th , mairi painted metal Betty Parsons Gallery. He begins to make Vvenue. C alder, who visits Office, on J4th start and 8th work to Alfred 11. Barr, |r., I Sculpture, mentions his 4. Transportation Building obby Kellj .u his studio, Art. and to lames I960 of the Museum of Modern aluminum; 104 panels, director curtain that hi 1956-57 Anodizcd Kelly's designs for costumes and a stage director of the Solomon R. Guggenheim [ohnson Sweeney, are usi x x J0.5 cm) choreographer Paul Taylor in 1958 144 x 768 v 12 inches (365.8 1,950 Curator Dorothj Lted for Museum. Sweenej visits Kelly's studio. troupe the I em Tablet, a dance performed bj Baylor's at overall, rransportation Building, Penn ( committee of the Museum Miller, representing the acquisition travels to Puei of Worlds in Spoleto, Italy. Kellj Most of Kelly's works this year Two Philadelphi i. of Modern \n. also visits. the summer in I he Springs. I at Christmas. I le spends stem from ideas or projects that he began in France. Kellj Hampton, New York, where he meets artist [ames Ro meets Reinhardt. who also moves to C oenties Slip.

1955 1961 Art dealer David Herbert, who works tor Sidnej [anis, visits at The 1961 Kellj receives the fourth Painting Prize Broad Street studio and advises art dealer and gallerj Kelly's ontemporary solo Pittsburgh International Exhibition o) ( owner Bettj Parsons also to visit. Parsons otters Kellj a Sculpture, organized bj Gordon Bailey Washbun Kelly completes White Plaque. Bridge Arch and and exhibition. Arts Arkus at the Department of Fine wood cutout, the idea lor 1 eon Anthom Reflection ( L at. no. 24). a large He spends the summei i arnegie Institute, Pittsburgh. which he conceived in Tans. The Springs.

1956

Kelly's first solo exhibition m the United States opens m May I 962 b awarded the Flora Mayer Witkowsky Prize at the Bettj Parsons Gallery, New York. (He will continue Kelly is Henrj Institute of Chicago. He meets curator to exhibit at Parsons until 1963.) In July, Kelly moves into the Art is heli His first solo exhibition in London ,i loft at i-5 C oenties Slip. He meets artist Robert Indiana, Geldzahler. Sons Ltd. wh.. also moves to ( oenties Slip. Through friend Richard Arthur Tooth &

v Kelly, with paintings he made during the Kelly, a lighting consultant, Kelly receives his first sculpture

I 1 96 i 1 asi 1 impton, commissions, transportation Building obby Sculpture and summer ol I960 in The Springs, 1 Creative Arts Award from Seven Sculptural Screens in Brass, both for Penn Center, Kelly receives the Brande.s New Tori Foreground: Black White; background, Mil and the I duration Philadelphia. Hiesc sculptures, which he fabricates ai Edison Brandeis University, Waltham, Island ll. White left to right: White \lice, Blocl International Art Exhibition, Price. New York, and completes m 1957, mark Kelly's first Award at the Seventh Paintings, Sculpt /;/,„ Blm Pale G use of metal ianodi/ed aluminum for the former and for the Kelly's first solo museum exhibition,

opens ai the w i latter, brass), lie makes Painting in hive Panels, his first work and Drawings by Ellsworth Kelly, D.C., and tra comprised of eansascs of Varying sizes that are hung Gallery of Modern Art, Washington, Art. It is also i separate I \ on the wall. to bostons Institute of Contemporary drawings. Kellj tnov. museum exhibition to include his Street on the 1957 into the Hotel des Artistes on West 67th Kelly's paintings are selected tor inclusion m Young America Upper West Side of Manhattan.

1957, a group exhibition at the Whitney Museum ol

American Art, New York; Atlantic i 1956) is purchased by the 1996 1990 curate the exhibition Fragmentation and Kelly is awarded the first Medal foi Outstanding Kelly is invited to as part of the Museiur of Modern Art's Achievement in the Arts on the L25th anniversarj of the the Singh Form series. He completes his first floor painting, Boston Museum School; receives an Honorar\ Doctorate of Artist's < hoice exhibition of the same name at Portikus, Fine Arts from Bard College, Annandale-on-1 ludson, New Vellow < urve, for an is for York; and becomes an elected Fellow of the American White ' urve commissionqd the Swiss I rankfurt. Nestle, in Vtfvey. Academy of Arts and Sciences. Kelly receives sculpture corporate headquarters of commissions for Rafael Vinoly's Tokyo International Forum and the Peter B. Lewis Theater of The Sackler Center for Arts 1 1 99 his second floor panel. Black Education at the Solomon R. Guggenheim Museum, In November, Kelly completes Berlin, New York. Ellsworth Kelly: A Retrospective, curated bj Curve, at Grossc Orangene, Schloss CKarlottenburg, exhibition Schi 'erelos. Diane Waldman, an exhibition spanning titt\ years, opens in conjunction with the at the Guggenheim Museum and travels to the Museum 01

I Tate Gallery, London; 1992 ( ontemporar) Art, os Vngeles; Haus der Kunst, Munich. The traveling exhibition Ellsworth Kelly: The Years in and France, 1948-1954, organized by Alfred Pacquement and du de Jack Cowart, opens at the Galerie Nat-onale Jeu Paume, Pans, and travels to the Natioral Gallery of Art, Washington, D.C. and Westfalisches Lc.ndesmuseum fur Kunst und Kulturgeschichte Munster, Munster. Kelly completes Red Floor Panel for the exhibition at the Westfalisches Landesmuseum. He makMatthew Marks Gallery, New York, hosts Ellsworth Kelly: Plant Drawings, its first exhibition of Kelly's work. Kelly creates a room installation of paintings

tor Documenta IX, organized by Jan Eoet. The Documenta d'Offay Gallery, Room is Kelly's first exhibition at Anthony London. Kelly creates an artist's book of eleven lithographs, published by Limited Edition Club, illustrating Un Coup de Stephane Mdlarmc. des ( 1870) by French poet

1993

Kelly is presented with the Chevalier d-' la Legion d'Honneur In the French Republic at the French Embassy in Washington, in He creates Gaul as part of a sculpture commission for the inauguration of the Norman Fostet -designed Carre d'Art, Musee d'Art Contemporam, Nimes. Prut Institute honors

Kelly with its Institute Medal and awa ds him an Honorary- Doctorate of Fine Arts. Kelly complete, the sculpture

commission Memorial for the United S rates I lolocaust Memorial Museum, designed by James Freed, in Washington, de D.C. Kelly is presented with the honor try title of Amic Barcelona, Friend of Barcelona, by Pascal Maragall, Mayor of Barcelona.

1994 The exhibition Ellsworth Kelly: The Process of Seeing, Center, curated by Sin Engberg, is held at the talker Art Minneapolis.

1995

Kelly receives a sculpture commission Irom architect Henrj be completed ( i ibb for the Federal Courthouse, Boston (to in late 1998).

319 Ellsworth Kell) : < hronology 1983 1975 by Cillery, Dallas Museum of Art, which is being redesigned architect Kelly has his fust solo exhibition at BlumHelman Barnes, commissions Kelly to create a I dward I arrabee New York (where he will show until 1992). Kell) is selected reopening in January 1984. Curve series at the sculpture. Untitled, for its to inaugurate the Matrix contemporary-art I louse, XXIX is installed on the grounds of the Farnsworth Wadsworth Atheneum, Hartford, ( onnecticut, in an

1 Piano, Illinois designed by Ludwig Mies van der Rohc, 1 exhibition curated by Andrea Miller Keller that includes a

series of ten drawings oi corn stalks and two sculptures. L984

Gallery of Art, Washington, D.( ., creates a 1976 The National room installation featuring seven painting* by Kelly. Kelly has Kelly begins to work with Tyler Graphics m Katonah, pieces included in ROSC '84 at the Arts Council in New York, where he creates works made from colored-paper four Dublin. He travels to Berlin, Dublin, London, and Pans. pulp, an etching, and lithographic prints

1977 1985 Kell) is commissioned to create public sculptures, completed Kell) travels through Spain, Italy, and France. His work is in 1987, by the city of Barcelona: The Barcelona Sculpture at included in Documenta 6. General Moragues Plaza and Creueta del Coll. Kelly's photographs are exhibited for the first tin e, in A Second 8. Red Floor Panel, 1^ Q 2 Acrylic on canvas on L978 Talent: Painters and Sculptors Who Are A/so Photographers, Kelly travels to Barcelona to experience Antoni Gaudi's wood, J16! \ *78 v I inches (803.9 k 1,216 x organized by Robert Metzger, at the Aldn.h Museum of architecture. He completes Color Panels for a I arge Wall /, Westfalisches I .indcsmuseum 2.5 cm) Installed at Contemporary Art, Ridgefield, Connectict r; the exhibition a work commissioned by the Central Trust Company, Kukurgeschichti Minister, College Gallery in New York. fur Kunst und Cincinnati. Kelly begins to fabricate sculptures with Peter travels to Baruch June 1992 Carlson of Peter Carlson Enterprises, Sun Valley, California. steel. 1986 He begins a series of totem ic sculptures in stainless room of eight paintings by Kelly is installed as part of the Fibes and Schmitt of Schenectady begin construction on A exhibition at the Museum of C< ntemporary Art, Kelly's new studio next to his home in Spencertown. inaugural Los Angeles, Individuals: A Selected History of

( 1945-1986, organized by Julia Brown 1979 ontemporary Art, Curve (cat. no. 85) for the Friends of the Park commission Kelly to create a sculpture Turrell. Kelly creates Red Pei-designed Raffles City Hotel in Singapore. He also for Lincoln Park, Illinois. At thirty-six feet high. Curve XXII I. M. creates Houston Triptych for the Lilhe and Hugh Roy Cullen is Kelly's largest sculpture to date. Kelly participates in of Fine Arts, Houston. The 16th Biennial Exhibition ofi 'ontemporary American Sculpture Garden at the Museum Painting, organized by lane Livingston, at the Corcoran Gallery of Art, Washington, D.C., along with Willem de 1987-88 exhibition woiks on paper, Kooning, Johns, Lichtenstein, and Rauschenberg. Kelly's first Kelly's first retrospective of Diane Upright. ma)or European exhibition of painting and sculpture, Ellsworth Kelly: Works on Paper, curated by opens at the Fort Worth Museum of Art a id travels to / llsworth Kelly: Schilderijen en beelden 1963-1979, Gallery of Ontario, organized b) Edy de Wilde and Rim Dippel, opens at the Museum of Fine Arts, Boston; Art Francisco Museum Stedeli)k Museum, then travels to the Hayward Gallery, Toronto; Baltimore Museum of Art; San Kansas London; Musee National d'Art Moderne, Centre Georges of Modern Art; and Nelson-Atkins Museum of Art, Print Pompidou, Pans; and Staatliche Kunsthalle, Baden-Baden. City. His first retrospective of prints, Ellsworth Kelly: A Retrospective, organized by the American Federation of the 1980 Arts, opens at the Detroit Institute of Arts and travels to the Moines Art Center; Kelly is made a fellow of the Rhode Island School of Design, Huntsville Museum of Art, Alabama; Des Providence. Neuberger Museum, State University of N w York at Purchase; Los Angeles County Museum of Art; Berkshire 1981 Museum. Pittsfield, Massachusetts; Hood Museum of Art, With Peter Carlson and Gemini G.E.L., Kelly produces Dartmouth College, Hanover, New Hampi hire; and at Berkeley. editions of a series ot painted-metal wall sculptures. He University Art Museum, University of California 9. Gaul begins a series of totemic sculptures in wood. Kelly is awarded the Chevalier de l'Ordre les Arts et des Steel, 230x45 \ 24 inches 1 ettres by the French Republic. d (584.2 \ 115.6 x ^2 .2 cm] t arrc Art, L982 Muscc d'Art Contemporam, Nunes, France A retrospective exhibition of Kelly's sculpture, Ellsworth 1989 Kelly: Sculpture, opens at the Whitney Museum and travels Kelly is invited by the Art Institute of Chicago to install a in the of the to the Saint 1 ouis Art Museum. Kelly meets photographer group of six single-panel paintings courtyard sculpture [ack Shear. new Rice Wing. I. M. Pei commissions Kelly's wall Dallas Panels for the Morton H. Meyerson Symphony Center m Dallas. Ihe exhibition Ellsworth Kelly: Works on Paper opens at Museum Overholland, Amsterdam. .

New York. Ulsworth Kelly. 1971 Sidne) fanis Gallery, — Kingsley, April. "New York." Art International 6-May 1. Exh. cat. Galerie Rcnee Ziegler, Geneva. Kelly. April Ellsworth I ;ano) l~. no. 10 (Dec. 1973), pp. J4-36, 59-60. Ashton, Dorc. "Kelly's Ui ique Spatial I Apaiauo." March 10-April 12. —Kramer, Hilton. "Kelly's 'Bold Simplicity u the

International (Londo 1) I 70, no. 867 ( |uly 1 965), Dayton's Gallery 12, / Studio Minneapolis. llsworth Kelly. Modern Art." The New York limes. Sept. I J, 1973,

1 — 40-4 I May Line 5. cat. PP. I Exh. p. 12. "Ir —B[arnitz], J[acqueline|. the Galleries: Ellsworth Sidne) Inns Gallery, New York. Recent Paintings by —Masheck, foseph. "Ellsworth Kellj at the Modern."

no. 9 I Kelly." Arts Magazine (New York) 39, llsworth Kelly. Nov. 3-27. Exh. cat. Artforum (New York) 12, no JfNov. 1973), pp. 54-57. 5X-59". " (May-June 1965), pp. — ( [ampbell], I [awrence|. "'Ellsworth Kell\ ARInews

1 —Kozloff, Max. "The Variables of Energy." The Nation (New York) 70, no. 8 i\\c. I '" I), pp. 16-17. 1975 3-14. (New York), May 10, 1965, >p. 51 — Perreault, John. "Wavering Home: Kelly's I ight Wadsworth Atheneum, Hartford, c onnecticut. Ellsworth

— Rosenthal, Nan. "New Yo-k: Gallery Notes." Art in Slabs." The Village Voice (New York), Nov. I I. 1971, Kelly: Matrix I. Jan.-Feb. Organized bj Andrea Miller-

I 17-24. America (New York), no. 2 ( \pril 1965), pp. PP. 23-24. Keller. Exh. brochure, with text b\ Miller-Keller.

2" I Galerie Adnen Maeght, Paris. Keliy: ithographies. —Ratcliff, Carter. "New York." \n International I eo I astelli Gallery, Nov York. I llsworth Kelly: Recent

1-30. cat., prrface no. 1 June Exh. with by Dale McConathy. (Lugano) 16, (Jan. 20, W~l), pp . 66-71. Sculptures March 8—April 5.

—Smith, Roberta. "Ellsworth Kelly, Leo C astelli Gallery,

" 1966 1972 Uptown \rtforum (New York) 14, no. I (Sept. 1975),

Ferus Gallery, Los Angeles. New Work l>\ Ellsworth Kelly. Galerie Renec Ziegler, Geneva. Ellsworth Kelly. pp. 69-7 1 March 15-April 20. March 10-April 12. —Zucker, Barbara. "Ellsworth Kelly." \RTnews

—D|anieh|, F|idel| A. "Ellsworth Kelly, Ferus Gallery." Galerie Denise Rene Hans Mayer, Diisseldorf. Ellsworth (New York) "4, no. 5 (Ma) 1975), p. 96.

Artforum (San Francisco) 4, no. 9 (May 1966), p. 1 5. Kelly: Paintings. July 1—31. I eo ( astelli (.alien. New York. Ellsworth Kelly: Gray Series. "1 —von Meier, Kurt. os Angeles 1 erter." —Friedrichs, Yvonne. "Ellsworth Kelly." April 13-Ma) J.

Art International (Lugano) 10, no. 5 (Ma\ I96i Das Kunstwerk (Stuttgart) 25, no. S (Sept. 1972), p. 43. — Dertner, Phyllis. "Ellsworth Kellj at ( astelli

pp. 58-59. Albnght-Knox Art Gallery, Buffalo. The Chatham Scries: Uptown." \rt in America (New York) 63, no. 4

Paintings by I llsworth Kelly. ful) I I-Aug. 27. (Jul) Vug. 1975), pp. 97-98. 1967 Organized by Jane N. Wood — Zimmer, William. "Ellsworth Kellj " Irts Magazine

Hilton. "Color Lures to Kelly's York) no. 10 p. 8. Sidney Janis Gallery, New York. Ellsworth Kelly. —Kramer, the Eye (New 49, I fune 1975),

\. Kelly. May 1-25. Exh. cat. Paintings." The New York Times, fuly 26, 1972, p. 11. e Gallery, Venice, ( alifornia. Ellsworth Steel —Mellow, James R. "New Yoik." Art International Uuminum Sculpture 1975. fune 12—Jul) 5.

BlumHelman Gallery, New York. ' llsworth Kelly: Paintings. (Zurich i I I. no. 5 (May 1967), pp. 58-60. 1973 os Chatham —Perreault, John. "Color .is L.ght." The Village Voice Irving Blum Gallery, I Angeles. Ellsworth Kelly: Sept.-Oct.

(New York), March 9, 1967, po. 12-13. Series. March 1 3—April 1 5.

—W|aldman), D[iane|. "Ellsworth Kelly." ARTnews Margo Leavin Gallery, I os Vngeles Ellsworth Kelly: 1976

l . I Sculpture. 1 April [anie C ee Gallery, Houston. / llsworth Kelly: (New York) 66, no. 2 (April l 67), p. 1 3. Drawings and Prints. March 8— 5.

Greenberg Gallery, St. Louis. / line nth Kelly. Paintings. March 6—April J. Irving Blum Gallery, I os Angeles. A Suite of Twelve 1-30. I ithographs by I llsworth Kelly. Nov. 7-Dec. 8. April —Hoag, Jane. "Ellsworth Kelly " ARTnews (New York) Leo Castelli Gallery, New York. Ellsworth Kelly-. ( urved 1977 Kelly: Sene>. April "-28. I e<> t astelli Gallery, New York. I llsworth Paintings. 66, no. 9 ( [an. 1968), p. 52. — York Letter." Feb. 5-26. — Livingston, fane. "Ellswortn Celly, ImngBlum Crimp, Douglas. "New

I lien. "Ellsworth Kelly." ARTnews Gallery." Artforum (New York) 6, no. 5 (Jan. 1968), Art International (Lugano) 17, no 6 (summer 1973), —Schwartz, (New York) 76, no. 4 (April 1977), p. 126. p. 61. pp. S8-90. is William. Kelly." Arts Magazine —Rose, Barbara. "The Best Game the I nd Game —Zimmer, "Ellsworth l»"). (April l 1968 Hew York Magazine 6, no. 18 (April 30, 1973), (New York) 51, no. 8 p. J4. Kelly. Margo I eavin Gallery, I os Angeles I Usu orth ( olored Sidnej fanis Gallery, New York. Ellsivorth Kelly. pp. 92-93. "Ellsworth Kelly." ARTnews Papet Images. March >-ln. Oct. 7-Nov. 2. Exh. cat. —Siegel, Jeanne. —Ashton, Dorc. "New York Commentary." (New York) 72, no. 6 (summer 1973), p. 99. 7 Museum of Modern Art, New York. Elbworth Kelly. 1978 Studio International (I ondon) 1 6, no. 906 The I (..I .1 ., I os Angeles. I llsworth Kelly. Twelve eaves. Sept. 10-Nov. 4. Organized by F. ( . Goossen. Traveled Gemini (Dec. 1968), pp. 266-67. Museum. California, 14-March 5, Ma) 26-Sept. I. —Wasserman, Emily. "Ellsworth Kelly, Sidney lanis to Pasadena Art Jan. L'~4; March 30- —Worth, Melinda "1 llsworth Kelly's rwelve I eaves." l Walker Art Center, Minneapolis, Gallery." Artforum (New York) 7, no. 4 (Dec. 1968), the Detroit Institute of Arts, ARTmus (New York) 77, no 7 (Sept. 1978), p. 106. pp. 58-59. Maj 19, 1974; and of Modern Vrt, New York Paperworks Irving One June 17-Aug. 4, 1974. Ellsworth Kelly, a monograph, The Museum Blum Gallery, I os Angeles. / our Paintings ami

I I, JO, 1979. with preface and texts h\ doossen. by I llsworth Kelly. Dee. 1978-Jan. Sculpture by Ellsworth Kelly. N< v. 5-30.

t Riva > astleman — Baker, Elizabeth C. "The Subtleties of I llsworth Organized bj 1970 Kelly." ARTnews (New York) 72, no. 9 (Nov. 1973), 30-33. 1979 The Vancouver Art Gallery. Ellsworth Kelly 1 ithographs at pp. Robert. "Classic Sleeper." Time (New York) The Metropolitan Mum nin of Art, New York. Vancouver Art Gallery. Jul) 20-i/aig. 30. —Hughes, "2-73. / Kelly. Recent Paintings an, I Sculptures. li)2, no. 12 (Sept. 17, 1973), pp. llsworth Gemini G.E.I ., Los Angeles. Ellswortl Kelly. April 26-June 24. Exh. cat., with foreword b) Sept. 1-Oct. 15. Exh. cat., with r

^,2 History 1 Ellsworth Kelly: Exhibition 1

—S|andler|, I|rving] H. "Ellsworth Kelly." ARTnews Selected Exhibition History Solo Exhibitions (New York! 60, no. 7 (Nov. 1961), p. 13. 1951 —T|ilhm|, S[idney]. "Ellsworth Kelly." Ar.s Magazine / thibition entries ."•• followed by related articles and reviews. v York) no. 5 il\-c. 1961), 48. Galerie Axnaud, Paris. Kelly Peintures c reliefs. (New J6, p. April 26-May 9. 1962 —G. B, "Kelly." Arts: beaux arts, littirature, spectacles

Arthur Tooth N: Sons I tel., London. Ellsworth Kelly Paris Maj 4. 1951. May 23. Exh. cat., with mtroducoon by —"Kelly." ( ombat (Paris), May 8, 1951, p. 4. 29-June Lawrence Allow ay. — "1 KelU at [956 Butcher, George. llsworth Exhibition L The Guardian (London), fune 9, l >(->2, Bett) Parsons Gallery, New York. Ellsworth Kelly: Paintings Tooth's Gallery." 1951-1956. Ma) 21-Junc 8. p. 4. — Reichardt, "Pes Fxposmons a Petranger: —B[utler], B[arbara]. "Ellsworth Kelly." irts Magazine Jasia. X, 52. I ondres." Aujourd'hui: Art et architecture (Paris) (New York) 30, no. 4 ( fune 1956), p. 58-59. —G[enauer], F|mily|. "Art Exhibition Notes: Kelly at no. )8 (Sept. 1962), pp. Parsons." New York Herald Tribune, June 2. 1956, —Sylvester, David. "I lomage to Venus." New Statesman (London), 8, L962, X ^9-40. section 1, p. 9. fune pp.

—T|vler|, P[arker], "Ellsworth Kelly. ' iRTnews

(New York) 55, no. 4 (summer 1956), p. 51. 1 96 J —"About Art and Artists: Lesser-known Figures Give Betty Parsons Gallery, New York. Ellsworth K>'lly: Painting 21. One-Man Shows of Promise .it Galleries Here." and Sculpture. Oct. 29-Nov. — Nov. The New York Times, May 26, 1956, p. L41. "Ellsworth Kelly." New York Herald T'ibune, 2, 1963, section 1, p. 9. 1957 —Fried, Michael. "New V>rk letter." Ar' International Betty Parsons Gallery, New York. Ellsworth Kelly. (I ugano) 7, no. 10 (( hnstmas-New Year, 1963-64),

Sept. 23-Oct. 12. pp. 54-56. —B|urrey|, S[uzanne]. "Ellsworth Kelly." Arts Magazine —Sandler, Irving. "In the Art Galleries." New York 14. (New York) 32, no. 1 (Oct. 1957), pp. 56-57. Post, Nov. 10, 1963, p. —Preston, Stuart. "Galleries Offer Diverse Fare." Washington Galler) of Modern Art, Washington, D.G.

The New York rimes, Sept. 29, 1957, p. XI". Paintings, Sculpture and Drawings by ELsworth Kelly. —Tfyler], P[arker]. "Ellsworth Kelly." ARTnews Dec. 11, 1963-Jan. 26, 1964. [raveled to the Institute (New York) 56, no. 6 (Oct. 1957), pp. 1~-18. of Contemporary Art, Boston, Feb. 1 -March 8, 1964. Exh. eat., with foreword by Adelyn D. B-ecskm and 1958 interview by Henry Geldzahler. Galerie Maeght. Pans. Ellsworth Kelly. Oct. 24-Nov. 30. —Getlein, Frank. "Paintings and Sculpture show ol

Exh. cat., published in Derriere le Miroir, no. I 10 (Oct. 1 llsworth Kelly at •Modern."' The Washington Star, 1958), with text b) E. C. Goossen. Dec. 15, 1963, p. C6. —Mock, Jean Yves. "Ellsworth Kelly at the Galerie —Kay, fane H. "Kelly's Colorful, Person il Geometry." \l Leght." ipollo (London) 68, no. 406 (Dec. 1958), The Christian Science Monitor (Boston), Feb. 14. 1964,

p. 220. p. 6.

L959 1964 Betty Parsons Gallery, New York. Ellsworth Kelly: Painting Galerie Maeght, Pans. Ellsworth Kelly. Nov. ZO-Dec. 51.

and Sculpture. Oct. 19-Nov. 7. Exh. eat., published in Demen le \Airoi , no. 149 (Nov. —Ashton, Dore. "Art." Arts & Architecture 1964), with text by Dale McConathyj l '5 L ' (los \ngeles) ~h, no. 12 (Dee. l '), pp. ~-S. —Ashbery, [ohn. "Op's Copping Pop's op Spot."

—C|ampbell|, 1 [awrence], "Reviews and Previews." International Herald Tribune (Paris), Nov. 24, 1964, ARTnews (New York) 58, no. 6 (Oct. L959), pp. 12-16. pp. 50-51. — Iilhm, Sidney. "Month in Review." Arts Magazine —Ferner, Andre. "Keskispass?" Arts: Beaux .iris.

(New YorU $4, no. 1 (Oct. 1 959), pp. 49-50. littirature, spectacles (Pans), Dee. 10, 1 ^64, p. 34.

1 96 1965

York. I ( New 1 Bett) Parsons Gallery, Kelly. Oct. 19-Nov. 4. I ins lallery, OS Angeles. .\n Exhibition of Recent

— .it I Preston, Stuart. "Art Opposite Poles; Ellsworth I ithography Executed m France by the \rtist llsworth Kelly and Kosr.is Paniaras Exhibit Nonobjective Kelly. March 9-April 5. Extremes." The New York Times, Oct. 21, 1^61, —P|etlin|, I|rvmg) B. "Ellsworth Kelly, Ferus Gallery."

p. I I I Artforum (San Francisco) }, no. 8 (Ma? 1965), p. 16. 1 1

Dorsey, John. "The World . s Color and Shape." Museum Overholland, Holland. Ellsworth Kelly: Di.i ( enter tor the Arts. Bridi-champton, New York.

29, section P, 1, 3. on I The Baltimore Sun, May 988, pp. Works Paper. July 1-Sept. 24. xh. cat., with text by / llsworth Kelly: Two Lithographic Suites, 1964-65.

Kutner, [anet. "Fort Worrh\ Kelly Retrospective Diane Upright. In I nglish and Dutch; Vug, 1 7-Oet. 6. Organized b) Henry Geldzahler. Picture.' Dalits Morning trans. Saskia Sketches a Revealing News, van der I mgen. Margo I eavin Gallery, Los Angeles. Ellsworth Kelly: \t Right Sept. 12, 19X7, section C, pp. 1-2. —de Vnes, Peter Yvon. "Ellsworth Kelly Kijkt \ngles, 1964 -1966. Noi 19-Dec. 21. Organized with

. Ellsworth Kelly." , "Fort Worth: ARTnews Aandachtig om /ich Hecn de Vorm Niet Hit Verhaal John Berggruen Gallery. San I rancisco, \nc\ Paula (New York) 86, no. 9 (Nov. 1*»87), p 216. De hid (Amsterdam), no. 305 (June JO, 1989), Cooper Gallery, New York. Traveled to fohn Berggruen

Detroit Institute of Arts, Ellsworth Kelly: A Print pp. 24-29. Gallery, fan. 8-Feb. I. 1992; and Paula ( ....per Gallery,

1. Retrospective. Sept. 13-Nov. Organized by the —Hettig, Frank-Alexander. "Ellsworth Kelly." Feb. 14-Mareh I -4, 1992. Exh. cat., with test In American Federation of the Ars and guest curator Das Kunstwerk (Stuttgart) 42, no. 4 (Dec. 19S9), Roberta Bernstein. Richard H. Axsom. Exh. cat., vith text by Axsom and pp. 63-64. —Baker, Kenneth. "Kelly's Timeless Abstracts Hold

cat. raisonne compiled by Axsc m with the assistance of BlumHelman Gallery, New York. Ellsworth Kelly: Up." San Francisco ' hronicle, Jan. I I, 1992, p. C7. Phyhs Floyd. Traveled to the Huntsville Museum of Art, Curves/Rectangles. Nov. 7-Dee. 9 Exh. eat., —Cotter, Holland, "Ellsworth Kellj 'At Right Angles, Alabama, Nov. 11, 1987-Jan. 7, I9XX; Des Moines with text by Barbara Rose. 1964-1966.*" The New York Times, March 13, 1992,

Art Center, Feb. 5—April 3, 1988; Neuherger Museum, — Decter, Joshua. "I llsworth Kelly." Arts Magazine p. C .2S.

State University of New York, Purchase, New York, (New York) 63, no. 6 (Feb. 19N9), p. 99. fack Glenn Gallery, Los Angeles, ( alifornia. / llsworth Kelly-.

April l"-|une 12, 1988; Los Angeles County Museum —Russell, |ohn. "Ellsworth Kelly." Wall Reliefs, Nov. JO, 1991-Jan. J, 1992. of Art, Nov. 10-Dec. 31, 1988; University of Oklahoma The New York Times, Nov. 24, 19X9, p. C 33. Museum of Art, Norman. Oklaaoma, Jan. 14-Feb. 19, —Ostrow, Saul. "Ellsworth Kelly: Blum Hclman." 1942

P. ins / Kelly 1989; Berkshire Museum, Pittsfeld, Massachusetts, Flash Art (M.Ian), no. I Jl (March-April 1990), p. L45. Galerie Daniel lemplon, llsworth

June 25-Aug. 20, 1989; University Art Museum, March 1 "-April IS. I \h. brochure, with reprinted

In I University of California at Berkeley, Oct. 1 1-Dee ^, 1990 excerpts of text bj Ann Hindry. French and nglish;

Neal ( 1989; and Hood Museum of Ar% Dartmouth College, Gemini G.E.I ., I.os Angeles. Kelly: Portraits at Gemini trans. ooper. Hanover, New Hampshire, Dec. 23, 1989-Feh. 25, G.E.L. Feb. 6-March 20. Exh. eat., with text by (.alone Nationale du feu de P .umie. Pans. Ellsworth Kelly L> >1. I 24. 1990. Richard H. Axsom. I es annees francaises, 1948-I March ""-May —Colby, Joy Hakanson. "Ellswt rth Kelly, America's Susan Sheehan Gallery, New York. Ellsworth Kelly. Prints: Organized bj fack C owan and Alfred Pacquement. text Exh. eat., re\ts In Yve- \l.uii In iis, t owart, and Prince of Prints." The Detroit N'ws. Sept. 1 }, 1987, 1^)49-1989. March 1-Apnl 28. Exh. brochure, with with

>..it ol b) <. atherine ( raft; and p. Kl by Susan Sheehan. Pacquement; works Painted extensive chronology by Nathalie Brunet. Traveled to —Miro, Marsha "Ellsworth Kel y: Nature Shapes His Gallery Kasahara, Osaka. Ellsworth Kelly: Eleven

I Kunst Vision." Detroit Free Press, Sept 13, 198^, section E, Wall Sculptures. April 16-May 19. Exh. cat., Westfalisches andesmuseum fur und

text C Ratcliff. In English and fapanese; Kulturgeschichte Minister, as / llsworth Kelly: Die Jahre PP- 1,8. with b) arter

2^ (exh. cai . Bakalar Sculpture Gallery, List Visual \rts Center, M.I.T., trans. Kayoko Hosokawa m Frankreich 1948-1954, [une 14-Aug.

Kelly — Yellow Curve. trans, [ngrid I lacker K lie r. Magda Moses, and Brain Cambridge, Massachusetts, I llsuorth Kelly. Small Porrikus, Frankfurt. Ellsworth

L 2". 4. cat., with text by Gottfried ( >pstelten); and National Gallery of Art, Washington, Sculpture l'^S-87. Dec. 1 >. I9j87-March 1988. April 28-June Exh.

• i //', foreword by Kasper Konig. In English and I ., as / llsworth Kelly: Yean m France, 1 \h. cat., with text by Kat) Kline. Boehm and 1948-1954, Nos. I, 24. 1993 (exh. cat., —Taylor, Robert. "Sculpture, Dr. wings and 'Dime Store German; trans. Burke Barrett and Isabel Feder. 1992-Jan. trans. Ingeborg von trans. Thomas Repensek and (.re.uorv Sims). Deco.'" The Boston Globe, K-bi -'.9, 1988, p. 11. —Phora, Pia. "I llsworth Kelly," Zitzewirz. Contemporanea [New York), no. 21 —Kimmelman, Michael. "I llsworth Kellj 's < oming ol

Pans." I he York Times, Nov, I, 1992, 1988 Oct. 1990), p. 90. Age m New section 2, p. Jl. BlumHelman Gallery, New York. Ellsfcorth Kelly: — Puvogel, Renata. "Ellsworth Kelly: Portikus."

Hilton. Painter's lwo( nltures I llsworth Flash Art (Milam 23, no. 155 (Nov.-Dec. 1990), p. 160. — Kramer. "A New Work. Nov. 2-Dc 3 I \h. .at., with text by Kelly: Kell) Was .in American in Paris." \rt & \ntiques Robert Storr. 65 Thompson Street, New York, I llsworth Recent (New York) no. 2 (March 1993), pp. 104-05 —Brcnson, Michael. "Ellsworth K.lly." Pamting & Sculpture. Ma) 14—July 31. 15, "• Michael. "Ellsworth Kelly: 65 ["hompson." —Perl, fed " \u \n American in Pans." The \< The New York Times, Nov. IS. ^88, p. C28. —Brenson, York Times. Criterion [New York) 2, no. 5 (Jan. 1993), pp. 46-50. BlumHelman Gallery, Santa Monica, Ciliforma. The New Ma) 25, 1990, p. C21.

'tears: I low I \\ 1 "I llsworth Arts Magazine —Plagens, Peter. "The Wonder Ellsworth Kelly: New Work. Nov. 8-Dcc. 1. —Sorenson, Dina, Kelly." no. 3 (Nov. 103. Audacious Young Americans Broke into tin Avant The Eh Broad Famil) Foundation, Sann Monica, California. (New York) 65, 1990), p, Garde." \e,r<,reeL iNew lorki 120, no 24iDee. 14, The Eli Broad Family Foundation Exhibition. 1992), pp. 76-77 Dee. 1988-Sept L989. 1 99 —Russell, "I llsworth Kelly, .^-> American m Fred Hoffman Gallery, Santa Monica, ( alifornia. fohn. Pans.'" The New )<"k limes, April J, 1992, section IL 1989 Ellsworth Kelly. A Historical Selection-. 1965-1988 March 23-ApriI 20. pp. J9, 44 (.reenberg Gallery, St. Louis. / llsworth

323 Ellsworth Kelly: Exhibition History —Beam. 1 ranees. "Kelly, Smith: 1 ess K More' 19S2 —Nk I villey, Thomas. "Ellsworth Kelly, Blum Helman

Revisited." Art/World (New York), Maj 18-June 13, Gemini G.E.I ., I os Angeles. Ellsworth Kcllx .it Gemini: Gallery." Artforum (New iork) 23, ao. 3 (Nov. 1984),

1979, pp. I. 12. 1979-1982. April 7-Maj 28. I \h. cat., with text by p. 98.

— Kramer, Hilton. "Art: Earthly Delights of shaker Carter Rate lift.

' Drawings Tht New York Times, Ma) 4, 1979, p. ( 22. Margo 1 eavin Gallery, 1 os Angeles. / Ilsworth Kcllx. Painted 1985 " — Lubell, 1 lien 1 he ( Ira) ing of ! Ilsworth Kell) Wall Sculptures; Ellsworth Kcllx, The ( oncorde Series. BlumHelman Gallery, New York. Ellsworth Kcllx. New The SoHo Weekly News (New York), Maj 17, 1979, Ma) 20-June 19. Paintings. March 6-30. Russell, pp. 45, 58. — Muchnic, Suzanne. "The Galleries: I a (. ienega Area — John. "At Midtown Galle'ies, Good Shows

—Whelan, Richard. "I Ilsworth Kelly." ARTnews / os [ngeles Times, May 28, 1982, pan VI, p. 12. Abound." The New York Times, March 15, 1985,

(New Yorki 78, no. 7 (Sept. 1979), p. 180 John Berggruen Gallery, San Francisco. Ellsworth Kelly: PP. CI, C18.

( lali ml Maeght, Zurich. Ellsworth Kelly: I ithographien. Painted Wall Sculptures, fune 9-26. Leo Castelh Gallery, New York / Ilsworth Kcllx: New Wall

Nov. 4-K). I homas Segal Gallery, Boston. Steel Sculpture. Reliefs. March 30-April 1 i.

Stedelijk Museum, Amsterdam. Ellsworth Kelly: Schilderijen Sept. 15-Oct. I S. Katonah Gallery, Katonah, New York. Ellsworth Kelly:

en beelden 1963—1979/Paintings and Sculptures —Temin, t hristine. "Newbur) St. Beckons Hub V.untcd Wall Sculptures. |une IS-Aug. 11.

1963-1979. Dec. 13, 1979-Feb. J, 1980. Organized b) Artists." The Boston (,l<>hc. Sept. 16, 1982, p. 38. —Campbell, Lawrence. "Wall Sculptures by Ellsworth Ed\ de Wilde and Rini Dippel. Exh. cat., with text by \\ hitnej Museum of American Art, New York. Ellsworth Kellj on Exhibit in Katonah." The hew York Times,

Barbara Rose and statement b) Kelly. In English and Kcllx: Sculpture. Dec. I", L982-Feb. 2", 1983. |ul\ ", 1985, p. WC :i6.

Dutch; trans. ( aroline ter Braak and Ina Rike. Traveled Organized b\ Emil) Rauh Pulitzer and Patterson Sims. Anne Weber Gallery, Georgetown, Maine. Ellsworth Kcllx

in modified form to Hayward Gallery, 1 ondon, Exh. cat., with foreword by Tom Armstrong, Prints. July I4-Aug. 4.

L Feb. 27-April 7, 1 >S<>; Musee National d'Art Modernc acknowledgments by Sims and Pulitzer, and cat. —Crichton, Alan. "I ithographs by Ellsworth Kelly and Centre Georges Pompidou, Paris, as Ellsworth Kelly: raisonne, Traveled to the Saint Louis Art Museum, Photographs by Todd Webb." Art Niw England

Peintures et sculptures 1968-1979, April 2^-|unc I \ March 2h-May 30 (exh. cat., with text by (Brighton, Massachusetts) 6, no. 11 (Nov. 1985), p. 12. 1980 (exh. cat., with statement bj Pontus Hulten; Alexandra Bellos).

trans. C atherme Ferbos and ' atherme Thieck); and — Brenson, Michael. "In Sculpture, Too, He Is an Artist 1986

Staatliche Kunsthallc, Baden-Baden, as / Ilsworth Kelly of Surprises." The Ncir York Times, Dec. 12. 1982, BlumHelman Gallery, New York. Ellsworth Kelly. Paintings.

Gemaldeund Skulpturen 1966-1979, fuly 5-Sepi 7, section 2, pp. 1, 38. April 30-June 7. In conjunction with BlumHelman

19S0 (exh. cat., with foreword b) Katharui.i —dram, Daniel. "Kell\ Explores Two Media." Warehouse, New iork. Ellsworth Ke l\: Sculptures.

Schmidt and text b) Antje von Graevenitz; trans. Newsday (New York), Dec. Jl, 1982, part II, May 3-June 7. Exh. cat., Ellsworth helix: Paintings and

Elisabeth Jappe). pp. 1 5—16. Sculptures 1986

Anderson. Susan Heller. "Paris Hails 1 — Ilsworth Kelly, —Russell, [ohn. "Art. 1 Ilsworth Kelly." The Sew York — Brenson. Michael. "Ellsworth Kell)." The New York Foster Son. His Art." 2". and The New \">k Times, Times, Dec. 17, 19S2, P . C34. Times, May 9, 1986, p. ( 19S0, v. [ulj 26. p. —Spies, Werner. "Reduktion als Widerstand: Skulptur in —Westfall, Stephen. "Ellsworth Kelly at BlumHelman. —Michel, [acques. "Peintures d'Ellsworth Kelly: La \menka/Das Whitney Museum /eigt Ellsworth Kelb." BlumHelman Warehouse and Kent." \rt m \merica _ / structure des choses." I \donde (Paris), 1 5, 1980, Maj I Frankfurter Allgemeine Zeitung (Frankfurt), Feb. 5, (New iork) 4. no. 1 (Nov. 1986), pp. 161-62. p. 2<). 1983, p. 25.

—Overy, Paul. "Ellsworth Kell) in I urope." 1987 Intcrihitioii.il Herald (Pans), March 21, Tribune 1980, 1983 BlumHelman Gallery, New ^ork. Ellsworth Kcllx: ( oral Leaf P. 9W. BlumHelman Gallery, New iork. Ellsworth Kelly. New Drawings. May 4-June 6. Roberts. |ohn. — "Ellsworth Kell) at the Hayward." Paintings. Dec. I. 1982-Jan. 8, 1983 — Russell, John. "Roy Lichtenstein ard Ellsworth

Artscribe (London), do. 22 i April 1980), 57-58. Kohn, Michael. pp. — "Ellsworth Kelly." Flash Art (Milan i. Kelly." The New York Times, June 5, 1987, p. 24C. Shepherd. — Michael. "Ellsworth Kelly." Arts Review no. 1 I I (March 1983), p. 58 Fort Worth Art Museum, Texas. Ellsworth Kelly: Works on don), Feb. 29, 1980, p. 87. — I.icht, Matthew. 'I Ilsworth Kelly." Arts Magazine Paper. Sept. 1 3-Oct. 25. Organize^ by Diane Upright. (New York) 5, no. 6 deb. 1983), p. 41. Exh. cat., with text by Upright, acknc wledgments b\ 1980 E. A. Carmean. |r., and introduction by I lenr\ Albright-Knox \n Gallery, Buffalo. Paperworks by Ellsworth 1984 Geldzahler. In conjunction with Museum of Fine Arts, Kelly. Aug. 19-Oct. 19. Margo I eavin Gallery, bos Angeles. Painted Aluminum Wall Boston, Ellsworth Kcllx: Seven Paintings (19.S2-.SS/ Sculpture, [an. 12-I-eb. is. In conjunction with Leo 1987). Dec. 2, 1987-Jan. 31, 1988. ( rganized by

1981 ( astelli Gallery, New iork. Weathering Steel Wall I [revor f. airbrother; exh. cat., with text b\ Fairbrother BlumHelman Gallery, New iork Paintings Sculpture. | & Sculpture, fan. 21-Feb. is. K h. cat., Ellsworth Kcllx. Traveled to Art Gallery of Ontario, Toronto, April 7—Maj 2. In conjunction with Leo Castelh Gallery, w ith statement b\ Kelly. March 5-May 15, 1988; Baltimore Museum of Art,

New York. April 1 and Paintings. l-Maj 9; Castelli —Muchnic, Suzanne, "The Galleries: La Cienega Area." Ma) U-Jul) 24. 1988; San Francisco Museum Uptown. New iork. Plant Drawings. April 11-May 2. Los Angeles limes, fan. 27, part VI, 2, 4. 1984, pp. ol Modern Art, Aug. 1 1-Sept. 25, 19} 8; -\nd

< tat.. ombined exh. Ellsworth Kcllx. Goldman Krafi (.alien. ( hicago. / Ilsworth Kelly: Painted Nelson-Atkins Museum of Art, Kansas ( ity, Oct. 22- Russell, "Art: Ellsworth and Red (.rooms — fohn Kell) Wall Sculpture/Graphics, April 6-May 1. Dcc Jl, 1988. shows.- (he Mew York Times, April I". 1981, p. C18. Bluml lelman York. / Gallery, New Ilsworth Kcllx: Works in — Baker, Kenneth. "1 Ilsworth Kelly's Bare-Bones

Larry Gagosian Gallery, Los Angeles. Ellsworth Kelly. Majoi \\ I bod. May 2-June 2 xh. cat. Abstract Aesthetic." San Francisco Chronicle. Paintings and Sculpture. Nov. 24-I)ec. 19. Brenson, Michael. — "Ellsworth Kelly: 'Wood Kug. 21, I9SS, pp. 12-13. sculptures.'" The New York Times, Maj 4, 1984,

p. C26. by < baiue VII. r'> I I IS. spectrum ( olnrs Arranged 117. Spectrum Colors Arranged by Chance V, 195 1

( ollage on paper (. ollage on paper

19 N 19 inches (99 I n 99 I cm) l J9 y J9 nuhcs (99.1 \ 9 '.l cm)

I'm. it. collection Pri\ ate collection Group Exhibitions 1995 Carpenter Gallery, Santa Fe. Ellsworth Kelly: Paintings Laura Ellsworth Kelly— Susan Sheehan Gallery, New York. and Sculpture. June 1 1-Jul) 1 5. 1948 1976-77: The ( reative Process, < Papei Images Kelly The Paris olored Exh. cat. Susan Sheehan Gallery, New York. Ellsworth Boris Mirski Art Gallery, Boston. Spring. Exh. cat., with introduction by with text and Oct. 17-Dec. 2. Prints 1964-1965. Oct. 1—31. Exh. cat., David Kiehl. interview by Henry Geldzahler. 1950 Matthew Marks Gallery. New York. Ellsworth Kelly: Galerie des Beaux- Arts, Pans. Premier Salon des jeunes 1996 preface Plant Drawings. Oct. 14-Nov. 28. Exh. cat., peintres. Jan. 26-Feb. 15. Exh. cat., with by Greenberg Van Doren Gallery, St. Louis. Ellsworth Kelly: with text by John Ashbery. Pierre Descargues. Black and White. Jan. 25-Apnl IV n —Schwabsky, Barry. "Ellsworth Kelly." Artforum —Bouret, Jean. "Le Premier Salo.i des jeunes peintres. —Duffy, Robert W. "The Essence of Ellsworth Kelly." (New York) 51, no. 5 (Jan. 1993), p. 85. Arts: Beaux arts, litteiature, spectacles (Paris), Jan. 27, Post-Dispatch, March 24, 1996, p. 4D. Gallery: Ellsworth Kelly." St. Lows —Solomon, Deborah. "The 1950, pp. 1,4.

York Oct. 21, 1 992, Pans. Seme Salon des The Wall Street Journal (New ), Palais des Beaux-Arts de la Ville de cat., with p. A 14. realites nouvelles. June ID-July 15. Exh. Documenta Room. Anthony d'Offay Gallery, London. The introduction b\ A. 1 redo Sides. Oct. 21-Nov. 2(). Kelly. BlumHelman Gallery, New York. Ellsworth 1951 Exh. cat., with text des Nov. 11, 1992-Jan. 2, 1993. S,ilon des Realites Nouvelles, Paris. 6bne Salon by Klaus Kertess. realites nouvelles. June. Exh. cat. Yorker (New York) Celebration —"Ellsworth Kelly." The New Museum of Fine Arts, Boston. 7Sth A inwersary 14. 1992), p. 20. the Museum of Erne Arts. 68,no.43(Dec I xhibition of the School of Kelly. Installation. Leo Castelli Gallery, New York. Ellsworth June "-Sept. 16. published Nov. 21 -Dec. 19 Galerie Maeght, Paris. Tendance. Oct. Exh. cat., "Spotlight: Ellsworth Kelly." (Oct. 1951), —Bonami, Francesco. m Dcrncre le Miroir (Pans), no. 41 169 (March-April 1993), Flash Art (Milan) 26, no. with text by Charles Estienne. L'Observatew p. 77. —Estienne, Charles. "Mur et ch( valet." (Pans), no. 80 (Nov. 22, 1951), p. 19. 1993 Louis. Ellsworth Kelly Editions. Greenberg Gallery. St. 1952 published in Feb. 4-April J. Galerie Maeght, Paris. Tendance. Oct Exh. cat., Modern, New York. Ellsworth Kelly Prints. with text Hirschl & Adler Dernere le Miroir (Pans), no. 5C (Oct. 1952), June 3-Jul\ 2. by Michel Seuphor.

1994 1953 Family Foundation, Santa Monica, California. The Eh Broad Museo de Arte Contemporaneo, Santinder, Spain. Foundation Exhibition. The Eli Broad Family Exposicion Internacional de Art Abstracto. Jan. 29-Jul) 51. London. Spencertown: Recent Anthony d'Offay Gallery, 1956 Ellsworth Kelly. Sept. 8-Oct. 1 S. Paintings by The Museum of Modern Art, New York. Recent Drawings by Anthony d'Offay and Matthew Marks Organized U.S.A. April 2S-Aug. 5. Exh. cat. Traveled to Matthew Marks Gallery, New York, 1995. Exh. cat., with Oct. 29, 1994-Jan. 29, 1957 by lack Shear and introduction photographic text Whitney Museum of American Art, New York. Bois. by Yve-Alain Young Amend 1957. Feb. 27-Apnl 14. Exh. cat., Holland. "Ellsworth Kelly." —Cotter, with foreword by Lloyd Goodrich. The New York Times. Dec. 16, 1994, p. C36. —P|ollet|, E(hzabeth). "Young Americans." Kuspit, Donald. "Ellsworth Kelly: — Arts Magazine (New York) 31, no. 7 (April 1957), Matthew Marks Gallery." Artforum (New York) 33, pp. 57-58. no. 7 [March 1995), pp. 88-89. Adam, Alfred. "Ellsworth Kelly: Matthew —Mac 1958 no. (Feb. 1995), Marks." ARlnews (New York) 94, 2 American Art: World's Fair, United States Pavilion, Brussels. 121. p. Four Exhibitions. April 17-Oct IS. Organized by the Milwaukee Art Museum. Ellsworth Kelly: Works from the American Federation of Arts. E

119.9. Circle Line 11 •).!(). Circle Form

119.14. Vertical Band 119.15. Rectangle 1 19.13. Square Form

119 20 W/»/«? /

119.6. Diagonal 119.7. Diagonal I ines

\\9A\.Mandorla Form 119.12. Triangle form

1 19.1 -.40. Une, Form and Color. |4S I

Ink on paper (.1-.9, .17-.18) and collage on paper (.10-.16, .19-.40)

" .. 8 inches (19.1 n 20.3 cm)

Private collection 119.16. Horizontal Band 119.17. White and Black 119.24. Green lW.2t.Red. Yellow. Blue

119.29. Yellow and Blue 119.30. Nine Colors

119 H Mack and Yellow 119.35. B/ucft. Brown. \\ JWfc

119.39. W7M7e <,« WV«/«? 119.40. Mack.,,, Mack 119.21. Red 119.22. Yellow 119.23. Blue

119.26. Red, Blue. Yellow 114.27. Red and Yellow 119.28. Blue and Red

119.31. Red and Blue 119.32. Blue and Red 119.33. Vurple and Orange

II UV.U. Pink and Orange WVM. Blue and White \\v.\H.(,reen urves I- 1 '. . Study for White over Blue, I 95

Rcliel collage on paper

- v • mi, Ins (24.1 x 6.7 x 1.' cm)

Private collection I2C Study \\ hue fot Plaque: Bridge Arch and Reflection, 1951

Collage on paper

14 . inches [51.4* J6.2cm]

Private collection

123. Four Color Panels. 1953

i ollagc on papi t

cm) j , [2! inches (8.9 * H.8

Prii att i ollection 124. Nine Colors on White, 1953 i ollage on paper

4'' 23! v 19 inches (59.7 x 8 cm

Private collection 125. Gauloise Blue with Red Curve, 1954

( i illage on postcard

Ix 14 cm)

Private collection, Gloucester, Massachusetts i2o.. White ( unit »n White. 1955 c ollage on paper

,, n 15.2 cm) i | inches 14.9

Private collection 127. Wall, Beekman Downtown Hospital, [955

Pencil and gouache on paper

i: , x i: . inches [32.4 x »2.4cm)

Privan collection 128. Preliminary Study for Wall. 1955

t, ollagc on paper

10 x 9 inches (25 7 n 22 9 cm]

Private collection

129, Study foi a White sculpture. 1958

Pencil and collage on paper

14 k 12 inches 16 8 x JO 8 cm)

Private collection Kaif to

130. Study for Blue White, I960

Ink on paper

U inches (77.8 k 57.5 cm)

The Art Institute <>l ( hicago, B. I 1 lolland Memorial.

Restricted gift of Me and Mrs B < Holland in honor of Douglas Druick 131. White and Red, 1962

Ink on paper

28! v 22! inches (72.4 \ S7.2 cm)

Privat< collection, S in I rancisco 132. One Stroke, 1962

Pencil on papei

22 inches [72 4x57.2 cm)

Solomon K Guggenheim Museum, New York, Purchased with funds contributed by Beatrice 1 1 and Silas Rhodes 69 I svs 133. Untitled. 1962

Pencil "ii papei

28 \ 11' inches (72-4 ^ 57.2 cm]

I'ru .Hi collection I 14. Studies Yellow, for Red and Blue Curves. 1971

Pencil on paper

16! v 12 inches (41 9 x \2.] cm)

Private collection 135. Study for Curve, 1973

Pencil on paper

in J9 inches (99 I x 99.1 cm)

Private collection 136. Wall, 1976

Pencil and collage on paper

29 x 23 inches (73.7 h J8.4cm)

Private collection [37. Black White, 1976

Pencil .ind collage on paper

42 \ J1 . inches [106 7 n 80.6 cm]

Private collection w_ 138. Study foi Painting in Eighteen Panels, l

Collage on pap< i

" is x 124 . inches (45 x 529.6 cm)

Private collet tion 1982 140. Lines (4/4) Radius^ 164", l\ ncil and ink on papei

"I ;,, x 16 inches (91.4 v 4cm)

Private collection 139. Lines (1/4) Radius: 164 . 1982

Pencil nil paper

56 x }6 inches (91.4 v 91.4 cm)

Private collo tion

4 '>4 [42. I emon Branch, l

Pencil on paper

28 ^ 22 inches [72 4 n J7.2 cm)

Solomon R Guggenheim Museum. New York, Purchased with funds contributed bj Beatrice and Silas H Rhodes 69.1896 L43. Wild Grape, 1980

Pencil "ii paper

JO x 44 inches (76 2x111.8 cm)

Meyerhoff, Phoenix, Maryland ( ollection of Robert and |ane 144. Datura. I

Pencil on p.) |" I

)0 x 22 inches (76.2 x S5

Private collection 145. Fig, 1982

Graphite on papei

cm) JO x 22 inches (76 2 n SS 9

Private collection, San Francisco 146. Bnar. 1961

Ink on paper

js inches [57.2 n 72.4 cm)

Wadsworch Atheneum, Hartford, < onnecticut, Gift of

Samuel Wagstaff in memor) of I Iva Mc< ormick •

14'. Sunflower. 1983

Pencil >>" paper

:: v JO inches (55.9 v 76.2 cm)

i ollection of |ack shear 148. Two Irises. 1983

Pencil on paper

22 v 2s inches (55.9x71 I cm)

Private collection, San I ran* isco l \^"> U >. Siberian Iris,

Ink on papi i

cm) JO v 22! niches (76.2 x S7.2

( onneccicut I ce Kimmell, Ridgefield, ( ollection ol Mi and Mrs ISO. Four Blacks and Whites, Upper Manhattan, 1957

( ullage mi postcard on paper

} n S inches (S ^ x 14 cm)

Private collection

151. Statue of Liberty. 1957

( ollage >>n postcard

5 k3! m Jus (14 x 8.9 cm)

Private collection ' Vuileries, 1964 [53. Study foi .i Blue and W bite Sculpture fot « 152. Horizontal "A," 1957

( ollage on postcard i ollage on postcard

JVixi inches (8 9 » 14 urn J! v J! inches (8.9 x Nan)

Privati collection Private collection Plulipshurg. Si Maarten, Neiherti

154. Horizontal Nude, \" 4 155. Philipsburg, 1974

( ollage "ii postcard i m postcard

4 x 6 inches (10.8 x 15.2 cm) 4 v S inches (10.2 x 14 9 cm)

Private collection Private collection aggHM-yw* B&^H H

157. //><• Young Spartans, [984 si.uhuni. 156. ( incinnati Riverfront 1980

i ollagi "ii postcard Collage on postcard

-i „ 5 inches (10.5 > 14 9 cm) inches (8.9 x 14 cm) Private collection Private collection 1 >H- Beach Cabana, Meschers #/. 1950

Gelatin-silver print

14x11 inches [35 <^ x 27 9 cm

Private collection "I l' ,MI 160. lirtcks. Mi -

Gelatin-silver prinl 14 v II inches (35.6 >c 27.9 cm

14 v 11 inches (35 6 n 27.9 cm) Private collection

Private collection Auslerlitz, (l 1 61 . Shelled Bunker, Meschers #7, 1950 162. Curve Seen from a Highway, New York, 19

( lelatin-silver print ( lelatin-silver print

v IS. II x 14 inches (27 9 x J5 I 11x14 inches (27.9 6 cm)

Pn\ ate collection Private collection 164. Hangar Doorway, Saint Barts, 1977 163. Sidewalk, New York City, 1970

( lelatin-silver print Gelatin-silver print

II x 14 inches (27.9 * 15.6 cm) 11 x 14 inches (27.9x35.6 cm)

Private collection Private collection \i- :

|IEI> ROCK. ROCKER CREEI

Chronology 1421-29 1944

Ellsworth Kelly is horn on May 31 in Newburgh, New York. At the beginning of the year, Kelly is transferred to a newl)

"( father, unit, This I tu/supon Nathalie Brunei's bronology 1943—1954" His Allan Howe Kelly, who works for the United formed the 23rd Headquarters Special Troops, at Camp in Yve-Alain li<>i>. Lick ( owart I llsworth Kelly: States Army at West Point, New York, and his mother, Forest, Tennessee, a decoy unit specializing in camouflage

The Years in France, 1948 1954 exh cat. (Washington, /).(.".. National Florence Githens Kelly, a former teacher, are from Wheeling, techniques, especiall) those designed to conceal troop

992), ' valuable << source for material <»' Ellsworth Kelly's West Virginia. His older brother, Allan, was horn in 1921. positions from the enemy. Early in May, Kelly's outfit leaves earl) years. When Kelly is six months old, he moves with his family to for Europe. His tour of duty takes him to England, France,

Pittsburgh. His brother David is born in 1926. During a and Germany. He is involved in the Allied invasion of

childhood illness, Kelly is introduced by his mother and Normandy, arriving ten days after D day in a maneuver grandmother, Louisa (Rosenleibe) Kelly, to hud watching, known as "D + 10." He keeps sketchbooks during this time

which awakens in Kelly an early passion for color and form and makes drawings and watercolors. Kelly is stationed at that he continues to develop m later years through studying Samt-Germain-en-Laye, near Paris, in September. When he

the works of illustrator I ouis Agassiz Fuertes and artist and visits Pans for the first time, he is unable to visit the cit) *s ornithologist fohn |ames Audubon. The Kell) famil) moves museums, which are closed due to the war. to Oradell, New Jersey, in 1929, when Allan Kelly becomes

an insurance-company executive at Accident and Casualt] oi 1945 Winterthur, Switzerland. In May, Kelly's battalion returns to the United States. On

October 21, he is discharged in Jacksonville, Florida. 1930-38 During these years, the family moves frequently, although 1946-47

they do not leave the Oradell vicinity. Kelly attends In fanuary, Kelly enrolls in the Diploma Program at the elemental and junior high school at Oradell Junior High School of the Museum of Fine Arts in Boston (hereafter

School from 1931 to 19 IS. Sixth-grade teacher Dorothy referred to as the Boston Museum School) under the G.I. Bill Opsin encourages Kell) to paint outdoors. In 1937 and 1938, of Rights, which pays his tuition. He studies drawing with

he creates cover artworks for the school's literary magazine, Ture Bengtz and painting with Karl Zerbe, an artist

( hirp. The 1938 yearbook lists Kelly as "Best Artist" and associated with German Expressionism. He spends many

"Class Giant." He spends the summer of 1 9 38 in Cape Cod, hours in the galleries of the Museum of Fine Arts; for a class where he paints. he paints copies of two Old Master works in the museum's

collection, Ambrogio Lorenzetti's Virgin and Child (c.\. late

1938-41 I330s-carly I ?40s) and (Jacopo Rohusti) Tintoretto's

Kell) receives from his mother the hook World-Famous Portrait "I a Young Man (ca. 1580). He is especially

Paintings, ed. Rockwell Kent ( 1939), in which he discovers a impressed by a lecture given b\ visiting artist Max Beckmann favorite painting: Paul Cezanne's Chestnut Trees at the his dt Kelly lives at the Norfolk House Center in Roxbury, Boston,

Bouffan ( 1885-86). He attends Dwight Morrow High School where he teaches art classes two nights a week in exchange

in Englevvood, New fersey. He makes his first oil painting, tor room and board. He visits the Isabella Stewart Gardnei which he shows to art teacher Evelyn Robbins, who Museum in Boston, and the Germanic Museum and the

recognizes and encourages his talent. 1 le is also active in the Fogg Art Museum in Cambridge, while attending classes al school's theater club. The Mask and Wig, run by Helen the school. He occasionally travels to New York and visits the Travolta. Kell) graduates in the spring of 1941. He visits the Museum of Modern Art and the Museum of Non-Ob|eetivc Metropolitan Museum of Art, New York. Painting (later named the Solomon R. Guggenheim Museum).

1941^3 1948

Kelly moves to Gainsborough Street, Brooklyn, and studies Kelly's work is presented for the first time in a group

applied arts at Pratt Institute with Maitland E. Graves and exhibition at the Boris Mirski Art Gallery, Boston. He Eugen H. Petersen. graduates from the Boston Museum School in the spring. In October, Kelly returns to France with funds provided b\

1 94 3 the G.I. Bill and stays at the Hotel Saint-George on rue

Kelly is inducted into the United States Army at Fort Dix, Bonaparte in Paris. Soon after arriving, Kelly travels to the

New Jersey on January 1. Initially stationed at Fort Dix, Musee d'Unterlinden in Colmar to see Matthias ( iriinewald's

Kell) is sent in late January to (amp Hale, ( olorado, to Isenheim Altarpiece (ca. 1510-1 5). In Pans, he registers at

I. I llsworth Kellj (left) with his brothers, train with the mountain-ski troops. Having requested [Ik 1 eole des Beaux-Arts, but attends classes infrequently.

assignment to the artist David (center) and Mian (right), in Oradell 603rd Engineers Camouflage Battalion at Kelly becomes friends with American Jack Youngerman,

I ort Meade, Maryland, he is transferred there in March; here, who arrived in Fans m 1947. Kelly's paintings, which are I New |ersey, I

he executes silkscreen posters designed by ( olonel I lomer mostly half-length portraits, show the influence of Pablo Saint-Gaudens, son of renowned sculptor Augustus Saint- Picasso's work and of Byzantine and Romanesque art. He

Gaudens, that are used in classes for training the troops m visits the Musee du I ouvre, the Musee de Cluny, the Musee

concealment techniques. Guimet, the Musee ( ernuschi, .m-\c\ the library of the Byzantine Institute, an extension of Harvard University. Kell)

paints religious figures and for the first time his art begins to „

reveal interest an in abstraction, lie regularlj visits the funding coming to an end, Kelly aceepts a position teaching Musee de I'Homme, Musee National d'Histoire Naturelle, art to children at the American School in Pins. Delphine's and the Musee National d'Art Moderne. i broth* l rancis Sey rig introduces Kelly to painter ( Koskas and pianist Main Naude. Art dealer Demse Rene 1949 invites Kelly and Youngerman to present their work to the During the spring, Kelly travels in France, visiting Poitiers, gallery's amsts tor consideration, but they are not accepted. ( hauvigny, Saint-Savin, lavant, and Mont-Saint-Michel, and making drawings of the frescoes, stonework, and sculptures 1951

that he encounters. Kelly submits two .\n paintings to Vrtist Eduardo Paolozzi introduces Kelly to Louis Clayeux, jSUSSyj^-Wa/KKS; exhibition at the American ( enter, but they are rejected. director ot ( lalerie Maeghi Kelly, koskas, and Youngerm in He moves into Hotel the de Bourgogne on the lie Saint I ouis, convince lean Robert Arnaud and fohn 1 1 tnklin Koenig to where he stays tor almost three \ears. Kelly paints I'Lmt /, turn the cellai ol ii thi bookstore into a gallery. I he three the first example of his use of a white form against a bla>.k .mists convert the space thi mselves .u\^\ kdb's first solo

ground. Plant II (eat. no. 1) marks the <>t his exhibition emergence takes place there, it Galerie Arnaud. Kelly and interest in Isomorphic forms. He to make begins collages. Youngerman write to I [ilia R< bay, founding director of the Toilette is KelU's hrst painting developed In simplifying the Guggenheim Museum -tn^ a longtime friend "t Vrp, of an form object, in this case, a lurkish-style toilet, Musician Unbeknownst to Kelly, she recommends him for a and composer John i age .\n<.\ dancer and choreographei Guggenheim Museum scholarship, which he does not receive Merce i. unningham, who are also guests at the Hotel de Kelly applies to the fohn Simon Guggenheim Memorial Bourgogne, Kelly his studio. After meet and visit traveling to I oundation with a grant proposal for .i book ol linoleum

Brittanny ( artist boston. with Ralph oburn, .\n friend from prints, "I me, form and t olor." Kelly lists Arp, I lenn Pierre Paris, Kellv spends the summer there. Back in C oburn .\\k\ Roche, Seuphor, and I lenn Seyrig as references; in April of Kelly visit Alice B. [bklas, who shows them the late Gertrude the following year, Kelly learns that he did not receive the

art collection. is Stein's They also attend exhibitions of works grant and the book never published. I le sends a painting

In Paul Gauguin, Vasilj Henri Matisse, t.i 2. Photo and ink sketches in Kellj 's passport, Kandinsky, and the Boston Museum School for inclusion in a group

Picasso. Kelly completes his first relief, W indow III, in xliibition celebrating the school's seventy fifth anniversary [954. s ' w hich he sew string onto the cam as. I le prints his first \tu i tin exhibition doses, the painting / ./ ombe III, rlu

lithograph on the press at the I cole des Beaux Arts. Kelly only abstract work in the exhibition, is sent to i age in

makes a series of drawings based on the windows at the New York, with whom Kelly has been corresponding, until

Musee National d'Art Moderne and works with joined panels Kelly's own return to the United States in 1954. Kelly, Naude.

tor the first time to create Window, Museum of Modern Art, and Youngerman \isit ( onstantin Brancusi's Pans studio

Paris (cat. no. 5). In December. Kellj goes to Sanary, a Gei irges Braque admires Kelly's painting Viesi bei in an

a Swiss n Mediterranean town, to stay with ( oburn. They \isit the exhibition at Galerie Maeght. Cusi.n Zumsteg, Ktil<

Musee Picasso, at the ( hateau (.rimaldi, in Antibes. manufacturer and an collectoi who is also impressed by

Kelly's work, commissions him to create I ibric designs

1950 in November, Kelly again visits ( oburn in Sanary, w he re he

Kelly returns to Pans. He makes Window V, his first shaped is a guest with Naudi and \mn Weber, a friend from Boston.

I a sixty foui wood cutout. He meets French critic, painter, and art Kelly makes ( olors for a arge Wall (cai no 16), separate panels of historian Michel Seuphor, who introduces him to lean (Hans] panel painting, his first work composed of Arp. Kelly participates in his first group exhibition in Pans, at single colors.

the ( .alene des beaux Ails. In I chruar\. \i p in\ lies Kelly,

C oburn, and Youngerman to his studio in Meudon. Inspired 1952 remains until May, Kelly buys dyed bj the collages of Arp .\nd the late Sophie Taeuber-Arp, Kellj In Sanary, where he Blue White begins making collages in which he applies their principles, cotton from which he creates Red Yellow

his hrsi work fabric instead ol paint I le the laws of chance, to determine the arrangemenl ol the (cat. no. 1 7), using a dress for Weber, using th< vim, fabric. Kelly nsits elements He meets Italian painter Alberto Magnelli, I »ada designs

by I e a Unite d'l labitation, the apartment complex designed pioneer I rancis Pieahia, and C.corgcs VantongerloO, at the villa i Marseilles. In Ma\. he joins Naude member of the De sti|l -roup, lehx Del Marie, Secretary orbusiei in to ot friend Wiedei in Ibrcy, a village on th< Marne. General ol Salon des Realites Houvelles, invites Kelly foanna

I writes i,, t I. inde Mom i s stepson, [acques loschedi exhibit in ihe fifth Salon, ( oburn and Youngerman also show Kelly s < In mis the I rench artisr is refused who invites him to iiverny, W her< at this Salon. One of Kelly's works, White Relief,

< and Youngerman of art marries late Nymphias paintings. Kelly, oburn, on the basis that it is not a work Youngerman Internaeional de \rte Hemi Seyrig, Delphine's participate in Primera Wuestra I rench actress Delphine Seyrig. Abstractor a group exhibition at Galerie Quatro Mums m father, buys Antibes, tin only work Kelly sells while living Kelly mow. to a studio at i aracas, Venezuela. In September, m France. Kelly makes I'mL- Rectangle, his fust painting

( I arge Wall at t I le exhibits olors foi a J. Kelly (right) with Alexander ( aider and of at u> des I leurs. Pans. based on a collage. He spends the month August Maeght, where he meets sculptoi Vlberto Giacometti of Delphine's mother, I Icrmme, Galerie Delphine Seyrig, Roxbury, ( onnecticut, 1958. Villa I a ( ombe, the home sketches, collages, and painter |o.ui Mm> in the village ot Meschers. Kelly makes and photographs during his stav. In the fall, with his (..I. Bill

j 15 Ellsworth Kelly Chronology 1 953 Whitney (Kelly's fust museum purchase). He is commissioned Black Square (cat. no. 23) and \\ bite Square (cat. no. 22) are to complete a lobb) mural at Eastmore House, an apartment the List Pans. paintings Kelly completes m He meets Marcel building in New York. He makes his first drawings ol plants, Breuer, oin oi three architects chosen to design the UNESCO a subject he will continue to explore' m drawings, to the headquarters m Paris, and artist \le\anJer t alder. kellv present day. Painter Agnes Martin, fiber artist Lenore spends Christmas near Rotterdam, the Netherlands, where he law in v, and Youngerman join the growing community of Inst encounters Piet Mondrian's late works at the Museum artists living at Coenties Slip. Boj mans-van Beumngen. 1958

[954 Kelly has his first solo exhibition at Galerie Maeght (where Kell) reads a long review in Mil news of an Ad Remhardt he will show until 1965); English collector E. J. Powers buvs

exhibition, RanlhnJt: I he Position and Perils of Purity, held eight paintings, one of which, Broadway (cat. no. JO), he- at Bettj Parsons Gallery, New York, ,md begins to think that gives to Tate Gallery, London. Kelly begins a series of wood his work might also be well-received In audiences in New reliefs, his tirst since 1951.

York. In fuly, he returns to the United States on the Queen Mar\ Once Kellj has settled into a studio apartment at 1959

109 Broad Street in lower Manhattan, he contacts, on Cage's kellv \ work is included in Sixteen Americans, a landmark recommendation, painter Robert Rauschenberg. He visits exhibition curated by Dorothy C. Miller at the Museum of

I ri d Mitchell, an artist he knew in Paris, who lues nearby, in Modern Art, New York. He meets artists Jasper Johns and a loft at Coenties Slip. Kelly supports himself with a night job Frank Stella. His first freestanding sculptures, which are

at the main New York City branch of the United States Post fabricated at Edison Price, are exhibited for the first time, at

Office, on 34th Street and 8th Avenue. C alder, w ho v isits Betty Parsons Gallery. He begins to make painted metal reliefs 4. Transportation Building I obby Sculpture, Kelly at his studio, mentions his work to Alfred H. Barr, Jr., 1956-57 Anodized aluminum; 104 panels, director of the Museum of Modern Art, and to Janus 1960

144 x x 768 12 inches (365.8 x 1,950 s 30.5 cm) [ohnson Sweenev, director of the Solomon R. Guggenheim Kelly's designs for costumes and a stage curtain that he had visits (II. Transportation Building, Penn ( enter, Museum. Sweeney Kelly's studio. Curator Dorothy created for choreographer Paul Taylor in 1958 are used in

Miller, representing the acquisition committee the Museum a Philadelphia. of Tablet, dance performed by Taylor's troupe at the Festival of Modern Art, also visits. Most of Kelly's works this year of Two Worlds in Spoleto, Italy. Kelly travels to Puerto Rico stem from ideas or projects that he began in France. Kelly at Christmas. He spends the summer in The Springs, Fast meets Reinhardt. Hampton, New York, where he meets artist James Rosenquist, who also moves to Coenties Slip. 1955

Art dealer David Herbert, who works for Sidney Jams, visits 1961 Kelly's Broad Street studio and advises art dealer and gallery- kellv receives the Fourth Painting Prize at The 1961 Parsons also owner Betty to visit. Parsons otters Kelly a solo Pittsburgh International hxhihition of ( ontemporary Paint nr. exhibition. Kelly completes White Plaque: Bridge Arch and and Sculpture, organized by Gordon Bailey Washburn and Reflection (cat. no. 24). a large wood cutout, the idea for Leon Anthony Arkus at the Department of Fine Arts,

which he conceived in Pans. Carnegie Institute, Pittsburgh. He spends the summer in The Springs. 1956

Kelly's first solo exhibition in the United States opens in May 1962

at the Betty Parsons Gallery, New York. (He will continue Kelly is awarded the Flora Mayer Witkowsky Prize by to exhibit at Parsons until 1963.) In July, Kelly moves into the Art Institute of Chicago. He meets curator Henry

a loft at 3-5 Coenties Slip. He meets artist Robert Indiana, Geldzahler. His first solo exhibition in London is held at who also moves to ( oenties Slip. Through friend Richard Arthur Tooth tk Sons Ltd. 5. kellv, with paintings hi- made during the Kelly, a lighting consultant, Kelly receives his first sculpture

..! imm) summer m The Springs, 1 asi Hampton, commissions. Transportation Building I obby Sculpture and 1963 New York Foreground: Black White; background, Seven Sculptural Screens in Brass, both for Penn Center, Kellv receives the Brandeis Creative Arts Award from Philadelphia. These sculptures, which he fabricates at Brandeis University, Minister's left to right: White Alnc. Block Island II. White Edison Waltham, and the Education Priee, New York, and completes in 1957, mark Kelly's first Award at the Seventh International Art Exhibition, Tokvo Blue. Blue Pale Gray use of metal (anodized aluminum for the former and for the Kelly's first solo museum exhibition. Paintings. Sculpture latter, brass). He makes Painting in hire Panels, his first work and Drawings by Ellsworth Kelly, opens at the Washington comprised of canvases of varying sizes that are hung Gallery of Modern Art, Washington, D.C., and travels

separately on the wall. to Boston's Institute of Contemporary Art. It is also the first

museum exhibition to include his drawings. Kelly moves 1957 into the Hotel des Artistes on West 67th Street on the Kelly's paintings are selected for inclusion in Young America Upper West Side of Manhattan. 1957, a group exhibition at the Whitney Museum of Art, American New York; Atlantic ( I9S"6) is purchased by the 1964 I he \\ liui.es Museum hms the first Whitet I 1963), sculpture Kelly is awarded the Painting Prize at The 1964 Pittsburgh thai Kellj sells to an American museum Kellj spends the International Exhibition of I ontemporary Painting and summer in Bridgehampton, when he sees Waldman, through Sculpture organized bj Gustave von he Groschwitz and Leon whom meets critic Elizabeth ( Bakei and becomes

Anthony Arkus at Art, ( Museum ol arnegie Institute, friends with I lehtenstein. Kellj again designs COStUmeS fol

Pittsburgh. Kellj is commissioned r<> create a I'.u.l this for sculpture for the laylor, time the dance performance I ento KelK

facade of architect Philip Johnson's York Pavilion t<> New State begins fabricate large scale sculptures with Hon I ippincon

I^

is Harvard University, where it installed in the court at Rockefeller I mpire State Plaza in Albany, New York. Kelly's

to is Peabodj terrace, From October December, Kelij \isits work iik huled m / >oi umenta l\ . organized bj Arnold

Paris, where (.alerie Maeght holds a solo exhibition of his Bode, in Kassel, ( iermany. works. While m Pans, he begins to work on lithographs with

Maeght Editeur. Visiting the south of France, Kelt) makes L969

6. Costumes designed by Kellj for I ento, the acquaintance of Mare Chagall and explores ( hapelle du I arlj m the year, Kellj visits Mir6 on tin Spanish island a performance bj Paul Taylor Dance ( ompany, Rosaire des Dominicaines de Venee, Matisse's chapel in ol Majorca Kelb is chosen bj William I ieberman and

Venee. Roland Penrose to create > mural, Blue Green, for the New York, 1968. St. Paul dc UNES< building in Pans. For the firsi time, thirtj plant

196 5 drawings bj KelK are exhibited together in New York

Kellv has his first solo exhibition at Sidnej [anis < .alien. Painting .nnl Sculpture. 1940 1970, a group i xhibition New York (where Ik will show until D>~1). In Mas. Kellj organized bj Geldzahlei foi th( Metropolitan Museum ol

travels to Pans where his first series of lithographs, twentj \n.\ew York, I hi exhibition includes seven paintings and seven abstract color shapes, are exhibited at (.alerie Adnen five sculptures bj KelK. Maeght. He travels extensively throughout France and

Italy for the first tune since his return to the United States in 1970 in upstate New York, 1954. In France, he visits Bellc-Ile, Brittany, Dourdogne, In March. Kelly moves to Spencertown,

( I an old theater mi Main Normandv, Provence, and St. Paul de Venee. In Italy, he \isits and rents a studio in al\\ 's [all,

tow n of ( hatliam I le takes his firsi ol Assisi, Florence, OrvietO, Pompeii, Koine, and Siena. KeliJ Street in the nearln

trips Martin in the ( aribbean. KelK begins has his first solo exhibition at the FerUS Gallery, 1 OS Angeles frequent to Saint

create htho-raphs w nil ( .einiiu ( . I L, LOS tageles, (later named Irving Blum Gallery, where Kellj will shou to

until 1971). 1971

are published: / llsworth I he first monographs on KelK 1 966 Drawings, « ollages, Prints bj Diane Waldman and Stedelijk Museum, Amsterdam, purchases Blue Green Red /, Kelly:

seleets / llsworth Kelly bj fohn ( oplans, Kelly's first sale to a Furopean museum. Geldzahler KelK, along with fellow artists Helen Frankenthaler, R.OJ to represent the United States L972 I ichtenstein, and fules Olitski, KelK shows fourteen paintings m The < batham $< at the American Pavilion ol the Thirty-third Venice Biennale. solo exhibition organized bj with Paintings by I llsworth Kelly, a Kellj attends the opening m Venice, then travels Gallery, Buffalo San |.,ne Wood, at the Vlbrighi Knox Vri Geldzahler to Ravenna where thej see the mosaies at N Plaudia. Apollmaire in C lasse. at the Mausoleum of (.alia see (.lotto's later 1973 and at San Vitalc— and then t.. Padua to exhibition, / Ibworth Kelly, curated exeeutcs his first Kelly's first retrospective frescoes in the Arena I hapel. Kellj Museum of Modern Vrt, . t at the i is held no. 4f,), which h\ . Goossen, wall/floor puses, including Blue Red (eat. in Pasadena Art Museum, ( aliform,.. sculpture \ew York, and travels to :2s x as both a painting and a 7. I nf/f/wf, L983, Stainless steel, 126 n the work functions the Detroit Institute of Walkei \n ' enter, Minneapolis; and 189 inches x 571.5 x 480.1 cm). presents Ellsu (320 Arts le..( astelli Gallery, New York, 1967 first at thegallerj Dallas c made possible Series, Kelly's solo exhibition Museum of An, ommission is installed in kdly ( urved Kelly's commissioned painting W bite over Blue reimlaiK until 1992). KelK begins Collins States where Ik will show through funds donated bj Michael J, Killer's geodesic dome in the United I'.uekmmster large outdooi working with weathering steel and constructing Montreal Stedelijk Museum is the and Inc , and the at 67, matching grants from rhe S00, Pavilion Expo horizontal sculpture, sculptures, including his first completelj to purchase a seulpture. Blue Red first European museum planes placed 1982 httam i ompan) benefit opening is oi flat i which comprised I urve (cat, no. 68), Rocket (1963). directlj on the ground.

1968 works, ...eluding 1974 trasels to Paris and /urieh to install Kellj from the Vrt Institute of Kellj receives the Painting Prize The irtofthe Real, ' SA Colors for a large Wall,m Institute of \rts and is the National ( hicagO and elected tO I I Goossen '-;roup exhibition organized bj 1948-1968, a series of to.emie sculptures ,n et.ers. I le begins an ongoing meets Diane Waldman. 1 Museum of Modern Art Kellj for the and polished aluminum. studio New York weathering Steel who subsequentlj visits him at his in

< bronology j I" Ellsworth Kellj 1975 1983

Kelly has Ins first solo exhibition at BlumHelman Gallery, Dallas Museum of Art, which is being redesigned by architect New York (where he will show until L992). Kellj is selected Edward Larrabee Barnes, commissions Kellj to create a

the series at sculpture. its to inaugurate Matrix contemporary-art the Untitled, for reopening in January 1 484. Curve Wadsworth Atheneum, Hartford, Connecticut, in an XXIX is installed on the grounds of the hirnsworth House,

exhibition curated by Andrea Miller Keller that includes a designed by Ludwig Mies van der Rohe, in Piano, Illinois. series of ten drawings of corn stalks and two sculptures. 1984

1976 The National Gallery of Art, Washington, D.C ., creates a Kellj begins to work with Tyler Graphics in Katonah, room installation featuring seven paintings bj Kelly, kellv has

\ew York, where he creates works made from colored-paper four pieces included in ROSC '84 at the Arts Council in pulp, an etching, and lithographic prints. Dublin. He travels to Berlin, Dublin, London, and Pans.

[977 1985

Kellj travels through Spain, Italy, and France. His work is Kelly is commissioned to create public sculptures, completed

included in Docuntenta 6. in 1987, by the citv of Barcelona: The Barcelona Sculpture at General Moragues Plaza and Creueta del Coll. Kelly's

8. Red F/oor P.incl. 1992 Vcrj lie on canvas on 1978 photographs are exhibited for the first time, in A Second ivood, J16 x 478 x I inches (803.9 x 1,216 \ Kelly travels to Barcelona to experience Antoni Gaudi's Talent: Painters, and Sculptors Who Are Ah" Photographers,

architecture. He completes Color Panels for a Large Wall I. organized by Robert Metzger, at the Aldnch Museum of 2.5 cm). Installed at Wtstt.ilisi.lus I andesmuseum a work commissioned by the Central Trust Company, Contemporary Art, Ridgefield, Connecticut; the exhibition tur Kuiisr und KulcurgeschichtC Monster, Cincinnati. Kelly begins to fabricate sculptures with Peter travels to Baruch College Gallery in New York.

June 1 Carlson of Peter Carlson Enterprises, Sun Valley, California.

He begins a series of totem ic sculptures in stainless steel. 1986

Fibes and Schmitt of Schenectady begin construction on A room of eight paintings bv Kelly is installed as part of the Kelly's new studio next to his home in Spencertown. inaugural exhibition at the Museum of Contemporary Art, Los Angeles, Individuals: A Selected History of 1979 Contemporary Art, 1945-1986, organized by Julia Brown Inends of the Park commission Kelly to create a sculpture Turrell. Kelly creates Red Curve (cat. no. 85) for the

for Lincoln Park, Illinois. At thirty-six feet high, Curve XXII I. M. Pei-designed Raffles City Hotel in Singapore. He also

is Kelly's largest sculpture to date. Kelly participates in creates Houston Triptych for the 1 illie and Hugh Roy Cullen The ?6//7 Biennial Exhibition of Contemporary American Sculpture Garden at the Museum of Fine Arts, Houston. Painting, organized by Jane Livingston, at the Corcoran Gallery of Art, Washington, D.C., along with Willem de 1987-88

Kooning. Johns, Lichtenstem, and Rauschenberg. Kelly's first Kelly's first retrospective exhibition of works on paper,

major I uropean exhibition of painting and sculpture, Ellsworth Kelly: Works on Paper, curated by Diane Upright, Ellsworth Kelly. Schilderijen en heelden 1963-1979, opens at the Fort Worth Museum of Art and travels to organized by Edy de Wilde and Rim Dippel, opens at the Museum of Fine Arts, Boston; Art Gallery of Ontario, Stedelijk Museum, then travels to the Hayward Gallery, Toronto; Baltimore Museum of Art; San Francisco Museum London; Musee National d'Art Moderne, Centre Georges of Modern Art; and Nelson-Atkins Museum of Art, Kansas

Pompidou. Paris; and Staatliche Kunsthalle, Baden-Baden. City. His first retrospective of prints, / llsworth Kelly: A Print Retrospective, organized by the American Federation of the 1980 Arts, opens at the Detroit Institute of Arts, and travels to the

is Kellj made a I ellow of the Rhode Island School of Design, Huntsville Museum of Art, Alabama; Des Moines Art Center. Providence. Neuberger Museum, State University of New York at Purchase; Los Angeles County Museum of Art; Berkshire- 1981 Museum, Pittsfield, Massachusetts; Hood Museum of Art, With Peter Carlson and Gemini G.E.L., Kelly produces Dartmouth College, Hanover, New Hampshire; and

9. editions a series of Gaul, 199 I of painted-metal wall sculptures. He University Art Museum, University of California at Berkeley.

begins .1 series of tOtemic sculptures m wood. Kelly is awarded the Chevalier de POrdre des Arts et des Steel, 2 30 x 45 Kx 24 finches Lettres by the French Republic.

• • 1 15.6 x 62.2ci \rt.

Muset d' An ( ontemporain, Ntmes, France. A retrospective exhibition of Kelly's sculpture, Ellsworth 1989

Kelly: Sculpture, opens at the Whitney Museum and travels Kelly is invited by the Art Institute of Chicago to install a

to the Saint Louis Art Museum. Kelly meets photographer group «>f six single-panel paintings in the courtyard of the

Jack Shear. new Rice Wmg. I. M. Pei commissions Kelly's wall sculpture Dallas Panels for the Morton H. Meyerson Symphony Center in Dallas. The exhibition Ellsworth Kelly: Works on Paper

opens at Museum Overholland, Amsterdam. 1990 1996

Kelly is invited to curate the exhibition Fragmentation and Kelly is awarded the hrst Medal tor Outstanding

I as part of the of the Single orm Museum Modem Art's Achievement in the Arts on the 1 25th anniversary of the

Artist's Choice series. He completes his first floor painting, Boston Museum School; receives an Honorary Doctorate ol for Yellow Curve, m\ exhibition of the same name at Poitikus, Fine \rts from Bard ( ollege, Annandale-on-Hudson, New

Frankfurt. W bite ( urve is commissioned for the Swiss York; and becomes .in elected fellow of the American corporate headquarters of Nestle, in Vevey. Academ) oi Arts and Sciences. Kell) receives sculpture commissions tor Rafael Vinoly's Tokyo International forum

1991 and the Peter B. Lewis Theater of The Sacklei < enter tor Arts

In November, Kelly completes his second floor panel, BLick Education at the Solomon R. Guggenheim Museum,

( urve, at Grosse Orangene, Schloss Charlottenburg, Berlin, New York. Ellsworth Kelly: \ Retrospective, curated bj in conjunction with the exhibition Schwerelos. Diane Waldman, an exhibition spanning tilts years, opens at the Guggenheim Museum and travels to the Mus< um of

[992 C ontemporary Art, I os Angeles; Tate Gallery, 1 ondon; The traveling exhibition Ellsworth Kelly: The Years in and Haus der Kunst, Munich.

France, / ^48-/ 954, organized by Alfred Pacquement and Jack Cowart, opens at the Galerie Nationalc du Jeu de Paume, Paris, and travels to the National Gallery of Art, Washington, D.C. and Westfalisches Landesmuseum fur Kunst und Kulturgeschichte Munster, Munster. Kelly completes Red Floor Panel for the exhibition at the Westfalisches Landesmuseum. He makes Blue Floor Panel, his

first floor panel created in the United States, at Leo Castelli Gallery. Matthew Marks Gallery, New York, hosts Ellsworth Kelly: Plant Drawings, its first exhibition of Kelly's work. Kelly creates a room installation of paintings

for Docmnenta IX, organized by Jan Hoet. The Document\i

Room is Kelly's first exhibition at Anthony d'Offay Gallery, London. Kelly creates an artist's book of eleven lithographs, published by Limited Edition Club, illustrating Un Coup de Mallarme. dis ( 1 870) by French poet Stephane

1993

Kellj is presented with the Chevalier de la Legion d'Honneur by the French Republic at the French Embassy in Washington, D.C. He creates Gaul as part of a sculpture commission for the inauguration of the Norman Foster-designed Carre d'Art, Musee d'Art Contemporain, Nimes. Pratt Institute honors

Kelly with its Institute Medal and awards him an Honor u \ Doctorate of Fine Arts. Kelly completes the sculpture commission Memorial for the United States Holocaust Memorial Museum, designed by James Freed, in Washington,

D.C. Kelly is presented with the honorarj title of Amic de Barcelona, Friend of Barcelona, by Pascual Maragall, Mayor of Barcelona.

1994 The exhibition Ellsworth Kelly: The Process of Seeing, Center, curated by Sin Engberg, is held at the Walker Art Minneapolis.

1995 Henry- Kelly receives a sculpture commission from architect Cobb for the Federal Courthouse, Boston (to be completed

in late \99H).

Kell) < hronology J 19 Ellsworth I

Selected Exhibition History Solo Exhibitions —S(andler|, I|rving| H. "Ellsworth Kelly." ARTnews

i New York) 60, no. 7 (Nov. 1961), p. 13. '«•<•,/ t xhibition i f/i j>',I fry related articles ri i 1951 —T|illim|, S|idney|. "Ellsworth Kelly." Arts Magazine Galerie Arnaud, Pans. Kelly Peintures reliefs. & (New York) $6, no. 3 (Dee. 1961), p, 48 April 26-May 9. B. "Kelly." —G. Arts: beaux arts, littirature, spectacles I 962 (Paris), M.n 4, 1951. Arthur Tooth cv Sons Ltd., London. / llsworth Kelly. (Paris), —"Kelly." Combat Ma) 8, 1951, p. 4. Maj 29-June 23. Exh. cat., with introduction b) Lawrence Alio way. 1956 — Butcher, George. "Ellsworth Kell) Exhibition ai Betty Parsons Gallery, New York. Ellsworth Kelly: Paintings Tooth's Gallery." The Guardian (London), fune 9, 1962 1951-1956. May 21 -June 8. p. 4. — B|utler|, B|arbara|. "Ellsworth Kelly." Arts Magazine — Reichardt, Jasia. "Pes Expositions ,i I'ctranger:

(New York) 30, no. 4 (June 1956), p. 52. I ondres." Kujourd'hui: \rt et architecture (Paris) 8, G[enauer], Efmily]. "Art Exhibition Notes: — Kelly at no $8 i Sept. L962), pp. 58-59. Parsons." New York Herald Tribune, June 2, 1956, —Sylvester, David. "Homage to Venus." New Statesman section I, 9. p. I ondon), fune 8, 1962, pp. 839-40. —T|yler|, P[arker]. "1 llsworth Kelly." ARTnews (New York) 55, no. 4 (summer 1956), p. 51. 1963 — "About Artists: Art and Lesser-known Figures Give Betty Parsons Gallery, New York. Ellsworth Kelly: Painting One-Man Shows of Promise at Galleries 1 len and Sculpture. Oct. 29-Nov. 23. The New York Times, — Ma) 26, 1956, p. L41. "Ellsworth Kelly." New York Herald Tribune, Nov. 2,

1963, section 1, p. 9. 1957 — Ened. Michael. "New York Letter." Art International Betty Parsons Gallery, New York. Ellsworth Kelly. (Lugano) 7, no. 10 (Christmas-New Year, 1963-64), Sept. 23-Oct. 12. pp. 54-56. —B|urrey|, S|uzanne|. "Ellsworth Kelly." Arts Magazine —Sandler, Irving. "In the Art Galleries." New York

(New York) no. 1 — J2, (Oct. 1957), pp 56-57. Post, Nov. 10, 1963, p. 14. Preston, Stuart. "Galleries Offer Diverse Fare." Washington Gallery of Modern Art, Washington, D.C. The New York Times, Sept. 29, 1957, p. XI 7. Paintings, Sculpture and Drawings by Ellsworth Kelly. T|yler|, "1 — PJarker]. llsworth Kelly." ARTnews Dec. 1 1, 1963-Jan. 26, 1964. Traveled to the Institute (New York) 56, no. 6 (Oct. 1957), pp. 17-18. of Contemporary Art, Boston, Feb. 1-March 8, 1964.

Exh. cat . with foreword by Adelyn D. Breeskin and 1958 interview b\ Hcnn dcld/ahlcr. Galerie Maeght, Pans. Kelly. Oct. Ellsworth 24-Nov. 30. —Getlein, Erank. "Paintings and Sculpture Show of Exh. cat., published in Derriere le Miroir, no. 1 10 (Oct. Ellsworth Kelly at 'Modern.'" The Washington Star, with 1958), text by E. C. Goossen. Dec. 15, 1963, p. C6. —Mock, Jean Yves. "Ellsworth Kelly at the Galerie — Kay, Jane H. "Kelly's Colorful, Personal Geometry." Maeght." Apollo (London) 68, no. 406 (Dec. 1958), The Christian Science Monitor (Boston), Feb. 14, 1964, 22D. p. p. 6.

[959 1964

Bett) Parsons ( .allery, New York. Ellsworth Kelly: Painting Galerie Maeght, Pans. Ellsworth Kelly. Nov. 20-Dec. 31. and Sculpture. Oct. 19-Nov. 7. Exh. cat., published in Derriere le Miroir, no. 149 (Nov. —Ashton, Dore. "Art." Arts & Architecture 1964), with text by Dale McConathy.

I os Angeles) 76, no. 12 (Dec. 1959), pp. 7-8. —Ashbery, John. "Op's Copping Pop's Top Spot." —C|ampbell|, L|awrence). "Reviews and Previews." International Herald Tribune (Paris), Nov. 24, 1964, ARTnews (New York) 58, no. 6 (Oct. 1959), pp. 12-16. pp. 50-51. Tillim, — Sidney. "Month in Review." Arts Magazine —Eerner, Andre. "Keskispass?" Arts: Beaux arts.

(New York) 34, no. 1 (Oct. 1959), pp. 49-50. littirature, spectacles (Pans), Dec. 10, 1964, p. J4.

1961 1965 Betty Parsons Gallery, New York. Kelly. Oct. 19-Nov. 4. Ferus Gallery, Los Angeles. An Exhibition of Recent —Preston, Stuart. "Art at Opposite Poles: Ellsworth lithography Executed m France by the Artist Ellsworth Kelly and Kostas Paniaras Exhibit Nonobjective Kelly. March 9-April 5. Extremes." The New York Times, Oct. 21, 1961, —Pfetlin], I|rvmg| B. "Ellsworth Kelly, Ferus Gallery." p. Lll. Artforum (San Francisco) 3, no. 8 (May 1965), p. 16. York. Sidney Jams Gallery, New Ellsworth Kelly, 1971 — Kingsley, April. "New York." \rt International April 6-May 1. Exh. cat. Galerie Renee Ziegler, Geneva. Ellsworth Kelly. (Lugano) 17, no 10 (Dec, 1973), pp. 14-36, 59-60.

— Ashton, Dore. "Kelly's Unique Spatial Experiences \\ itch 10-April 12. — Kramer, Hilton. "Kelly's 'Bold Simplicity' at the

Studio International il ondon) I 70, no. 867 i fuly 1965), Dayton's Gallery 12, Minneapolis, Ellsworth Kelly Modern Art." The \>k York Times, Sept. 13, 1973,

pp. 40-4}. Ma) I -June 5 I- xh. cat. p.L2.

—B|arnit/|, [[acqueline]. "In the Galleries: Ellsworth Sidney Jams Gallery, New Yorl Ret ent Paintings by — Masheck, foseph. "I llsworth Kellj ai the Modern

no. I I Kelly." Arts Magazine (New York) 39, 9 llsworth Kelly No\ \ 2 Artforum (New York) 12, no. i (Nov. 1973), pp 54-57. (May-June 1965), pp. 58-59. —Qampbelll, L[awrence]. "Ellsworth Kelly." \R1 — Kozloff, Max. "The Variables of Energy." The Nation (New York) 70, no. 8 (Dec. 1971), pp. 16-17. 1975

(New York), Maj 10, 1965, pp. 513-14. — Perreault, |ohn. "Wavering Home: Kelly's I ighl Wadsworth Vtheneum, I lartford, ( onnecticut I llsworth

— Rosenthal, Nan. "New York: Gallery Notes." Art in slabs." The Village Voice (New York), Nov. II, 1971, Kelly: Vlatrh l [an. Feb Organized bj Vndrea Miller-

America (New York), no. 2 (April 1965), pp. I 17-24. PP. 23-24. Keller. Exh. brochure, with texi bj Miller Kellei 7 Galerie Adrien Maeght, Pans. Kelly: 2 Lithographies. —Ratcliff, Carter. "New York.'" Art International I eo ( astelli Gallery, New York. / llsworth Kelly. Recent

s, cat., preface Dale McConathy. (Lugan..) 16, no. l fan. 20, 1972), pp. 66-71. ulptures. March 8—April 5. June 1-30. Exh. with bj (

— Smith, Roberta l llsworth Kelly, Leo ( astelli Gallery, " 14. 1966 1972 Uptown Artforum (New York) no. I (Sepi L975), Ferus Gallery, Los Angeles. New Work by Ellsworth Kelly. Galerie Renee Ziegler, Geneva. Ellsworth Kelly, pp. 69-71. " March 10-April 12. —Zucker, Barbara. " I llsworth Kellj \RTnews March 1 5-April 20. "4. / (New York) no. S (Maj 1975), —D[anieli], F[idel] A. "Ellsworth Kelly, Ferus Gallery." Galerie Denise Rene Hans Mayer. Diisseldorf, llsworth p

/ Si i o' astelli Gallery, New York llsworth Kelly: Cray Artforum (San Francisco) 4, no. 9 (May 1966), p. 15. Kelly: Paintings, fulj 1-31.

\pnl l I —von Meier, Kurt. "1 os Angeles Letter." —Fnednchs, Yvonne. "Ellsworth Kelly." l-Maj Derfner, Phyllis. "1 llsworth Kellj at * astelli Art International (Lugano) 10, no. 5 (May 1966), Das Kunstwerk (Stuttgart) 25, no. 5 (Sept. 1972), p. 43. — in imerica (New York) 63, no ' Albright-Knox Art Gallery, Buffalo The < hatham Sena: Uptown." Art pp. sS-59. 1~ 1975), pp. 97-98. Paintings by Ellsworth Kelly, [uly I I -Aug. (July-Aug —Zimmer, William "Ellsworth Kellj \zint 1967 Organized by Jane N. Wood. l York) 4 », no. 10 (June 1975), I (New | "< I Kelly's Sidney Jams Gallery, New York. Ellsworth Kelly. —Kramer, Hilton. olor ures the ye to 4 ~2, V< nice, * alifornia, ' llsu orth Kelly. Stt Paintings." The Hew York Times, [ulj 26, l p. 22, Ace Gallery, May 1-25. Exh. cat. Aluminum Sculpture 1975. fune 12-Julj 5 —Mellow, James R. "New York." Art International

Yorl I llsworth Kelly. Paint 1973 BlumHelman Gallery, New (Zurich) 1 1, no. 5 (May 1967), pp. 58-60.

/ Kelly: < hatham Sept.-Oct. Irving Blum Gallery, I os Vngeles. llsworth —Perreault, John. "Color as 1 ighr." The Village Voice

c Series. March 13—April I 5. (New York), March >, 1967, pp. 12-1 J. 1976 Gallery, 1 os Angeles. I llsworth Kelly: —\V|aldman|, l)|iane|. "Ellsworth Kelly." ARTnews Margo Leavin Kelly: Sculpture. fanie ( lee Gallery, Houston. I llsworth Drawings and Prints. March L 8—April 5. (New York) 66, no. 2 (April 1967), p. I ! March 6—April J. I Kelly: Paintings. I lallery, St. ouis. Ellsworth Irving Blum Gallery, Los Angeles. A Smtc of Twelve Greenberg April 1-30. Lithographs by Ellsworth Kelly. Nov. 7-Dec 8. Ellsworth Kelly: ( urved 1977 Leo (. astelli Gallery, New York. —Hoag, Jane. "Ellsworth Kelly." ARTnews (New York) I llsworth Kelly: Paintings. I ( astelli Gallery, New York April "-28. eo 52. Series. 66, no. 9 ( [an. 1968), p. Feb. 5-26 — C rimp, Douglas. "New York 1 etter." lane. "Ellsworth Kelly, Irving Blum " — Livingston, "I Kellj ARTnews 1". no. (summer 1973), —Schwartz, I Hen. llsworth 1968), Art International (I Ugano) 6 Artforum (New York) 6, no. 5 (Jan. 1 '"), Gallery." 4 \pnl I 126. (New ^lorkl 76, no | p pp. S8-90. p. 61. " —Zimmer, William. "Ellsworth Kellj izine —Rose. Barbara. "The Best Game is the I iul Game (New York) 51, no. 8 (April 1977), p. J4 Mew York Magazine 6, no. IS (April )0, 1973), 1968 Angeles ' llsworth Kelly, ( olored \i I eavin Gallery, Los 92-93. irgo Sidney Gallery, New York. Ellsworth Kelly. PP. Janis AKhuus Papei Images, March 5-20. Siegel, Jeanne. "Ellsworth Kelly." Oct. 7-Nov. 1. Exh. cat. — (New York) "2, no. ft (summer 1973), p. 99 —Ashton, Dore. "New York Commentary." Ellsworth Kelly. 1978 The Museum of Modern Art, New York. International (London) 176, no. 906 Ellsworth Kelly: Twelve l Studio G.E.1 , Los Vngeles. ( Goossen. traveled Gemini Sept, 10-Nov. 4. organized by E. (Dec. 1968), pp. 266-67. 26-Sept. I. 14-March I, Maj to Pasadena Art Museum, California, [an. "Ellsworth Kelly. Sidney Jams Kelly's rwelve Leaves." —Wasserman, Emily. —Worth. Melinda. I llsworth l»~4; Art t enter. Minneapolis, March J0- l Walker 106. Gallery." Artforum (New York) 7, no. 4 (Dec. 1968), iRTnews (New York) 77, no. 7 (Sepi 1978), p. the Detroit Institute of Arts. Ma\ 19, 1974; and Paperworks pp. 58-59. The Museum ol Modern \tt, New York. l>~4. Ellsworth Kelly, a monograph. fune 17-Aug. 4, I ami < )ne 1979. Irving Blum Gallery, Los Angeles. Fo«J Paintings by Ellsworth Kelly. Dec. 11, 1978-Jan JO, with preface and texts by Goossen. I Kelly. Nov. S-30. i ( astleman. Sculpture by llsworth I ganized bj Riva I llsworth . Subtleties of —Baker, Elizabeth C The no, 9 (Nov. 1973), Kelly." ARTnews (New York) 72, 1970 1979 at PP. 50-33. New York The Vancouver Art Gallery. Ellsworth Kelly I ithographs The Metropolitan Museum ot Art, —Hughes, Robert. "< lass,, Sleeper." Time (New York) 20-Aug. 30. Recent Paintings .<»,/ Sculptures Vancouver Art Gallery. July / llsworth Kelly: (Sept. 1", 1973), 2-73. 102, no. 12 pp with foreword bj Gemini G.E.L., Los Angeles. Ellsworth Kelly. April 26-June 24 I xh cat., lizabeth t Baker. Coplans. and texi bj 1 . Sept. 1-Oct. 15. Exh. cat., with text by John Philippe de Montebello

xhibition History J21 Ellsworth Kelly: I — McEvilley, Thomas. "Ellsworth Kelly, Blum Helman Frances. "Kelly, smith: 'less Is More' 1982 —Beatty, York) 23, no. ? (Nov. 19X4), Ellsworth Kelly at Gemini: Gallery." Artforum (New Gemini G.l 1 ., Los Angeles. Revisited Irt World (New York), Ma) 18-June 13, 1979-1982. April 7-May 28. Exh. cat., with text b) p. 98. I"--, pp. I. 12. ( .iner Ratcliff. —Kramer, Hiiro,, \,r Earthly Delights of Shakei Kelly, Painted 1985 Margo Leavin Gallery, I os Angeles Ellsworth " Times, 4, 1979, p. ( 22. Drawings The Hew York Ma) Kelly, Series. BlumHelman Gallery, New York. / llsworth New I llsworth Kelly, The < oncorde "I Ellsworth Kelly." Wall Sculptures; —Lubell, Ellen. "The Graying March 6-30. 19. Paintings. Weekly Mews (New York), Ma) I". 1979, Ma) 20-June TheSoHo Russell, John. "At Midtown Galleries, Good Shows —Muchnic, Suzanne. "The Galleries: La Cienega Area." — PP. 45, 58. York Tunes, March 1985, part VI, 12. Abound." The New 15, / Angeles Tunes, May 28, 1982, p. Whelan, Richard. "Ellsworth Kelly." \Rr»- os — C IS. I Kelly: pp. CI, Berggruen Gallery, San I rancisco. llsworth (New York) 78, no 7 (Sept. 1979), p. ISO. John Castelli Gallery, New York. Ellsworth Kelly: New Wall Wall Sculptures. June 9-26. Leo Kelly: I ithographien. Painted i. Zurich, Ellsworth \laeght, 13. Boston. Steel Sculpture. Reliefs. March 30-April I Segal Gallery, Nov. 4-10. homas Katonah Gallery, Katonah, New York Elbworth Kellx: Ellsworth Kelly: Schilderijen Sept. 15-Oct. 15. Stedelijk Museum, Amsterdam. 18-Aug. II. St. Beckons Hub Painted Wall Sculptures, fune Sculptures —Temin, Christine. "Newbury elden 1963-1979/Paintings and Ellsworth —Campbell, 1 awrence. "Wall Sculptures by Xrtists " The Boston Globe, Sept. 16, 1982, p. 38. J, 1980. Organized b) 1963-1979. Dec. 13, 1979-Feb. The York Times, Kell) on 1 xhibit in Katonah." New of American Art, New York. / llsworth Rini Dippel. Exh. cat., with texi b) Whitney Museum Ed) de Wilde and ", L l 'S\ p. W< I'v Sculpture. Dec. 17, 1982-Feb. 27, 1983. ful) Barbara Rose and statement b) Kelly. In English and Kelly. Weber Gallery, Georgetown, Maine. Ellsworth Kelly Organized by Emil) Rauh Pulitzer and Patterson Sims. Anne Dutch; trans. Caroline ter Braak and Ina Rike. Traveled Punts, fuly 14-Aug. 4. Exh. cat., with foreword by Tom Armstrong, modified form to Hayward Gallery, I ondon, in b) Ellsworth Kell) and Pulitzer, and cat. —Cnchton, Alan. "Lithographs ". Moderne acknowledgments by Sims and Feb. 27-April 1980; Musee National d'Art England Photographs b) I odd Webb." Art New raisonne. Traveled to the Saint Louis Art Museum, I llsworth Kelly: Centre Georges Pompidou, Paris, as 12. (Brighton, Massachusetts) 6, no. 1 1 (Nov. 1985), p. March 26-May 30 (exh. eat., with text b) Peintures el sculptures 1968-1979, April 23-June 15, Alexandra Bellos). 1980 (exh. cat., with statement by Pontus Hulten; Brenson, Michael. "In Sculpture, Too, He Is ,-iu Artist 1986 trans, c athenne Ferbos and ( atherinc Thieck); and — Gallery, New York, Ellsworth Kellx: Paintings. surprises.'" The New York Times, Dec. 12, 1982, BlumHelman Staatliche Kunsthalle, Baden-Baden, as Ellsworth Kelly: ol April 3()-|une 7. In conjunction with BlumHelman section 2, pp. 1, 38. Side und Skulpturen 1966-1979, |ul) 5-Sept. . York / llsworth Kellx: Sculptures. Daniel. "Kelly Explores Two Media." Warehouse, New b) Katharina —Grant, 1980 (exh cat., with foreword Kellx: and c May 3-June 7. Exh. cat., Ellsworth Paintings l 'S2, part II, von Graevenitz; trans. Newsday (New York), Hex. Jl, Schmidt and text by Antje l Sculptures l >H6. 15-16. [appe). pp. Elisabeth Michael. "Ellsworth Kelly." The New York —Russell, "Art: Ellsworth Kelly." The New York —Brenson, —Anderson. Susan Heller. "Paris Hails Ellsworth Kelly, John. Tunes. Ma) 9, I9S6, p. C27. De.. I", p. < 14 Son, His \rt." The New York Times. Tunes, 1982, Poster and at BlumHelman. skulptur in —Westfall, Stephen. "Ellsworth Kelly L Werner. "Reduktion als Widerstand: '. —Spies, [ul) 26, 1980, p. Warehouse and Kent." Art in America Amenka/Das Whitnc\ Museum zeigt Ellsworth Kelly." BlumHelman —Michel, [acques. "Peintures d'Ellsworth Kell) I a (New York) 74, no. 11 (Nov. 19X6), pp. 161-62. Frankfurter Allgemeine Zeitung (Frankfurt), Feb. 5, structure ties choses." 1 e Monde (Paris), Ma) 1 5, 1980, 20. 1983, p. 25. p. 1987 Overy, Paul. "1 llsworth Kell) in I urope." — BlumHelman Gallery. New York. Ellsworth Kelly. Coral / International Herald Tribune (Paris), March 21, 1980, 1983 Drawings. May 4-June 6. BlumHelman Gallery, New York. Ellsworth Kelly: New P . 9W. Ellsworth —Russell, fohn. "Ron I ichtenstein and 1, 1982-Jan. 8, 1983. —Roberts. John. "Ellsworth Kelly at the Hayward Paintings. Dec Times, [une 5, 1987, p. 24C. Kelly." Plash Ait (Milan), Kelly." The New York 22 (April 1980), pp. S7-58. — Kohn, Michael. "Ellsworth ribe (London), no. Kellx. Works on Fort Worth Art Museum, Ie\as. / llsworth 1 58. Renew no. I I (March 1983), p. —Shepherd, Michael. "Ellsworth Kelly." Arts Upright. Sept. 13-Oct. 25. Organized by Diane — Licht, Matthew. "Ellsworth Kelly." Arts Magazine Paper. London .Feb 29, 1980, p. 87. In Exh. cat., with text by Upright, acknowledgments (New York) 5, no. 6 (Feb. 1983), p. 41. E. A. Carmean, Jr., and introduction by Henry 1980 Geld/ahler. In conjunction with Museum of Fine Vrts, Albright-Kno* Art Gallery, Buffalo. Paperworks by Ellsworth 1984 Boston, Ellsworth Kellx: Sere;/ Paintings (1952-55/ L Aluminum Wall I Los Angeles. Painted '. Margo eavin Gallery, Kelly. Aug. 19-Oct. l Dec 2, 1987-Jan. 51, 1988. Organized by 2-1 is. In with I eo 1987). Sculpture, fan. 1 ch. conjunction airbrother |. Fairbrother; exh. cat., with text b) 1 (.alien. New York. Weathering Steel Wall Trevor 1981 Castelli to Art of Ontario, Toronto, IS. eat., Ellsworth Kelly, Traveled Galler) York Paintings Sculpture. Sculpture. Jan. 21-Kb. Exh. BlumHelman Gallery. New 6 of Art, 5-May I 5, 1988; Baltimore Museum with statement by Kelly. March April 7-Ma) 2. In conjunction with Leo Castelli < rallery, Cienega Area." May July 24, 1988; San Francisco Museum Castelli MuchnK, Suzanne. "The Galleries: La 31— New York. Paintings. April I l-May 9; ^d — 1 l-Sept. 25, 1988; and 2~ part VI, 2, 4. ,,l Modern Art, Aug. Angeles Turns, [an. . 1984, pp. Uptown, New York. Plant Drawings. April I l-May 2. Los Kansas C itv, Oct. 22- Painted Nelson- Atkins Museum of Art, Goldman-Kraft Gallery, ( hicago. 1 llsworth Kelly: ( ombined exh. cat., Ellsworth Kelly. 1988. Wall Sculpture/Graphics. April 6-May 1. Dcc. Jl, —Russell, John. "Art: Ellsworth Kell) and Red (.rooms —Baker, Kenneth. "Ellsworth Kelly's Bare-Bones BlumHelman Gallery, New York Ellsworth Kelly: Works in Shov. The Hew York Times, April I", 1981, p. ( 18. Abstract Aesthetic." San Francisco ( hronicle, Kelly: Wood. May 2-June 2. Kxh. cat. Gago in Gallery, I os Vngeles. 1 llsworth Major Lan L'SX, 12-13. Michael. "Ellsworth Kelly: 'Wood Aug. 21, l pp. Paintings and Sculpture. Nov. 24-Dec. 19. —Brenson, sculptures.- The New York Times, May 4, 1984,

p. C 26 1 1

"The World as —Dorsey, John. Color and Shape." Museum ( Kerholland, Holland. Ellsworth Kelly: Dia tor ( enter the Arts, Bridgehampton, New York. The Baltimore Sun, May 29, 1988, section P, pp. 1, 3. Works on Paper. July 1-Sepr. 24. Exh. ear., with text b) Ellsworth Kelly: Two Lithographs Suites, 1964 Janet. "Fort —Kutner, Worth's Kelly Retrospective Diane Upright. In English and Dutch; Vug l7-Oct.6 Organizedbj Hems Geldzahler. Sketches a Revealing Picture." Dallas Morning News, trans. Saskia van der Lingen. Margo I eavin Gallery, I os Angeles. / llsworth Kelly: \t Right Sept. 12, 1987, section ( 1-2. , pp. —de Vries, Peter Yvon. "Ellsworth Kelly Kijkl Angles, 1964-1966 Nov, L9-Dec. 21 Organized with . "Fort Worth: Ellsworth Kelly." ARTnews Aandachtig zich de Vorm I let om Heen Niet Verhaal." fohn Berggruen Gallery, San Francisco, and Paula L (New York) 86, no. > (Nov. 1987), p. 216. De Tijd (Amsterdam), no. J05 ( |une JO, 1989), ( ooper Gallery, New York [raveled to |ohn Berggruen Detroit Institute of Arts, Ellsworth Kelly: A Print pp. 24-29. Gallery, fan. 8-Feb. I. 1992; and Paula < ooper Gallery, Retrospective. Sept. 13-Nov. 1. Organized by the Hettig, Frank-Alexander. "Ellsworth Kelly." I i — Feb March 14, 1992. I xh cat., with texi bj American Federation of the Arts and guest curator Das Kunstwerk (Stuttgart) 42, no. 4 (Dec L989), Roberta Bernstein.

Richard H. Axsom. I xh. eat., with text by Axsom and pp. 63-64. —Baker, Kenneth. "Kelly's timeless Abstracts Hold cat. raisonne compiled by Axsom with the assistance of BlumHelman Gallery, New York Ellsworth Kelly: Up." San Francisco ( hronicle, fan I L, 1992, p. ( 7. Phylis Floyd. Traveled to the Huntsvillc of Art, Museum Curves/Rectangles. Nov. 7-Dec. 9. I xh. cat., —Cotter, Holland. "I llsworth kell\ 'At Right Angles, Alabama, Nov. 22, 1987-Jan. 17, 1988; Dcs Moines with text by Barbara Ros< 1964-1966.'" The New York Times, March I J, 1992, Art Center, Feb. 5-April 3, 1988; Neubcrger Museum, Decter, — Joshua. "Ellsworth Kelly." Arts Magazine P . ( 28. State University of New York, Purchase, New York, I (New York) 63, no. 6 (Feb. 1989), p, 99. lack Glenn (.alien. os Ang< les, ( alifornia. / llsworth Kelly: April 17-June 12, 1988; Los Angeles —Russell, County Museum John. "Ellsworth Kellj Wall Reliefs No\ 10 1991-Jan. I, 1992.

of Art, Nov. 10-Dec. 31, 1988; Universits of Oklahoma The New York Times, Nov. 24. 1989, p. ( 53. Museum of Art, Norman, Oklahoma, Jan. L4—Feb. 1^, —Ostrow, Saul. "Ellsworth Kelly: Blum Helman." 1992

1989; Berkshire Museum, Pittsfield. Massachusetts, Flash Art (Milan), no. 151 (March-April 1990), p. 145. Galerie Daniel lemplon, Pans / llsworth Kelly

fune 25-Aug. 20, 1989; University Art Museum, March I "April 18. Exh, brochure, with reprinted

University of c alifornia at Berkeley, Oct. 1 1-Dec 3, 1990 excerpts ol uxi h\ Ann I findry, In I rench and I nglish;

1989; and Hood Museum of Art, Dartmouth College, Gemini G.E.I .. I os Angeles. Kelly: Portraits at Gemini trans. \eal ( ooper.

Pans. / Hanover, New Hampshire, Dec. 23, 1989-Feb. 25, G EX. Feb. 6-March 20. Exh. cat., with text b) ( ialerie National* du feu de Paume, llsworth Kelly:

1990. Richard 1 1. Axsom Les annees francaises, 1948-1954. Match 17 Maj 24

i Organized ( and Alfred —Colby, Joy Hakanson. "I llsworth Kelly, America's Susan Sheehan Gallery, New York, i llsworth Kelly, Prints: bj fack owan Pacquement.

I Prince of Prints." The Detroit News, Sept. 13, 1987, 1949-1989. March l-April 28. Exh. brochure, with text I xh cat., with texts In Yve Alain Bois, ou.nl. and

Susan Sheehan. Pacquement; cat. of works In t atherine ( rati, and P . Kl. by In — Miro, Marsha. "Ellsworth Kelly: Nature Shapes His Galler) Kasahara, Osaka. Ellsworth Kelly: I leven Painted extensive chronologj Nathalie Brunei traveled to C 1 xh. cat.. \\< sitahsches Landesmuseum fur Kunsi und Vision." Detroit Free Press, Sept. 13, 1 >S~, section I , Wall Sculptures. April 16-Maj 19 as In ( I nglish and [apanese; Kulturgeschichte Miinster, / llsworth Kelly Die ]ahre PP. 1,8. with rext arter Ratcliff. In inFrankreich 1948-1954, fune 14 Aug 23 (exh. cat., Bakalar Sculpture Gallery, List Visual Arts e enter, M.I.T., trans. Kayoko I losokawa. trans Hacker khet. Moses, and Bram Cambridge, Massachusetts. Ellsworth Kelly. Small Portikus. Frankfurt. Ellsworth Kelly- Yellow < urve. Ingrid Magda b\ Opstelten); and National Galler) ol \rt. Washington, Sculpture 1958-87. Dee. 19, 1987-March 27, 1988. Vpril 28-June 4. Exh. cat., with text Gottfried France, and foreword In Rasper Konig, In English and D.C., as / llsworth Kelly: The Years in I xh. eat., with text b\ Katv Kline. Boehm

I. 24. 1993 (< ich cat . —Taylor, Robert. "Sculpture, Drawings and 'Dime Store German; trans. Burke Barrett and Isabel leJer. 1948-1954, Nov. 1992-Jan.

• ( '" trans, Ingeborg von rrans. I homas Repensek and iregor) Deco Vhe Boston Globe, Feb. 29, 1988, p. 11. —Phora, Pia. "Ellsworth Kelly," Michael "Ellsworth Kelly's ( omingof Zitzewitz. < ontemporanea (New York), no. 21 —Kimmelman,

in Pans." //'.• New York Inn,-. Nov, l 1988 (Oct. 1990), p. 90. Vgi " "Ellsworth Kelly: Portikus section 2. p. 31, BlumHelman Gallery, New York. Ellsworth Kelly: —Puvogel, Renata. < ultures: I llsworth Dec. —Kramer. 1 1 lion "A Painter's lwo 1 (Nov. 1990), p, L60. New Work. Nov. 2-Dec. 3. Exh. cat., with text In Flash Art (Milan) 23, no. 55 " Kell) Was an American in Pans \rt 6 \ntiques street. New York. I llsworth Kelly: Recent Robert Storr. 65 Thompson Nev. York) 15, no 2 (March 1993), pp 104 05 Brenson, Michael. "Ellsworth Kelly." Painting & Sculpture. Ma) L4—July 51. — ' American in Paris." TheNeu —Brenson, Michael. "Ellsworth Kelly: 65 ("hompson —Perl, Jed. "Art: Vn The New York Times, Nov. 18, 1988, p. C28. ( 2. S |an 46 riterion (Nev, York) no I 1993), pp Monica, California. The Sew York Times, Ma> 25, 1990, p. ( 2 I. BlumHelman Gallery, Santa " '' — Peter. rhe Wonder Years: I lov. rwo —Sorenson, Dina. "Ellsworth Kelly." Arts Plagens, / llsworth Kelly: New Work. Nov. 8-Dec. 3. Audacious Young Americans Broke into the toani York) 65, no. 3 (Nov. 1990), p. 103. The Eh Broad Familj Foundation, Santa Monica, ( alifornia (New Gard( " N Nev. York) 120, no 24 Dec. 14, The ili Broad Family Foundation Exhibition 1992), pp. 76-77. Dee. r>89. 1 99 1988-Sept. Kelly, an American in alifornia —Russell, fohn. I llsworth bred Hoffman Gallery, Santa Monica, < Vpril 5, 1992, section 1 1 Selection: 1965-19 Pans." The New York Times, 1989 Ellsworth Kelly, \ Historical 39, 44. March 23-April 20. PP. ( .reenberg Gallery, St. Louis. Ellsworth Kelly, Bcvcrlj Hills I llsworth Kelly: Kelly (Wall Reliefs). Benedicte Saxe Gallery, Greenberg Gallery, Si 1 ouis Ellsworth April J. I ditions, 29-June Selected Graph'u Works Published by \daeght April 2-Ma) is Galerie Daniel Templon, Pans. Elbworth Kelly. \960s-1980s Gemini G.EA . I os \ngeles, Gemini G.E.L., Los Angeles, at foni Moisant Weyl, May 6-31. Exh. cat. olored April 4 Ma) 10 New York. Ellsworth Kelly; Diagonals and ( Panels 1970-1990. April 12-June 15.

• ' History 323 1 llsworth Kell) xhibition Laura Carpenter Gallery, Santa Fe. Ellsworth Kelly: Paintings 1995 Group Exhibitions and Sculpture. June 1 1—July 15. Susan Sheehan Gallery, New York. Ellsworth Kelly— l>""6-77; Susan Sheehan Gallery, New York. Ellsworth Kelly: The Paris Colored Paper Images / The Creative Process. 1948 Prints 1964-1965. Oct. 1-31. Exh. cat., with text and Oct. 17-Dec. 2. Exh. cat., with introduction by Boris Mirski Art Gallery, Boston. Spring. Exh. cat. interview by Henry Geldzahler. David Kiehl. Matthew Marks Gallery, New York. Ellsworth Kelly: 1950 Phut Drawings. Oct. 14-Nov. 28. Exh. cat., 1996 Galerie des Beaux-Arts, Paris. Premier Salon des jeunes with text by Ashbery. John Greenberg Van Doren Gallery, St. Louis. Ellsworth Kelly: peintres. Jan. 26-Feb. 15. Exh. cat., with preface by —Schwabsky, Barry. "Ellsworth Kelly." Artforum Black and White. Jan. 25-April 13. Pierre Descargues. (New York) 31, no. 5 (Jan. 1993), p. 85. —Duffy, Robert W. "The Essence of Ellsworth Kelly." —Bouret, Jean. "Le Premier Salon des jeunes pemtrcs." Solomon, Deborah. "The Gallery: Ellsworth Kelly." — St. Touts Post-Dispatch, March 24, 1996, p. 4D. Arts: Beaux arts, litterature, spectacles (Paris), Jan. 27, The Wall Street Journal (New York), Oct. 21, 1992, 1950, pp. 1,4. A14. p. Palais des Beaux-Arts de la Ville de Paris. Seme Salon des Anthony d'Offay Gallery, London. The Documenta Room. realites nouvelles. June 10—July 15. Exh. cat., with 21 Oct. -Nov. 20. introduction by A. Fredo Sides. BlumHelman Gallery, New York. Ellsworth Kelly.

Nov. 1 1, 1992-Jan. 2, 1993. Exh. cat., with text 1951 by Klaus Kertess. Salon des Realites Nouvelles, Paris. 6eme Salon des — "Ellsworth Kelly." The New Yorker (New York) realites nouvelles. June. Exh. cat. 68, no. 43 (Dec. 14, 1992), p. 20. Museum of Fine Arts, Boston. 75th Anniversary Celebration Leo Castelli Gallery, New York. Ellsworth Kelly: Installation. Exhibition of the School of the Museum of Fine Arts. 21 Nov. -Dec. 19. June 7-Sept. 16. Bonami, Francesco. "Spotlight: Ellsworth — Kelly." Galerie Maeght, Pans. Tendance. Oct. Exh. cat., published Flash Art (Milan) 26, no. 169 (March-April 1993), in Dernere le Miroir (Pans), no. 41 (Oct. 1951), P" with text by Charles Estienne. —Estienne, Charles. "Mur et chevalet." L'Observateur 1993 (Pans), no. 80 (Nov. 22, 1951), p. 19. Greenberg Gallery, St. Louis. Ellsworth Kelly Editions. Feb. 4-Apnl 3. 1952 Hirschl 8c Adler Modern, New York. Ellsworth Kelly Prints. Galerie Maeght, Pans. Tendance. Oct. Exh. cat., published in June 2. 3-July Dernere le Miroir (Pans), no. 50 (Oct. 1952), with text by Michel Seuphor. 1994 The Eli Broad Family Foundation, Santa Monica, California. 1953 The Eli Broad Family Foundation Exhibition. Museo de Arte Contemporaneo, Santander, Spain. Jan. 29-July 31. Exposicion Internacional de Arte Abstraeto. Anthony d'Offay Gallery, London. Spencertown: Recent Paintings by Ellsworth Kelly. Sept. 8-Oct. 15. 1956 Organized by Anthony d'Offay and Matthew Marks. The Museum of Modern Art, New York. Recent Drawings Traveled to Matthew Marks Gallery, York, New U.S.A. April 25-Aug. 5. Exh. cat. Oct. 29, 1994-Jan. 29, 1995. Exh. cat., with photographic text by Jack Shear and introduction 1957 by Yve-Alain Bois. Whitney Museum of American Art, New York. —Cotter, Holland. "Ellsworth KelK Young America 1957. Feb. 2~-ApnI 14. Exh. cat., The York Times, New Dec. 16, 1994, p. C36. with foreword by Lloyd Goodrich. Kuspit, Donald. "Ellsworth — Kelly: — P[ollet|, E(hzabeth). "Young Americans." Matthew Marks Gallery." Artforum (New York) 33, Arts Magazine (New York) 31, no. 7 (April 1957), no. 7 (March 1995), 88-89. pp. pp. 57-58. —Mac Adam, Alfred. "Ellsworth Kelly: Matthew Marks." ARTnews (New York) 94, no. 2 (Feb. I94S). 1958 p. 121. World's Fair, United States Pavilion, Brussels. American Art: Milwaukee Art Museum. Ellsworth Kelly: Works from the Four Exhibitions. April 17—Oct. 18. Organized by the Permanent Collection. Sept. 16, 1994-Jan. 1, 1995. American Federation of Arts. Exh. cat., with texts by Walker An Center, Minneapolis. Ellsworth Kelly: Leslie Cheek, Jr., Robert Goldwater, Grace L. McCann The Process of Seeing. Oct. 2, 1994-Feb. 5, 1995. Morley, and George W. Staempfli, and foreword by Organized by Sin Engberg. Exh. brochure, with Harris K. Prior. In English, French, and Dutch. foreword by Engberg. —Genauer, Emily. "Show Puts New Light on Our Brussels Art Selections." New York Herald Tribune,

Jan. 4, 1959, section 6, pp. 9, 1 1. Fine Arts, Carnegie Institute, Pittsburgh. ' Department of —F|ngerio], S|imone|. I (position international de —Sherman, fohn k "Walker show !s Attention 1*J$8 Pittsburgh Bicentennial The International Pittsburgh et les prix de I'Institut ( arnegie." Grabber.™ Minneapolis Sunday Tribune, fuly 19, 1964.

Exhibition of Contemporary Painting and Sculpture. Aujourd'hui (Pans), no. 34 (Dec. 1961), pp. 62 Museum Fridericianum, Kassel, German) Documenta III Dec. 5, 1958-Feb. 8, 1959. Organized by Gordon Bailey Internationale \usstellung. func 27-Oct. v Or^am/ed

and Leon Anthony Arkus. Exh. cat., with 1962 h\ Arnold I s.it texts Washburn Node. \h. , with h\ B.ide and

introduction by Washburn. Whitney Museum of American Art, New York. Geometrit Wernei Haftmann, and foreword b) Karl Branner.

; sat., — Kramer, Hilton. "Report on the Carnegie Abstraction m America. March 20-Ma) I I xh. — Frigerio, Simone. "les Expositions a I'etranger. " International." Arts Magazine (New York) $3, with text bj fohn Gordon. / i Documenta III de Kassel Aujourd'hui (Pans), 4" no. 4 (Jan. 1959), pp. 30-37. —Kozloff, Max. "Geometric Abstraction in America no, (Oct. 1964), pp 54-55. a Art International (Zurich) 6, nns. 5-6 (summer l%2), — Hoctin, Luce. Documenta III." L'Oeil (Paris), 4". 1959 pp. 98-103. no. 1 17 (Sept. 1964), pp 24-31, Whitney Museum of American Art, New York. Annual World's Fair, United States Pavilion, Seattle Art since 1950: Solomon R Guggenheim Museum, New York American

Exhibition of ( ontemporary American Painting. American and International. April 21-Oct. 21. Drawings. Sept.-Oct. Organized b) I awrence Vllowa)

with foreword Norman Davis and I xh. >..it.. v, uli te\i b) Vllowa) Dec. 9, 1959-Jan. 31, I960. Exh. cat., by — The Museum of Modern Art, New York. Sixteen Americans. introduction by Sam Hunter. J[udd|, Dfonald). "American Drawings." Dec. 16, 1959-Feb. 17. Organized by Dorothy C. Arts Magazine (New York) J9, no 2 [No\ L964), p. 59.

World's l-.iir. state Pavilion, \a\ York. American Miller. Exh. cat., with foreword and acknowledgments 1963 New York

i ontemporary Drawing*. Sept 17-Oci 25, 1964 by Miller. The Corcoran Galler) of Art, Washington, D.C. cat., introduction b) Lawreno Vllowa) and —Rubin, William. "Younger American Painters." Twenty-eighth Biennial Exhibition of Contemporary Exh. with Fainting, [an. 18-March J. Organized b) statement by I nomas Messer. Art International (Zurich) 4, no. 1 (Jan. I960), American Conrad Marca-Relli, Ben Shahn, and Gordon M. Smith. Museum ot Art, c arnegie Institute, Pittsburgh. The 1964 pp. 24-31. lntem.uuni.il I xhibition ( ontempo Exh. cat., with introduction by Hermann W.irnei Pittsburgh of Painting and Sculpture Oct, 10, 1964-Jan. 10, I9i 1960 Williams, fr I ( ( Irost itz and ecu York. Toward a New Abstraction. ( Irganized b) lustav< von hw David Herbert Gallery, New York. Modern Classicism. The Jewish Museum. New

l foreword b) von 15. Organized b) Alan Solomon. Anthon) Arkus xh. cat., with Feb. 8-27. Exh. cat., with texts by Edith BurckharJt, May 19-Sept. Solomon, texts by Dore Groschwitz. Barbara Butler, Lilian Lonngren, Stuart Preston, Robert I \h cat., with preface bj —Levin. Kim. "Anything Goes ai the ( arnegie." Rosenblum, Martica Sawin, James Schuyler, James Ashton, Herman Cherry, Michael Fried, I lenrj Rosenblum, Sandler, Solomon, ARTnews (New York) 63, no, 8 (Dec. 1964), Johnson Sweeney, and Anita Ventura, and reprinted text Geldzahler, Robert Irving introduction by pp. 34-36,63. I eo Steinberg, and Ulfert Wilke, and by E. C. Goossen. .i — Roberts, i I ^positions I'etranger: Heller. oil tie Stedelijk van Abbemuseum, Eindhoven, Holland. Jonge Kunst Ben Internationale de Pittsburgh au ( ami —Wilson, Painter. "Second-Generation Abstraction." mi de collectie Dotremont-Brussel. Feb. 20-March 27. 4s 1965), 94-95. Aujourd'hui (Paris), no. | fan. pp Time (New York) 81, no. 21 (Ma) 24. 1963), p 78 Exh. cat., with foreword by Edy de Wilde and "Mouth in Review Institute. Utica, New York Neu —Tillim, Sidney. Tapie. In Dutch and French. Munson-Williams-Proctor introduction by Michel L -61. i "-4), Yi (New York) J9, no. \ (Dec pp, Directions in American Painting. Dec. 1, L963-Jan. 5, Organized by Sam Hunter and the Poses Institute 1961 1964. Arts, University, Waltham, 1965 American Abstract o\ I me Brandeis Arthur Tooth 8c Sons Ltd., London. York The Responsive b) Hunter. rhe Museum ol Modern Art, New Massachusetts. 1 xh sat., with introduction 24-Feb. 18. Exh. cat., with introduction Painters. Jan. 2^ by William ( Seitz, i Feb. 25-April Organized Isaac Delgado Museum of Art, ye. Lawrence Alloway. Traveled to by Seitz. rraveled to ( it) Ari I xh. cat . with text b) New Orleans, Feb. 7-March 8, 1964; Atlanta An Alloway, Lawrence. "Six from New York." \r\ — Museum. St. Louis, Ma) 20-June 20; Seattle Association, Georgia, March 18-April 22, 1964; (Zurich) 5, no. 2 (March 1961), \>t International Washington, ful) 15 Aug. 22; Pasadena Art Museum, Louisville, Kentucky, Museum, I he |. B. Sjxed 51-52. ind pp. I aliform... Sept ! Museum. Indiana University, An Museum, York. American Ma) 4-June 7, l%4; Art Solomon R. Guggenheim Museum, New Museum ol Art. D« 14. L965-JU1. 23, 22-Sept. Washington Baltimore 13-Dec. 31. Bloomington, fune 20, 1964; Abstract Expressionists and Imagists. Oct. "Beyond Vertigo Optical Vn it the and Detroit —Rose, Barbara Un. versus, St. Louis, Oct. S-30, 1964; 1 xh. cat., with foreword >. Organized by H. H. Arnason. Modern." [rtforum is. iii I rancisco) no Institute of Arts, Nov. 10-Dcc. 6, 1964. and introduction by Arnason. (Apnl 1965), pp. J0-33.

Painting at the I Held. Kelly, —Alloway, Lawrence. "Easel Kunsthalle Basel, Switzerland Signal Khibition: no. 10 1964 Plumb, luruhull. Guggenheim." Art International (Zurich) 5, W.iltnudler. Noland, Olitski, Pfahler, Los Angeles Count\ Museum ..t \.t. I os Angeles. A. Rudlingei I xh cat., (Christmas 1961), pp. 26-34. fune 26-Sept. v Organized b) Abstraction. April 23-June 7. Raveled Pittsburgh. Post-Painterly Department of Fine Arts, Carnegie Institute, with text b) Riidlinger. Minneapolis, ful) 1 4 Aug, 16; t,. Walker Art ( enter, Pitt si 'iirgh International Exhibition The 1961 20, Galler) of fbronto, < anada, Nov. and Sculpture. Oct. 27, and An of Contemporary Painting In 1966 , introduction 19 h 4_|,,n J, 1965. I xh. .at with Bailej Primary Structures. Youngei 1961-Jan. 7, 1962. Organized by Gordon fhe fewish Museum, New York b) fames I lliol Clement Greenberg and foreword 12. Leon Anthony Arkus. Exh. cat., and British Sculptors. April 27-June Washburn and Abstraction: m Coplans, John. "Post-Painterlj with — 1 ich cat . Washburn. ranized by Kynaston I MacShine. with introduction b) Fails to The Long-Awaited Greenberg I xhibition MacShine "Art: International Exhibition Opens acknowledgments and introduction b) —Canaday, fohn. no. I I Artforum (San I rancisco) 2. 2", 1961, Make Its Point." in Pittsburgh." The New York Times, Oct, Ma) 1964), pp. 4-9. p. 1.66.

Exhibition History J25 Ellsworth Kelly: States Montreal. American Pasadena Art Museum, c alifornia. Serial Imagery. International Art Pro-run ol the National ( ollection of Fine Expo 67, United Pavilion,

Sept I "-Oct. 27. Organized by (.oplans. \rts, Smithsonian Institution, Washington, D.C. Painting Now. April 28-Oct. 27. Organized bj Alan John

I \h. cat., published in conjunction with Exh. cat., with text by Coplans. Traveled to Henry Art KXX1I1 I sposizione biennale Internationale d'arte Solomon. Boston, acknowledgments h\ Gallery, University of Washington, Seattle, Vem zia \\\lll International Biennial Exhibition Horticultural Hall, with Sir- \i. and text b) Solomon. Traveled to Nov. 17-Dec. 22; .ine\ Santa Barbara Museum of Art, Of \rt: Helen I rankcnthalcr, EllsWOTth Kelly, Thurman Horticultural Hall, Dec. 15. 1968. ( alifornia, Ian 25-Feb. 23, 1969. Roy I ichtenstein, Jules Olitski, Premiered at the 1967-Jan. 10, — "Paintings, Masks, Floors Displayed." Venice Biennale., fune I8-Oct. 16. Organized bj Department of Fine Arts, c arnegie Institute. Pittsburgh. Light Santa

I <>/ (California), Feb. 2, Henry Geldzahler. Exh. cat., with foreword bj The 1967 Pittsburgh International xhibition Barbara News 1969, p. C12.

David D. Scott, introduction bj Geldzahler, and texts ( ontemporary Paintingand Sculpture. bj Geldzahler, Clement Greenberg, Robert Rosenblum, Oct. 27, 1967-Jan. 7, 1968. Organized by Gustave von 1969 Gallery, British York 13. and William Rubin. Groschwitz and 1 eon Vnthonj Arkus. Exh. cat., with Vancouver An Columbia. New 22-Feb. 24. Organized by Dons Shadbolt. —Baro, Gene. "U.S.A. at Venice." Art and Artists introduction b) von Groschwitz. fan. 58-61. Andrew. "The 1967 Pittsburgh Traveled to Norman Mackenzie Art Gallery, Regina. (London) 1. no. 3 i fune 1966), pp. —Hudson,

"/ Art International (Zurich) 1 1, no. 10 (, ^n^d^, March 14—April 20; Musee d'Art — t elant, Germane sposizioni." Casabella International."

( Montreal, Jul) 6. I xh. cat., (Milan) JO, no. J08 (Aug. 1966), pp. 64-66. (C hristmas 1967), pp. 57-64. ontemporain, June J— introduction Shadholt text — Lynton, Robert, "Venice 1966." \rt International Solomon R. Guggenheim Museum, New York. Guggenheim with by and b) 7 (Sept. 1966 83 International Exhibition, 1967: Sculpture from Twenty I ucy R. I ippard. (Lugano) 10, no. , pp. Scene Solomon R. Guggenheim Museum, New York. Systemic Nations. Oct. 20, 1967-Feb. 4, 1968. Organized In — Starrs, Roy. "An Expert Sets the for New York L 1, '-> introduction I ?." Vancouver Province, Jan. 22, 1 '. Painting. Sept. 21-Nov. 27. Organized bj I awrena Edward F. Fry. Exh. cat., with by N.Y. Alloway. Exh. cat., with text bj Alloway. Fry. Traveled to Art Gallery of Ontario, Ibronto, —Theriault, Normand. "Objects Made in USA." 1 1969, 42. —Pincus-Witten, Robert. "'Systemic Painting: A Well- Feb. 24-March 27, 1968; National Gallery of t anada, / a Presse (Montreal). June 14, p. Metropolitan Museum Art, New York. York Chosen View is Presented by Lawrence Mlowaj Ottawa, April 26-June 9, 1968; and Montreal Museum The of New 1940-1970. Oct. 16, 1969- Artforum (Los Angeles) 5, no. 3 (Nov. 1966), of Fine Arts, fune 20-Aug. 18, 1968. Painting and Sculpture: cat., F. the Sixties." Art in 1 eh. 8, 1970. Organized by Henry Geldzahler. Exh. PP. 42-45. — Fry, Edward "Sculpture of tests National Museum of Modern Art, Tokyo Two Decades imerica (New York) 55, no 5 (Sept.-Oct. 1967), with foreword b) Thomas P. F. Hoving and bj Harold of American Painting. Oct. 15-Nov. 27. Traveled to pp. 26-28. Michael Fried, Geldzahler, Clement Greenberg, _ L"-< and Rubin. National Museum of Modern Art, Kyoto, Dec. 10, —Mellow, James R. "The l Guggenheim Rosenberg, Robert Rosenblum, William 10 1966-Jan 22, 1967 (exh. cat., with introduction bj International" Art International (Lugano) 1 1, no.

Waldo Rasmussen, texts by I uc) R. I ippard, Irving (Christmas 1967), pp. 50-56. 1970

University of C alifornia, Los Vngeles Art Gallery, < olor. Sandler, and G. R. Swensen; in 1 nglish and fapanese); Lalit Kala Academy, New Delhi. March 25-April 15, 1968 Feb. I6-March 12. Organized by the Graduate 196"; National Gallery of Victoria, Melbourne, Museum Fridericianum, Kassel, Germany. 4. Documenta: Seminar of the Department of Art. Exh. cat., with Wright and texts h\ Lynn June 7-Jul) 9, 1967; and Art Gallerj of New South Internationale Ausstellung. |une 27-Oct. 6. Organized acknowledgments by F. S.

(. Hock, Wales, Sydney, |ul\ I7-Aug. 1^, 1967 (expanded by Arnold Bode. Exh. cat., with texts by Bode. Max Bailess, Sister atherine fan Burland, Carol Charles exh. cat., with preface b) Waldo Rasmussen, Imdahl, and Jean Leering, and foreword b) Karl Donnell, Sue Ginsburg, Richard N. [anick, Kessler, Andrea Levin, Mary Anne Richardson, and acknowledgments b) Eric I angker, Hal Missingham, Branner. N. R. Seddon, and Eric Westbrook; in English). —Russell, )ohn. " Aime/Vous Documenta}" I'Oeil Melinda Terbell.

(Pans). n..s. 164-65 (Aug.-Sept. 1968), pp. J2-39. —Wilson, William. "Color Stays Fresh at Uc 1 \ insert), 1967 The Museum of Modern Art, New York. Art of the Real. Gallery." / os Angeles Times (Sundaj magazine

I, Los Angeles < ount) Museum of Art, Los Angeles. American 1948-1968. fuly J-Sept. 8. Organized by E. C. March 1970, p. 48.

I Art vivant Sculpture of the Sixties. April 28-June 25. Organized by Goossen. Exh. cat., with preface, acknowledgments, and Fondation Maeght, St-Paul-de-Vence, France. car., preface Maurice Tuchman. Exh. cat., with introduction b) text by Goossen. Traveled to Grand Palais, Pans, anx I tats-Unis. July 16-Sept. 50. Exh. with introduction h\ Dore Ashton. Tuchman and texts b) 1 awrence Mloway, Wayne V Nov. 14-Dec. 23; Kunsthaus, Zurich, as Der Raitni in and

Anderson, Dore Ashton. |ohn C Oplans, ( lenient der amerikanischen Kunst 1948-1968, [an. 18-Feb. 23,

Greenberg, Max Kozloff, I ucj R. I ippard, lames 1969 (exh. cat., with introduction by Helix Andreas 1971 Monte, Barbara Rose-, and Irving Sandler. Traveled to Baumann and bibliography compiled by Bernhard Whitney Museum of American Art, New York. Structure of Philadelphia Museum ot Art, Sept. 15—Nov. V (Carpel); and Tate Gallery, London, April 22-June I, ( olor. Feb. 25-April 18 Organized by Marcia Tucker. with text Tucker — 1 eider. Philip. "American Sculpture at the I OS Angeles 1969 (exh. cat., with foreword by Gabriel White). Exh. cat., by " ( (units Museum ot Art." Artforum (New York) 5, — Battcock, Gregory. The Art of the Real: The 1948-68." 1973 no. 10 i [une 1967), pp. 6-1 1. Development ol a Style: Arts Magazine —Ttlten, Frederic. "American Sculpture of the Sixties: (New York) 42, no. 8 (summer 1968), pp. 44-47. Galerie Daniel Templon, Paris. Mai ties de I'abstraction A Los Angeles "Super Show.'" Arts Magazine —Dore, Ashton. "New York ( ommentary: 'The Art of americaine aujourd'hui. Nov. 6-Dec. I S. - i New York) 41, no. (Maj 1967), pp. 40-44. the Real' at the Museum ol Modern Art." Studio

—Wcchsler, Judith. "Why Scale? iRTnews (N« vs York) International (1 ondon) 176, no. 903 (Sept. 1968), i 9 A Federal no. 4 (summer 1967), pp. 32-35, 67-68. pp. 92-93. Whitney Museum of American Art, Downtown at — Netter, Maria. "Der Raum in der amerikanischen Reserve Pla/a. New York. Nine Artists/Coenties Slip " Kunst Die Weltwoche (Zurich), fan. 31, L969, p. 26. [an. 1 0-1 eh 14 Exh. brochure. i

— "Nine \rtists/( oenties Slip." The Village Voice —Robins, Corinne. "Drawing to an End." 19 9

p. (New (New York), Jan. 31, 1974, 53. Arts Magazine York) 50, no. 8 | Vpril 1976), Whitney Museum of American Vrt, New York. 1979 Biennial

Walker Art Center, Minneapolis. Johns. Kelly, I ichtenstein, PP. 92-93. I thibition. Feb. 6—April 8. Organized bj [ohn << Motherwell, Nauman, Rauschenberg, Serra, Stella: —Smith, Roberta. "Drawing Now (and Then)." Hanhardt, Barbara Haskell. Richard Marshall, Mark

< Prints from Gemini -./ ./.. Aug. 17-Sept. 29. Organized Artforum (New York) 14, no. X (April 1976), Segal, and Patterson Smis. I xh. cat., with put.ic. In loin by Philip 1 arson. Exh. cat., with introduction In pp. 52-59. Armstrong m\c\ foreword by the organizers.

In- l Larson [raveled to Akron Art Institute, Ohio, Dee. 15, Whirnev Museum of American Art. Downtown at federation 1 ( orcoran Gallery ol Vrt, Washington, D The Thirty-

l Center, Reserve New York. I dge, ' olo) sixth Biennial I xhibition ( ontemporary imerican | »~4-|an. 26, L975; Ackland Art University of Plaza, Surface, of

North Carolina, Chapel Hill, Feb. 23-April 6; Dec 8, 1976-Jan. 12, 1977. i xh c n Painting. Feb. 24—April 8. Organized by [ane

I Livingston Exh. cat., text by Livingston. Winnipeg \rt Gallery, ( anada, May 6-June S; with and Denver Art Museum, July 13-Aug. 24. 1977 —Tannous, David, "Repori from Washington ." ( entrc Pompidou, Big Name Biennial, I'lus. . . Art in America — Krehs, Patricia. "Art and Technology: <. losing Musee National d'Art Moclcrne, Georges 24-25. Pans. York, 19. I eat., with (New York) 67, no. 4 (July- Vug. 1979), a Big Gap." Greensboro Daily News (Raleigh, Paris—New func 2-Sept. xh. pp. Vrt, The Decade bj I lulten; texts by Daniel Whitney Museum of American New York. North ( arolina), March JO, 1975, p. BI2. acknowledgments Pontus 2. I llioi in Review: Selections from the 1970s, [une 19-Sept. —Wood, Ernie. "Studio is the Difference tor Vbadie, Robert Bordaz, Gabrielle Buffet-Picabia, text Patterson Suns. I xh brochlin , with by Print Show." The News and Observer (Raleigh, Carter, Leo C astelli, William ( opley, Daniel ( ordier,

; i I in. \ns Galli ry, t alifornia State Univi rsity, Northridge. North Carolina), March 2, 1975, p. 5V. Hubert Damisch, Maurice Girodias, David Fifties. Oct. 22 Nov 10 Hulten, Donald Karshan, Billy Kliiver, Henri I anglois, [mericans m Paris: The

Merle Schipper. I xh ...it., with I I ( laude I evi-Strauss, Organized by 1975 [ean-Jacques ebel, Robert ebel, Robert Motherwell, Allied Pacquement, Marcelin introduction by Schipper. [anie C. Lee Gallery, Houston. Monumental Sculpture. Feb lean Prouve, Pierre Restany, Harold Rosenberg, — ( olpitt, Frances. "Americans in Paris." \rt\ National t ollection of Fine Arts, Smithsonian Institution, Pleynet, (Nov 1979), 5, «-• . (Oakland, ( alifornia) no \7 10, p. I I 10, and riedrich i Washington, D.C. Sculpture: American Directions, Helene Seckel, Ileana Sonnabend, extensive chronology, ariists' biographies, and —Wortz, Melinda. "Los Vngeles.' KRTnews 1945-1975, Oct. 3-Nov. JO. [raveled to Dallas Badi; .\\k\ "". I (March 160 62 bibliographies. In French. (New York) no. 1980), pp. Museum of Art, Jan. 8-Feb. 29, 1976; and New Orleans 6. Kassel, Germany, [une 26-Oct. 2. Organized Museum of Art, April 1-May 16, 1976. Documenta Schneckenburger. Exh. eat., with foreword 1980 Seeman, Joan. "The Flowering ol American by Manfred — at Vmhersr. and l mveisitv Gallery, University ol Massachusetts Hans 1 ichel, and Schneckenburger, Sculpture." \RTnews (New York) ~4, no. 10 by Arnold Bode, on the Wall: Relief Sculpture of the Sevi n texts Karl Oskar Blase, Gerhard Bott, Bazon Brock, Sculpture (Dec pp. 46-48. b) 1975), by . introduction March 29-May 4. 1 xh cat with [oachim Diederichs, Rolf Dittmar, Ulrich Gregoi I The Museum of Modern Art, New York. American \>t since as. Klaus Honnef, Peter W. I [ugh Dav Modern I km. Wulf Herzogenrath, 1^4^ from the Collection of the Museum of Smithsonian Maek-Gerard, Giinter Hirshhorn Museum and Sculpture Garden, [ansen, Lothar I ang, Michael Art. Exh. cat., with foreword by Richard I Oldenburg The I pi cts of A. Ross. Wieland Institution, Washington, D.( Fifth Metken, 1 othar Romain, David and acknowledgments and introduction by Alicia I egg Painting in New York. May 22-Sept. 21. Exh cat., Schmied, and Evelyn Weiss to Worcester Art Museum. Massachusetts, Traveled . with foreword by ^bram I ernei ind texi by —Shapiro, David "A View of kassel " Artforum Oet. 2^-Nov. JO; Toledo Museum of Art, Ohio, 62. Phy Mis Rosenzweig. (New York) 16, no. I (Sept. 1977), pp. 56 1-1 Denver Art Museum, fan. 1 ch. 22, L976; ol Modem \n Twenty )utdooi San l rani isco Musi um Weber Gallery, New York. Drawings foi ( 2. Fine Arts (.alien of San Diego, fohn March 19-May 1976; Artists, [uly 24-Sepi 7, I xh. cat., with 1946-1977. Oct. 29-Nov. 23. Organized by imerican Dallas Museum of An, Sculpture Maj Jl-Julj I I. 1976; and introduction by by acknowledgments I xh. cat., with introduction Omaha, Susanna 1 . Singer. Aug. 19-Oct. J, 1976; foslyn Art Museum, Henry I Hopkins Shapiro, traveled to Mead Gallery, Amherst c Museum, David Oet. 25-Dec. 5, 1976; Greenville ountj Massachusetts, Feb. i-March 4, [9 8; Virginia ( ollege, s,.uth c arolina, fan. 12-Feb. 20, L977; and Santa Barbara, 1981 Universit) of ( alifornia Art Galleries, I4-Apnl 1 , Museum ot Fine Arts, Richmond, March American Art. N't v\ Yi Museum ol Whitney Museum Ol fune 27-Sept. 4, 1978; I a folia 1977 1981 Biennial Exhibition. Feb 4 Vpril 5. Contemporary Art, California, Sept. 15-Oct. 2 . 1978; — 1945': New Museum Exhibit." "At the Whitney and the •"American Art since Massachusetts, —Schwartz. 1 lien. Hayden Gallery, M.I.T., < ambridge, March 19 7, and to ["heir Richmond Mews Leadei (Virginia), 5, Guggenheim: It's the Gospel According 1978 Nov. IS-Dec 19, [RTnews (New York) p. A IS. Organizers, Not The Word 122-2". i Vpril 1981), pp. 80, no I L978 Pompidou, Moderne, < entn Georges 1 976 Musee National d'An Grids: Format and Image in Pace Gallery, New York. en France. Arts, Ohio. Aspects of Parisfl9S < reations The Columbus (.alien of Fine 1979. Paris. Paris/1937— Twentieths entury Art. Dec. 16, 1978-Jan 20, laude preface by [ean ( [an. 17-Feb 29 :. I xh. cat., with Postwar Painting in America, rraveled to the May 28-Nov. cat., text In Rosalind Krauss. I ,,h with by Hulten; texts by Daniel Vbadie, Exh. eat., with preface and acknowledgments Groshens and Pontus Institute, Ohio. March 24-Maj 6, 1979. \kron An Philipp< ^rbaizar, nfts Anglivieldc La Beaumelle, I homas M. Messer. Revisions The Village Kingsley, April. "Visions and Museum, New York. Twentieth- — \ndre Berne |ottrov. Marcel BUlot, folD Bishop, Solomon K Guggenheim L979, 82. Voice (tie* York), Jan. 15, p. Buzel Vallet, Francois Three [vant-Garde ,,u Brunhammer, Laure de Century American Drawing: ["heme of Group. —Kramer, Hilton. "Art: 'Grid' Is Chirat, Henry 23. Organized by Diane Francois Chatelet, Raymond Generations, [an. 23-March 20. Chapon, Times, Dec .2^. 1978, p. < hristian rhl < laudius Petit, < rraveled to ( Eugene text by Waldman. , | aude ousseau, Waldman. 1 xh. eat., with Raymond Gid, -July 11; Pierre Dumayet, Gladys Fabre, Staatliche Kunsthalle, Baden-Baden, May 2 Derouet, Kristeva, is Aug. 29. Giroud, Raymond Guidot, [ulia au,\ Kunsthalle Bremen, Germany, |uly Michel Hum Lefebvre, Sylvain Lecombre, , Laugier, | aude

xhibition History J27 Ellsworth Kelly I Catherine Millet, i harlotte Pierre, lean Organized b) Traveled Perriand, fose Robert Metzger. to Baruch March 1 -Ma\ 1 , 198 ; the Phillips Collection, Prouve, Michel Ragon, Alain Sayag, Germain Viatte, College Gallery, Nev. York, Feb. 6-March 14, 1986. Washington, D.C., [une 20-Aug. 16, 1987; Dayton Art

Dominique Vieville, Patrick Weiser, and Sarah Wilson; I \h cat., with introduction bv Robert Metzger. Institute, Ohio, Sept. 12-Nov. 8, 1987; .\m\ Worcester

and chronology by Annick Lionel-Marie The Museum of Modern Art, New York. Contrasts of I oim. Art Museum, Massachusetts, Dec. 10, 1987-Feb. 7, Haus der Kunst, Munich. Amerikanische Malerei: Geometric Abstract Art 1910-1980. Oct. 2, 1985- 1988. 1930-1980. No\ N. L981-Jan. Jl, 1982. Organized |.in ~, T'Sh. Organized by Magdalena Dabrowski. —Dietz Krebs, Betty. "After Matisse: Exhibit Explores In Haus der Kunsr and the Whitnej Museum of Exh. cat., with introduction bj fohn Elderfield, texts by Master's Influence." Dayton Daily News and Journal

American Art. New York. I «h, car., with texts bj Tom Magdalena Dabrowski, and selected bibliography by Herald (Ohio), Sept. 12, 1987, p. 2. Armstrong and Bernd Grovve, and biography and Clivc Phillpot. Traveled as Contrastes de forma: — Lacher, Irene. "The Master) of Matisse."

bibliograph) h\ Ellen Goldhaar and Ann Lucke. \bstraccion Geometrica, 1910-1980 to BiMioteca The Miami Herald, March S, 1987, p. 17. In German; trans. Helmut Schneider. Nacional, Madrid. April 17-June 8, 1986; Museo Los Angeles County Museum of Art, Los Angeles.

Nacional de Bellas Artes, Buenos Aires, July 17- The Spiritual in Art: Abstrat t Painting 1890-1985. 1982 Aug. 25, 1986; and Museo de Arte Contemporaneo, Nov. 23, 1986-March 8, 1987. Organized by Maurice

Solomon R. Guggenheim Museum, New York. Caracas, Nov. II. 1986-Jan. 4. 1987 (expanded Tuchman with the assistance of Judi Freeman. Exh. cat., The \cw York School, lom Decades, Guggenheim exh. cat., with introduction by Thomas Messer and with foreword by Earl A. Powell; acknowledgments e '. Museum Collection and Ma/or I oans. |ul\ I -Aug. 2 Richard E. Oldenburg, and forewords bv Javier Solana bv Tuchman; texts by Carel Blorkamp, John 1 . Bowlt, Exh. brochure, with preface by Diane Waldman and text Madariaga, Daniel E. Martinez, and Carmen Elisa Charlotte Douglas, Charles C. Eldredge, Akc Fant, Lisa Dennis. >n trans bj Madlener dos Santos; foan Oliver); and traveled Robert Galbreath, I inda Dalrymple Henderson, Geurt Contemporar\ Arts Museum. Houston. The Americans: as Contrastes de forma: Arte Geometrica Ahstrata [manse, Edward Kasinec, Boris Kerdimun, Donald

The Collage, fuly I l-Oct. 3, Exh. cat., with 1910-1980 to Museu de Arte de Sao Paulo. Brazil. Kuspit, Rose-Carol Washton Long, John F. Moffitt, introduction by Linda L. Cathcart and artists Sept. 18-Oct. 20, 1986 (expanded exh. cat., with William Moritz, Sixten Ringbom, W Jackson Rushing.

biographies by Frnib L. Todd. foreword by Sofia Imber; trans. Clave). Tuchman, Harriett Watts, and Robert P. Welsh; mm\

Denver Art Museum, Colorado. Constructivism and the —Amarante, Leonor. "Na cidade, uma bela uniao chronologies by Judi Freeman. Traveled to Museum ol

metric Tradition: Selections from the Mc< rorj de dois rivais. "O Estado de S. Paulo (Sao Paulo), Contemporary Art, Chicago, April 25-June 19, 1987;

Corporation ( ollection. Nov. 3—Dec. 1 $. Exh. cat., with Sept. 18, 1986, Caderno 2. p. J. and Haags Gemeentemuseum, The Hague, foreword by Thomas N Maytham, preface bj Ceha —Ashton, Dore. "'Contrasts of Form: Geometric Sept. 2-Nov. 22, 1987. V-cher, text by Willy Rotzler, and artists' biographies bj Abstract Art, 1910-1980.'" Arts Magazine (New York) —McEvilley, Thomas. "The Opposite of Emptiness." Charlorta Kotik and Steven A. Nash. Traveled to San 60, no. 4 (Dec. 1985), pp. 18-20. Artforum (New York) 25, no. 7 (March 1987), Antonio Museum of Art, March 12-May 14; New —Subirats, Eduardo. "A arte e o museu," trans. pp. 84-91. Orleans of Art, Museum June 11-Aug. 14. 1983; ( assia Roc ha. holhetim-Folha de S. Paulo (Sao Paulo), —Stavitsky, Gail. "Concerning The Spiritual in Art.'"

"Toledo Museum of Art, Ohio, Nov. I J-Dec. 31, 1983; Oct. 19, 1986, pp. 6-7. Arts Magazine (New York) 61, no. 10 Indianapolis Museum of Art, Feb. 8-April 1, 1984; Museum of Art, Carnegie Institute. Pittsburgh. 1985 (June/summer 1987), pp. 32-34. Herbert F. Johnson Museum of Art, Cornell University, Carnegie International. Nov. 9, 1985-Jan. 5, 1986. Museum of Contemporary Art, Los Angeles. Individuals. Ithaca, May 6-June 17, 1984. Organized by John R. Lane and John Caldwell A Selected History of Contemporary \rt, 1945-1986. Exh. cat., with foreword by Lane, introduction by Lane Dec. 10, 1986-Jan. 10, 1988. Organized bv Julia Brown 1983 and C aldwell, and texts by Bazon Brock, Beniamin H. Turrell. Exh. cat., with introduction by Turrell and texts Helsinki Ateneum, Finland. Helsinki. ARS 83 D. Buchloch, Germano Celant, Hal Foster. Rudi H. bv Germano ( elant, Hal Foster, Donald Kuspit, Thomas Oct. 14, 1983-Jan. 15, 1984. Organized by the fine Fuchs, Per Kirkeby, Johannes Gachnang, Jannis Lawson, Kate Linker, Achille Bonito Ohva, Ronald J. Arts Academy of Finland. Exh. cat., with foreword Kounellis, Hilton Kramer, Donald B. Kuspit, Thomas Onorato, and John C. Welchman.

by Mats B., Yrjana Levanto, Barbara J. London, McEvilley, Achille Bonito Ohva, Mark Rosenthal, Peter

J. O. Mallander, Pauh Paaermaa, Leena Peltola, and Schjeldahl, and Nicholas Serota. 1988 Matti Ranki. In Finnish, Swedish, and English; trans. —van der Marck, Jan. "Report from Pittsburgh: Solomon R. Guggenheim Museum, New York. Aspects of

Maria Ahlmen, Harald Axnkil, Susanne Lehtinen, The Triennial Revived." Art in America (New York) 74, Collage, Assemblage and the hound ( )bject in and Mariatta Levanto. no 5 (May 1986), pp. 49-55. Twentieth-Century Art. March 29-May 22. Organized Solomon R. Guggenheim Museum, New York. by Diane Waldman. Fxh. brochure, with preface 1984 Transformations in Sculpture: hour Decades and acknowledgments by Waldman, and text by Stedeli)k Museum, Amsterdam. La Grande Parade. of American and European Art. Nov. 22, 1985- Susan Hapgood.

Hoogtepunten van de schtlderkunst na 1940/Highlights Kb. 16, 1986. Organized by Diane Waldman. Exh. cat., Kunstmuseum, St (.alien. Switzerland. Rot Gelh Blau: in Pamting after 1940. Dee. 15, 1984-April 15, 1985. with preface bv Thomas Messer and text by Waldman. Die Primarfarben m der Kunst des 2<>. Jahrhunderts. Organized by Fdy de Wilde, Hendnk Driessen, March 19-Mav 21. Exh. cat., with foreword bv Felix Karel Schampers, and Alexander van Grevenstein. 1986 I hurlemann and texts by Bernhard Burgi and Veit Exh. cat., with foreword and introduction by de Wilde. Queens Museum, Flushing, New York. After Matisse. Loers. Traveled to Museum Fridencianum, Kassel, In English and Duuh; trans. Beth O'Brien and March 30-May 25. Organized by Independent June I2-Sept. 18. van der Maas. J. J. ( urators Incorporated, New York. Exh. cat., with —Charriere, Edmond. "La Couleur absolue." Art Press acknowledgments by Susan Sollins and texts by Dore (Pans), no. 128 (Sept. 1988), pp. 10-17. 198S Ashton, nffanj Bell, and Irving Sandler. Traveled to Musee St. Pierre, Lyon. La Couleur scute. I 'experience Aldrich of The Museum Contempor.m Art, Ridgefield, ( hrvsler Museum, Norfolk, Virginia, Sept. 18-Nov. 16; du monochrome. Oct. 7-Dec. 5. Organized by Connecticut. c A Second latent: Painters and Sculptors Portland Museum ol \u. Maine, Dec. 9, 1986-Feb. >, Bernard Gavoty, Martine Petit, rhierrj Prat, and

Who [re Uso Phoi Sept. 22-Dec, 29. 1987; Bass Museum of Art, Miami Beach, Honda, fhierrj Raspail, Exh. cat., with foreword by Raspail, introduction by Maurice Besset, and texts b) Alain 1992 1 to the 1 iveled Meml ( ollection, I louston, Thierry Charre, Edmond Charriere, de Duve, Giorgio Documenta IX. Kassel, Germany. 1 June J-Sept. 20. Jan. 14-Apnl 2, 1994; Guggenheim Museum SoHo,

Franchetti, Jean-Claude Marcade, Thomas McEvilley, Organized by I I \h. fan loet. cat., with foreword b) New York, April 23 Aug 14, 1994; Art Tower Robert Nickas, Ursula Perucchi-Petri, Pierre Restany, Wofram Bremeier and texts by Bart de Baere, Cornelius Mito ( ontemporar) Vrt ( enter, fapan, Nov, 1, 1 994— Dieter Schwarz, and Richard Stanislawski. ( astoriadis, Hilde Daem, Claudia Herstatt, Hoet, Feb 26, 1995; and Philadelphia Museum ol \n. Heiner Muller, [oyce Carol Oates, Paul Robbrecht, April 21-Jul) JO, 1995. 1989 Jacques Roubaud, Pier Luigi "< Tazzi, and Denys —Knight, < hristophei age's 'Circus* a liner Ring Albright-Knox Art Gallery, Buffalo, New York. Abstraction Zacharopoulos. Sensual Blast," The Los {ngeles Times, Sept. I", I

Geometry Painting: Selected Geometric Abstract section I, pp. 1,14.

Painting in America since 1945. Sept. I ""-Nov. 5. 1993 " —Smith, Roberta Aspects ol [ohn ( age, tor the l yi with Organized by Michael Aupmg. Exh. cat., texl b) BlumHelman Gallery, New York. A Private View: Artists' The N> u York Times, Ma) 6, 1994, p l

Auping. Traveled to the Center for Fine Arts, Miami, Photographs, fan. 6-Feb. I J. Stiftung loan Arp und Sophie laeuhei \rp Bahnhot

Dec. 15, 1989-Feb. 25, 1990; Milwaukee Art Museum, Pace Gallery, New York. Sculpture and ( olor. Jan. I S- Rolandseck, Germany. Pflanzenwelten — Bliitentrdume

April 1-June 1, 1990; Yale University Art Gallery, Feb. 1 }; Indiana. Kelly, Martin, Rosenquist, I llsworth Kelly. Paul K/.v, Henri Matisse, Piet

New Haven, Connecticut, July 1-Sept. 16, 1990. Youngerman at Coenties Slip. Jan 16-Feb. 1 3. Mondrian, Pablo Picasso, Sophie Taeuber-Arp,

Exh. eat., with text b) Mildred Glimcher. Oct. 23, 1993-Jan. 2, 1994. I xh. cat., with introduction 1990 Martin-Gropius-Bau, Berlin. Amerikanische Kunst im 2". by Siegfried Gohi

( Richard Green Gallery, Santa Monica, California. Five Artists ]ahrhundert-. Maleret und ria.uk 191 1-199 I The Drawing enter, New York The Return of the ( adavre

I is. I xh . with foreword from Coenties Slip: 1956-1965. Sept. 20-Oct. 27. May 8—July 25. Organized b) ( hristos M. [oachimides xquis. Nov. 6-Dec cat bj

texts In \nn ( aws, Elizabeth Sidney Jams Gallery, New York. Classic Modernism: and Norman Rosenthal I xh. cat., with foreword b) Ann Philbin and Mar)

Six Generations — Mondnan, Albers. Newman, Kelly, Sir Roger de Grey; texts b) Brooks Adams, David I inch, Ingi id Si haffner, and ( harles Simic, I raveled to

Ryman, Halley. Nov. 15-Dec. 25. Anfam, Richard Armstrong, John Beardsley, Neal the ( orcoran ( lallerj ol Art, Washington, D.< . Benezra, Arthur C. Dan to, Abraham A. Davidson, Feb 5—April 10, 1994; Santa Monica Museum ol Vrt, 1991 Wolfgang Max Faust, Mar) Emma Hams, [oachimides, Santa Monica, ( alifornia, fuly 7-Sepi 5, 1994;

I tor ( 1 ouis, Sepi 10 Donald Kuspit, Man I ublm. Karal orum ontemporar) Art, St. Stux Modern Gallery, New York Geometries of < olor: Thomas Kellein, 0'( \o\ 12. 1994, and American ( enter. Paris, American Post-Painterly Abstraction. Jan. 30-March 9. Ann Marling, Barbara Moore, Francis V. onnor, Stephen Carter Ratcliff, Dee. L994- fan 1995, Exh. cat., with text by Beth Wilson. Achille Bonn.. Oliva, Polcari, Peter Anthony d'Offay Gallery, London. Carl Andre, Ellsworth Rosenthal, Irving Sandler, Wieland Schmied, Selz,

and Hallack; mu\ artists' 1 994 Kelly. Richard Long: Bronze. Steel. Stone. Wood: Gail Stavitsky, Douglas

Saini I iieuiie. I i.uue [rt .i»h'u,uu. trans. David Britt, fohn Browjohn, Anton Musee d \n Moderne Three Installations of Sculpture. March 4-Apnl 13. biographies, 60-70 25 I limmelberg, lesannies ful) Whitney Museum of American Art, New York. 1991 Biennial Ebner, John William Gabriel, Wolfgang Museum of Art, state Universit) of New York ( hnstel Morano. Magda Moses, Joachim Neugroschel, Neubergei I xhibition. April 18-June 16. Exh. cat., with foreword Nature, Sepi 25-Dec. 24. and Ormrod. [raveled to the ,ii Purchase Inspiredby by David A. Ross, introduction b\ Richard Marshall, Bram Opstelten, fohn *»<\ foreword bj I xh. brochure, with acknowledgments of Arts, I ondon, as American Art in the and texts by Richard Armstrong, John G. Hanhardt, Royal Academ) < Butler. 1 1 and ornelia H. I text b) I ucinda Gedeon, Twentieth ( entury. Painting and Sculpture 191 1-299 and Lisa Phillips

I xh. Fondation Daniel Templon, Musee Temporaire, Frejus, Sept. 16-Dec 12. cat Eleanor. "Report from German) " Art in [995 France. La Sculpture contemporame apres 1970. —Heartney, 43-48. Bilbao Museum ot line Arts. Spam la Tradicidn de lo C lmeri. Exh. cat., with introduction b) ( aroline ju ly " \Aaestras de la ( oleccidn Guggenheim, — Renton, Andrew. American \>t in the Twentieth Nuevo Obras Smulders and texts by Pierre Cabanne, Daniel Dobbels, 1945 1990 Ma) 10 Jul) 15 Exh cat., with prologue Century." Flash Art (Milan) 26, no. 173 (Nov. 1993), Siegfried Gohr, Demetrio Paparoni, Carter Ratcliff, and Garmendia, preface bj I homas Krens, and 104-05. b) Karmen Smulders. In English and French; trans. Neal Cooper, pp. texts Scon Gutterman ind Sam Hunter. In Spanish —Russell, John. "American Art through European by Marie-France de Palorema, Jeanne Etore, and John and Basque; trans Brian Webster and \l.mu lope/ The York Times, Mas JO, 1993, pp. 29, M Gabriel. Eyes." New 22- William Mutt. .id Matrix is 201 fan. "The Irresistible lasie ol Wadsworth Vtheneum, Akron, Ohio. —Taylor, John Russell. I mily Davis Gallery, University of ' Andrea Miller Keller " April 9. Organized b) America The Times (London), Maj 20, I Lye: Photography as Drawing. " I The Encompassing Schwendenwien, fude. "Matri* \rt New ngland 35. — Organized by Charles Hagen. Arts section, p. 16. I Oct. 22-Nov. Massachusetts) 12, no 3 (March Dr Imnei a P/< iron, ( nrr Musee du louvre. Pans. ( Opie\ — Exh. cat., published in Aperture (New York), no 125 \ IS. inspirees par les maitres du I ouvre. Gray, i00 I )euvres (fall 1991), with texts by Mary Foresta, Michael Boston Degrees o/ Abstraction: J Museum ol I me Arts, Graham April 26-Julj 26. Organized bj fean-Pierre ( uzin Charles Hagen, Robert Harbison, Weston Nacf, Mapplethorpe March 11-Oci 22 and texts bj Morris Louis to Exh. eat., with preface b) Michel 1 aclotte Carter Ratcliff, Donald Salt, and Toshio Nash, J. Orgam/ed b) [revoi I Fairbrod Cuzin, Mane -Anne Dupuy, I abrice Traveled to Bernard Ceysson. Shibata; and interview with Kell) b) Hagen. Kit, rokyo Revolution Arto\ lo\rette. And Arlette Museum ol ( ontemporar) Hergott, lean 1 evmane. Henn I I Beach California, eb 10- Dec 10 Laguna Art Museum, aguna the Sixties from Warhol to Beuys Sept. College, Bronx. New York, Serulaz. Yusuke Minami, funichi 14-Ma\ 24. 1^92; Lehman mized b) < hieko Hiraro, Art, I OS Angeles. The Museum of Contemporary foreword Art Gallery, Universit) ol Watanabe. I xh. cat., with Oct. 1-30, L 992; Marsh Organized Shioda, and Yohko < Sept. 12-Nov. 28. Rolywholyovei A ircus. laudia Richmond, Virginia, Nov. 13, 1992-Jan. I". 1993; Kamon and texts b) Vnn Bremner, ( bj Richard b) Yasuo I xh cat., with foreword bj fulie Lazai In Contemporan Photography, ( olumha fon Thompson, and Watanabe Museum of d'Harnoncourt, Laura Gould, Shioda, Koshalek and texts In Anne Keiko June 12-Jul) Jl, 1993. English; trans retsuro Ishida, College, Chicago, Rerallack, Japanese and Kuhn, Lazar, Marshall Mel uhan, foan and Minami. Mark and Andrew Weil Katsuya, Daisetz I Suzuki, Swed,

xhibition History J29 Ellsworth Kell) C Interviews and Statements 1996 Selected Bibliography Cummmgs, Paul. "Interview: Ellsworth Kelly lalks with Paul Solomon R. Guggenheim Museum, New York. Abstraction i Cummings." Drawing (New York) I >. no. m the Twentieth Century: Total Risk, Freedom, and (Sept.-Oct. 199 1). pp. S6-6I. Discipline. Feb. 9-May 12. Organized by Mark ile Smecchia, Mum. "Ellsworth Kelly: Incontro con un Rosenthal. Exh. cat., with foreword bj I homas Krens, protagonista dell'astrattismo." Vogue Italia (Milan), and acknowledgments and texts bj Rosenthal. no. 418 1985). 274-79. —Kimmelman, Michael. "Abstraction without the (Jan. pp Diamonstein, Barbaralee. "Ellsworth Kelly." In Diamonstein, Mess." The New York Times, Feb. 9, section ( .

Inside the \rt World: ( onversations with Barbaralee pp. 1,30. (New York: Rizzoli, 1994). —Tomkins, Calvin. "Total Abstraction: The Diamonstein and Guggenheim Spotlights the Achievements and Limits Dichl, Carol. "Birds, Beads Banner/stones." ARTnews (New York) 95, no. 7 (summer 1996), pp. 76-84. ..t Abstract Art." The New Yorker (New York) 72, no. 5 Donohue, Marlena. "Interview: Ellsworth Kelly." March 25, 1996), pp. 92-96. Monitor (Boston). 1989, Museum of Contemporary Art, San Diego. Continuity and The Christum Science July 10, 16-17. Contradiction: A New I ook at the Permanent pp. Duffy, Robert W. "it Was the Shape of Things That Came to < ollection. March 10-Aug. Jl. Exh. brochure, with text

I March by Hugh M. Davies. Matter to Me.'" Saint ouis Post-Dispatch, 27, Ilv —Knight, Christopher. "Putting up a Grand Facade." 1983, p.

"An Interview with I llsworth Kelly." In Los Angeles Times (( alendai section), March 10, 1996, Geldzahler, Henry. Ellsworth Kelly, pp. v 65. Paintings, Sculpture and Drawings by Washington Gallery of —Pincus, Robert L. "A Monumental Makeover." exh. cat. (Washington, D.C: The San Diego Union-Tribune, March I", 1996, Modern Art, 1963). Reprinted in Art International

(Lugano) 8, no. 1 (Feb. 15, 1964), pp. 47-48; excerpted section F, pp. 1 , 9. National Galler) of Art, Washington, D.C. The Robert and in American Sculpture of the Sixties, exh. cat. (Los of Art, 196"); Ellsworth Jane Meyerhoff < ollection: 1945 to 1995. Angeles County Museum March 31-July 21. Exh. cat., with foreword by Earl A. Kelly—The Pans Prints 1964-1965, exh cat. (New

Powell III; acknowledgments by Mark Rosenthal; texts York: Susan Sheehan Gallery, 1992); and Geldzahler, Interviews, and Talks b\ D.md Anfam, Ham ( ooper, Moll) Donovan, Making It New: Essays, Ruth F. Fine, Jane Meyerhoff, Maria Prather, Charles (New York: Turtle Point Press, 1994). Ritchie Rosenthal, and Jeffrey Weiss; .ind exh. checklist Gotz, Stephan. "Ellsworth Kelly." In Gotz, American Artists

b) Molly Donov.in m Then New York Studios: Conversations About the

I reation of Contemporary Art (( ambridge, Exhibition Curated by Ellsworth Kelly Massachusetts: Center for Conservation and Technical Museum of Modern Art. New York. Artist's Choice: Studies, Harvard University Art Museums, 1992). Ellsworth Kelly— Fragmentation and the Single horm. Hagen, Charles. "The Shape of Seeing: Ellsworth Kelly's June 15-Sept. 4. 1990. Exh. brochure, with text b\ Photographs." Aperture (New York), no. 125

Kelly and afterword by Kirk Varnedoe. (fall 1991), pp. 42-47. "! — Brenson, Michael. llsworth Kell) I oads the Dice at Hoffmann, Donald. "Artist Erases the Line Between Object, the Modern." The New York Times, June 24, 1990, Image." The Kansas C,t\ Star, Oct. 23, 1988, section D, section H, pp. J3, 40. PP- 1,5. —Kramer, Hilton. ""Artist's Choice' Show at MoMA: Kelly, Ellsworth. "Line, Form and Color." Unpublished book

Small, t oncentrated and Flawless." The New )•>! prepared for a John Simon Memorial Foundation grant

Observer, July 16-21. 1 990. pp. 1,27. application, 1951.

—Wallach, Amei. "'Artist's ( hoice': Doubly Revealing." . Statement. Art Now: New York (New York) 1, 5-1". Newsday (New York), [une 17, 1990, pp. 1 no. 9 (Nov. 1969), unpagmated.

. — Statement. In Artist's Choice: I llsworth Kellx Fragmentation and the Single Form, exh. brochure (New York: Museum of Modern Art, 1990).

Reprinted as "Fragmentation et forme unique," trans. Marie-France de Palomera, Art Press (Paris), no. 167 (March 1992), pp. 19-24. -. Statement. In Ellsworth Kelly, exh. eat. (Los Angeles: Margo Leavin Gallery; New York: LeoCastelli Gallery, 1984). Kutner, Janet. "Inside the Kelly Mystique." The Dallas Morning News, Sept. 12. 1987, section C. pp. 1-2. Lippard, Lucy R. "Homage to the Square." Art in America (New York) 55, no. 4 (July-Aug. 1967), pp. 50-57, Statements by Josef Albers, Marcel Breuer, Dan Flavin, Sol 1 eWitt, Agnes Donald Judd, Kelly, Martin, Claes Sims, Patterson and Emilj Rauh Pulitzer. Ellsworth Kelly: and Nan Rosenthal; interview In Hindrj and Paul

Oldenburg, and tony Smith. St Nov \\ ulpture I hitnej York: Museum ol American [aylor. In French and I nglish; trans, Yve Main Bois, Kelly." Art, Mejias, Jordan. "Ellsworth Frankfurter Allgemeine 1982). Nathalie Brunei. ( hristophe Domino, Elisabeth Galloy,

(Frankfurt), no. 673 22, 9-16. Upright, Diane. Kelly t Magazin I fan. 1993), pp. Ellsworth Works on Papei (New York: \l irie-1 rana di Palomera, and lane Stoulig. Kelly Keeps His Raynor, Vivien. "Ellsworth Edge" Harrj N. Abrams; Fori Worth An Museum, L987). Kazanjian, Dodie. "In 1 iving ( olor" Vogue (New York) IS2,

York) 3 \\ Kelly: ' I I (interview). ARTnews (New 82, no. ildman, Diane. Ellsworth Drawings, olla no (Nov. 1992), pp. 108 l J, J56 >s (March 1983), pp. 52-59. Prints (Greenwich, Connecticut: New York Graphic Mattison, Robert Saltonstall. "I llsworth KelK " In Rosenthal, Mark. "Ellsworth Kelly." In Rosenthal, Artists at Society, 1971). Masterworhs m //•<• Robert .md ]ant Vleyerl

Gemini G.E.L.: Celebrating the Twenty-fifth Year. < ollection (New York: Hudson Hills Press, 1995). Lacs

Stedelijk Museum, Amsterdam. "Notes from 1969." In Articles on Ellsworth KelK bj Mattison on [aspet [ohns, KelK, Ro) I ichtenstein, " Ellsworth Kelly: Paintings and Sculptures 1963-1979 Alloway, Lawrence. "Heraldry and Sculpture [rt Rob< ri Rauschenberg, and I rank Stella

(exh. cat.). Reprinted m Kiinstler, Kritisches I exikon det International (Zurich) 6, no. 5 (April 1962), pp. 52-53. Menna, Filiberto "Ellsworth Kelly." Vlarcatrh (Milan) Gegenwartskunst (Munich), no. 14 (1991), pp. 3-16; Baker, Kenneth. "1 llsworth Kelly's 'Rebound.'" il)e,. 1966), pp. 155, 159.

revised by Kelly for inclusion in Kristine Stiles and Peter Arts Magazine (New York) SI, no. I (Sept 1976), Nabakowski, Gislind. "Sources in Nature-" Flash Art 22-2V Selz, eds., Theories and Documents <>/ Contemporary PP. 110-11. (Milan), nos. J5-36 (Sept.-Oct. 1972), pp.

< and Art: A Sourcebook of Artists' Writings (Berkeley and Blistene, Bernard. "Ellsworth Kelly." ahiers du musee In English German. "\\ Los Angeles: University of California Press, 1996). national dart moderne (Pans), no. 5, (Ma) 1980), I'.i/k k\, Diana I oercher. In I his Shape ^nc\ Noi (Boston), Storr, Robert. "Ellsworth Kelly: Rencontres a Pans" pp. 499-500. Another'" The I bristian Science Monitoi April l

20-2 <• aner. "KelK's Speetrum ot I icperience." (Pans), no. 167 (March 1992), pp. 10-18. Artistes (Pans), no. J (Feb.-March 1980), pp. V Ratcliff, (summer I York) no 6 1981), Taylor, Paul. "Ellsworth Kelly: Talking to America's Most Cembalest, Robin. "Ellsworth KelK: verything Becomes [rt in America (New 69, 98-IUI Colorful Artist." Interview (New York) 21, no. 6 Abstract.'" \RTnews (New York) 91, no. 10 pp. Rose, Barbara. "The Sculpture ol Ellsworth Kellj " Artforum (June 1991), pp. 98-103. (Dec. 1992), pp. 98-103. S, no. 10 51-55. .it I llsworth KelK." (New York) (summer 1967), pp "Matisse: A S\mposium." Art in America (New York) 81, C oplans, John. "The Earlier Work " . KelK no. H> (summer 1969), "American Original: I llsworth Vogue no. 5 (May 1993), pp. 74-87. Statements by Kelly, Artforum (New York) 7, !>4 (New York) 162, no. 4 (No\ 1973), pi artists, and critics. PP. 48-55 III. American in Pans." Art in America Rosenthal, Mark. "Diagonal with ( urve 1978: von Ziegesar, Peter. "Ellsworth Kelly." The Journal of \rt Cotter, Holland. "An " Philadelphia Museum of \,r Bulletin I IKworth KelK .New York) si), n... 12 (Dee. 1992), pp. 74-81, I JO. (New York) 1, no. 2 (Jan. 1989), Pr . J-6. (summer tall 1984), Debs, Barbara Knowles. "Precise Implications." Art m (Philadelphia) 80, nos. J43-44 14 16 York) no. ft (summer 1983), P P Selected Monographs and Major Exhibition Catalogues America (New 71, I he {RTn Rubin, William. I llsworth KelK Big Form." Axsom, Richard H. The Prints of Ellsworth Kelly: pp. H9-2v iNew York) 62, no. 7 (Nov. 1963), pp. J2-35, 64-65. . Drawings." The I'nnt < ollector'i A Catalogue Raisonne, 1949-1985 (New York: Hudson "Ellsworth Kelly's Russell, |ohn "Outdoor Abstractions." House 6 Garden York) 1, no. 4 ( Sept. -Oa. 1972), 1987). Newsletter (New Hills Press, no 182-85,200, 73-77. (Nev, York) 159, 2 (Feb. 1987), pp. Baker, Elizabeth C. Ellsworth Kelly: Recent Paintings and PP. "The World as Color and Shape." 202. Sculptures (New York: Metropolitan Museum of Art, Dorsey, John. Schiller. Marlene. "Footnotes lheCo\er" American \rtist The Baltimore Sun, Ma) 29, 1988, section P. pp. I. I 1979). c'"). York) 41, no. 421 (Aug. I pp 6-14. Another I aocoon." (Nev, ed. Kasper Drolet, Owen. "Ellsworth KelK Howards Boehm, Gottfried. Ellsworth Kelly. Yellow ( urve, irans. l>avid "Ellsworth KelK: Puretes et dangers," (Milan) no. IS6 fan.-Feb. 1996), Shapiro, 1992). Flash Art 29, | Komg (Stuttgart: Edition Cant/, \>i P ( lerb' IIM Goossen, E. C. / llsworth Ulr.eh. \\ ihnes. "Die Keahi.u Halas/, Pin. "He Brightens up the Spectrum of Kiinstler, Kritisches lexikon dei Modern Art, 1973 I lisabeth |appe, Contemporarj Art." Smithsonian (Washington, D.< .) 4, Ed) de Wilde, Rini Dippel, and Ellsworth (Munich), no. 14 (1991), pp I Rose, Barbara, 42-49. Gegenwartskunst no . 8 Nov 1973), pp. Schilderijen en beelden ot statement bj KelK. m / llsworth Kelly. / llsworth Kelly. Reprinted CXCerpI Ann. "I llsworth KelK: Une Investigation I [indry, ". exh o Sculptures 1 96 1- 1 979 Sculpture, 1963-19 / 6 j_ / 979/Paintings ami Kelly. Paintings and couleur." Artstudio sur pans de 1'" 1 Kelly: phenomenologique '). (Amsterdam: Stedelijk Museum, L979); Ellsworth terdam: Stedelijk Museum. I no. 16 (spring 1990), pp. 90-9 , (Pans: entre (Paris), Peintures et sculptures 1968-1979 ( Kelly, a special issue of C.J Special I llsworth Georges Pompidou, Musee National d'Art Moderne, no. 24 (spring 1992). texts bj nffanj Skulpturen Artstudio (Paris), L979); Ellsworth Kelly. Gemalde und Hindry, < arter Ratchff, Bell, Roberta Bernstein. Ann 1966- 1979 (Baden-Baden: Staatliche Kunsthalle, 19 9).

KelK Bibliography 331 i llsworth Sandler, Irving. The New York School: The Painters Waldman, Diane. "Kelly, ( ollage and ( olor." ARTnews the (New York: Harper and New Yorl B (Dec L971), pp. 44-4". 53-55. and Sculptors of Fifties Row. 1978). . "Kelly Color." ARTnews (New York] 67, no. 6 snles, Kristine .^nc\ Peter Selz, eds. Theories and Documents 1968 . pp. 40-41, 62-64. of Contemporary Art: A Sourcebook oj Artists' Writings Related Articles and Books (Berkeley: Universit) of i alifornia Press, 1996). \\ heeler, Daniel. Art since Mn1-( cntmx: 1945 t<> the Present Alloway, 1 awrence. Topics m American Art since 1945 (New York: W. W Norton, 197 (New York: yendome Press, 1991).

Diane. Collage, issemblage, ami the Found ( )bject . "On the Edge." Architectural Design (I ondon] JO, Waldman, no. 4 (April I960), pp. 164-65. (New York: Harry N. Abrams, 1992).

. "Classicism or Hard-Edge?" Art International (Lugano) 4, nos. 2-3 (1960), pp. 60-61. Videos on Ellsworth Kelly the Ashton, Dore. Ann rican Art since 1945 (New York: [rtist's < hoice: Ellsworth Kelly— Fragmentation and Oxford Universit) Press, 1982). Single Form Written by Pierre Aubrv and Rachel Stella; Barron. Stephanie. "Giving Vn Historj the Slip." Art in co-produced by TIP-TV, INA, and Musee National d'Art rica (New York) 62, no. 1 (March-April 1974), Modcrne, C enrre Georges Pompidou; and narrated by

pp. 80-84. 1 ise loubou, 1990. Ellsworth Kelly. Written . "Matisse and Contemporary Art." Arts Magazine An Diable les oiseaux: regardet avec (New York) 49, no. 9 (May 1975), pp. 66-67. In Pierre Aubry and Rachel Stella, 1995. Boudaille, Georges and Patrick favault. La Peinture americaine (Pans: Editions Nathan, 1992).

(alas, Nicolas. "Quatre Champions de la "held Painting.*" KXe Siecle (Paris), no. 41 (Dec. 1973), pp. 132-40

Reprinted in Nicolas ( alas and I lena ( 'Lis. Icons and

Images of the Sixties (New York: E. P. Dutton, 1971). Diamonstein, Barbaralee. Inside the \rt World: Conversations with Barbaralee Diamonstein (New York: Rizzoli International, L994). Friedman, Martin. "Painting m^ the New Sculpture: " Kellj and Murraj irt lntcin.ithm.il (1 ugano) 14, no. 2 (Feb. 2<). 1970), pp. 35-36. Geldzahler, Henrj "Peinture americaine actuelle/Recent American Painting." Cimaise (Paris), nos. 69—70 41-4". (Jul) ( >ci 1964), pp. \n and the New York Avant-dardc."

Partisan Renew (Boston) 51, no. 4 (fall 1964), pp. 535-54.

I ukach, Joan M. Hilla Rebay: In Search of the Spirit in Art (New York George Braziller, 1983). Mellow, lames R., ed.. New York: The \>i World

(Arts Yearbook 7; New York: The Art Digest, 1964

Millet, ( atherine "Kelly, Noland, Olitski, Poons, Stella:

Apres I'Expressionnisme abstrait." \rt Press (Pans) 7,

no. S (Nov.-Dec. 1973), pp. 10-15.

Ratcliff, ( arter. "Mostlj Monochrome." Art m America (New York) 69, no. 4 (April 1981), pp. 111-31.

Rodan, Florian. ( ollage: Pasted, < /*/. and Tom Papers, trans Michael Taylor (New York: Rizzoli International, 1988).

Rose, Barbara. "ABC Art An in America (New York) 53,

no. 5 (Oct.-Nov. 196M. pp. S^-69.

. — American Art since 1900 A ( ritical History

(New York: Frederick A. Praeger, 1967; res ed., 1975).

. Autocritique: Essays on Art and Anti-Art,

J 96 5-/9X7 (Ncw York: Weidenreld & Nicolson, 1988). i

Curve Seen from a Highway, \usterlitz, HewYork, 19 0, Index of Reproductions Allan Kelly, Sr., 1982, p. M l »>0. I Architectural Plans of \ncient ( iry, l c.n. no. 14 cat no, 162

.... I Wood, cat. 7 helix. Automatic Drawing Rue Blamville, 1950, cat. no. 12 Cutout in 1950, This index includes only works by Ellsworth cat, no, Awnings, Avenue Matignon, 1950, cat. no. I 1 I Darft Blue Curve, 1995, 99

Bar, L955, cat. no. 28 Dark Blue Panel. 1980, cat. no BO "2 Barcelona Sculpture at the General Moragues Plaza, Dark Gray and Whu^ Panels, 1977, cat. no. 4x Dark Gray and \\ bite Re. tangle I. Study for. 1977, p The, 1987, P M 4~ no. 74 Bam, Southampton, New York, 1968, p. Dark Gray Panel. L977, cat, D

< urve ill, 1978, B/acfe Cim-t's, 1996, cat. no. 101 Diagonal with p '. ( \/\ cai no B1 Diagonal with ntve , 198 B/acfe or/er W/;ife, 1966, cat. no. 50 66 Dote »>/ a Row (from Line, Form and Color), 1951, p. B/tfcfc Ripe, 1955, cat. no. 24 Dowfc/e Self-Portrait, 1949, p. 17 B/flcfe Square, 1953, cat. no. 21 Feted 1952, p. 41 B/jcfe Stfiiare iivfft B/*«\ 1970, cat. no. 58 /<»o'.

<»» a \l, 1950, cat no. 1 1 Black Yellow-Orange, 1970, cat. no. 60 Fie&fc Fig, 1982, cat. no. 145 B/acfc WWte, L967,cat. no. 51 Fomi Blacks and Whites, Uppei Manhattan, 1957, B/acfc Wfcite, 1968, cat. no. 55 L, ~6, cat. no. I 50 Black White, 1 cat. no. 1 J7 Four ('<)/«»»• Panels, 195 J, cat. no 123 B/«jcfc ua'fft White Bar II, 1971, cat. no, 62 Gate, 1959, cat. no. 19 B/ocfc Island II. I960, cat. no. 41 Gauloise Blue with Red Curve, L954,cai no, 125 Blue Curve, 1996, cat. no. 105 2S Ga a, 1952-56, cat no. Blue Curve III, 1972, cat. no. 66 1989, 50 Grass, 1961, p JO Blue Curve with White Panel, p. "2 Green [(torn Line, Form and Color), 1951, p Blue Green I, 1968, p. 46 Ang/e, 1970, cat. no, 61 L>~2, no. 6 Gree/i Blue Green Curve. I cat. Green ( wn/e, 1996, cat. no 104 Green Yellow Orange Red, 1966, cat. no. 48 Blue 7 Crt-fM C«rve5 (from Line, Foroi and Color), 1951, p. Orange Red, 1968, p. 48 Blue Green Yellow 4S (,r«r;; Red YW/nir /{/»«•. 1965, cat, no. Blue on Blue, 1963, cat no. 43 Green White, 1968, cat. no, 53 Blue Panel I, L977, cat. no. 73 Hangar Doorway, Saint Barts, L977,cat no 164 Blue Red, L966, cat. no. 46 17 96 Head with Heard, 1949, p. Blue Relief with Black, 1993, cat. no. Horizontal \." 1957, cai no 152 Blue Ripe, L959, cat. no. 36 (o/ori, Horizontal Line (from Line, Foroi and 1951, Blue White, 1968, cat. no. 56 p. 67 B/«f Wfcite, Study for. I960, cat. no. I JO Horizontal Nude. 19 4, cat. no. 154 63 Blue Yellow Red III, 1 971, cat. no. Jersey. 1958, cat, no. 12 Briar, 1961, cat. no. 146 Kilometer Marker, 1949, cat. no. 1 Bricks, Mesehers #/, L950, cat. no. 160 Kite/, 1952, p. 43 1958, cat. no. 30 Broadway, no. 10 hance, La ( <>/»/>. /. 1950, cat, Cut into 49 Squares and Arranged by C Brushstrokes •' La Combe II, 1950 51, p 22 1951, p lor. 21 /., ( ,„„/,«• //. Study 1950, p Chatham II: Blue Red, 1971, p. 49 /., < „,//».'///. 1951,| 64 i Chatham IX: Black Green, 1971, cat no. 1996, p. ^2 156 Large Leaf, Cincinnati Riverfront Stadium, 1980, cat 110. Lemon Branch, 1964, cat no. 142 12 Cite, 1951, cat. no. cat no 119 and ( olor, 1951, and Arranged by Line, Form < «< MrfO 20 \ t

/"./

Tableau Vert, 1952, cat. no. 20 Orange Panel 1980, cat. no. 77 no. 86 Three Panels: Orange, Dark Gray, Green, 1986, cat. Red Relief. 1959, cat. no. 37 Orange Rearrangedby Chance, 1950, p. 21 3 Torn Drawing I cat. no. Delphine Seyrig - 9 Orange R«/ Relief (For 21 Train Landscape, 1952-53, cat. no with Green, 1991, cat. no. 95 Odwge Relief L08 Tuileries Gardens, 1949, cai no. Pages from a Magazine, 1950, p. 22 Blacks and White. 1993, cat. no. 98 no. 18 Two Painting for a White Wall. 1952, cat. Two Blacks. White and Blue, 1955, cat. no. 26 Study for, 1978, cat. no. I J8 Painting in I ighteen Panels. Two Inscs. 1983, cat. no. 148 Philipsburg, L974, cat no. 155 cat no. I $3 I ntitled, 1962, and Orange (from Line, ftmw W Color), 1951, Pin* no. 87 ( ntitled, 1986, cat. p. 72 Untitled, 1987, cat. no. 89 Pfoftfff, 1949, cat. no. I Untitled, 1988, cat. no. ss Pony, 1959, cat. no. $5 92 Untitled, 1988, p. i5 Purple Panel with Blue Curve, L989, cat. no. 73 Untitled. 1996, cat. no. I"" Random Dots (from Liwe, Fowl W Co/or), 1951, p. Untitled, 1996, cat. no. 106 no. $8 Rebound, I 959, cat. I" Untitled, Model for, 1996, cat. no. Red Blue. 1968, p 46 Untitled (Mandorla). 1988, cat. no. 90 Red B/i W/;i'fe Bar with Red Yellow Blue I. 1963, p. White Black. I960, cat. no. 40 Red >W/oir B/we WWfe, 1952, cat. no. 1 c cat. no. 59 ' White Black, 1970, Red Yellow Blue White and Black. 1953, cat. no. I White Curve on White, 1955, cat. no. 126 Relief with Blue, 1950, cat. no. 8 White on White (from Line, Form and Color), 1951, Romanesque Head, 1949, p. 14 ~~ L'~2. 4 p. Roof. G/;e«/. Neu' Yorfc. 1 p. White over Blue, Study for, 1952, cat. no. 121 Seaweed, 1949, p. 16 White Plaque: Bridge Arch and Reflection, 1951-55, Seine, 1951, cat. no. 14 cat. no. 24 S«'m?, Study for. 1951, cat. no. I I 5 White Plaque: Bridge Arch and Reflection, Study for, 1951, Self-Portrait, 1949, p. 11 eat. no. 120 Self-Portrait, 1949, p. 17 White Relief, 1950, cat. no. 9 Shadows on Stairs, Villa La Combe, Meschers, 1950, White Relief with Green, 1994, p. 5 eat. no. 159 Square, 1953, cat. no 22 no. 1 White S/;e/W fiMMfeer. Meschers #7, 1950, cat. 16 14 1 14'' Wild Grape, 1961, cat. no. Siberian Iris. 1989, cat. no. Wild Grape, 1980, cat. no. 14 3 Sidewalk, New York City, 1970, cat. no. 163 Window I. 1949, eat. no. 2 Sketchbook #15, Page 25, p. 41 Window V, 1950, cat. no. 6 Sketchbook #17, Pages 83-84, 1951-52, p. 44 Window, Museum of Modern Art, Paris, 1949, cat. no. 5 sketchbook #21. Page ". p. 44 Window, Museum of Modern Art, Paris, Study for, 1949, Sluice Gates, 1947, cat. no. 109

eat. no. I 10 Sneaker, 1949, p. 17 2" Yellow Black, 1968, cat. no. 54 South Ferry, 1956, cat. no. Yellow Black. 1988, cat. no. "I Spectrum PV, 1969, p. M Yellow Curve, 1996, eat. no. 103 Spectrum Colors Arranged by Chance. 1951-53, cat. no. 15 L'>" Panel, 1985, cat. no. 84 III, I 1 cat. no. 1 16 Yellow Spectrum Colors Arranged by Chance . Yellow Piece. 1966, cat. no 49 Colors Arranged by Chance V, 1951, cat. no 11 Spectrum no. 134 Yellow, Red and Blue Curves, Studies for, L9 1, cat. Spectrum Colors Arranged by Chance VII. 1951, Relief with Blue, 1991, cat. no. 9 1 * Yellow cat. no. I I Yellow with Red Triangle. 197?, p. 46 Stacked Tables, 1949, p. 16 L 'S4. 1 Young Spartans, The, l cat. no. 57 Statue of Liberty, 1957, eat. no. 1 1 1964, Study for a Blue and White Sculpture for Us Tuileries,

cat. no. 1 5 3 Study for a White Sculpture, 1958, eat. no. 129 Sumac, 1959, cat. no. $3

Sunflower, 1983, cat. no. I 17 Photo Credits By catalogue number: Bernstein essay, by figure number:

1-6, 10-12, 14, IS, 17, is, 20-23, 26, 28, 55,41,42,44, I: Ellsworth Kelly, ( ourtesj of the artist; 2: © 1991 Dorothj

l l 4.,. v>. so, ")- >s. 1 In \< 51, 54, S5, 57, 59, 61, 70, 76-78, 84-86, A idman, © 1996 Robert Rauschenberg, icensed \ I \.

107-111, 113-1 17, 120, 121, 123-125, L29, 133-140, New York; |, 8, 9: David Heald; 4 7, I J-15, 17, 19-21,

~- l 150-154, IS", L64: ( ourtesj of the artist; >, 25, 47,48, 23-25: ( ourtesj ol the artist; 10: Valerii I vstigneev, Moscow;

50, 65, 68, 101-105: David Heald; 1 J, 19: C ourtesj of I 1 Mian I inkelman, ( ourtesj of Sidnej [anis I lallery,

National Gallery of Art, Washington, D.C.; 16: © 1996 1 h« New York; 12: < laude Germain; 16: © 1996 Frank

Museum of Modern Art, New York; 24: ( ourtesy oi Stella/Artists Rights Societj (ARS), New York, ( ourtesj ol 2": Waddington Galleries, London; Michael Tropea Knoedler Cv Company, New York; IS: I lien 1 abenski;

C Photography, C hicago; 2 >: Courtesy of the lender; 22: ( ourtesj of Mathev, Marks Gallery, New York;

30: John Webb, © Tate Gallery 1 ondon; $1: ( ourtesj of 26 ferry 1 rhompson, Courtesy of the artist Stephen Mazoh cv Co., Inc., New York; 32: John Tennant; essay, figure number: J3, 4s : Teresa Diehl; J4: Erma I stwick; J6: Ed Brandon, Ratcliff by artist; : <>t the Artie Photodesign; 57, 119.3-119.5, 119.9-119.12, I Saute I oilano, C OUItesJ the 2: ( OUrteSJ of artist, 1. artist 119.15-119.20, 119.25-119.35, I 19.40, 127, 128: Sail) J: ferrj rhompson, Courtesj of the Ritts; $8, loo, 106: © 1996 Douglas M. Parker Studio; 39: Courtesy of Walker Art Center, Minneapolis; 40: Robert Rosenthal essay, by figure number:

Newcombe; 43: Los Angeles County Museum of Art; I: © Jack Shear; 2, 3: ( ourtesj of the artist

52: M. I ee Fatherree; S J: C ourtesj ol ( linnj W illiams I amilj figure number: Foundation, The Ginny Williams C ollection; 56: < ourtesj ol Bell essay, bj 2: "2, I. 14: I . rhompson; President and Fellows Harvard the lender; 58, 82: © Tate Gallery, 1 ondon; 60, 63, 66, ferrj

t Museums; 7: 1 I Universitj An J, Hen 74: Eric Pollitzer, ( ourtesj of the artist; 62: Stedelijk Museum ollege, larvard

( orhis bettniann; V UPl/t orbis betmiann; I I abenski; 4, 8: Amsterdam; 64, I 19.37: Sally Ritts/EIlen abenski;

6, is ( ourtesj of the artist; 9, 10: Richard Lambert, 67, 79: Squidds cv Nunns; 69: Gate Studios, ( ourtesj of the

( Nationaux; 1 1. I J, 19: Sallj artist; 71: Musee de Grenoble; "3: © 1996 Whitnej Museum ourtesj ol Reunion des Musees 12-. C of Yale Universitj An Gallery, of American Art. New York; 75: Museum of Fine Arts, Ritts; ourtesj

< lalerie Michael Nevt I laven, ( onnecticut; I S: < ourtesj of Boston, ( ourtesj ol the artist; 81: Hen Blackwell; 83: Lynton .\^\ York; 16: foseph Szaszfai, Gardiner, © The Metropolitan Museum ol Art, New York; Werner. ( ologne Nev* Art Gallery; 17: ( ourtesj of Galerie Denise 87: Douglas M. Parker Studio, C ourtesj ol the artist; Yale Universitj Pans 88: Philip A. Charles, © 1996 board of Trustees, National Rene, Gallery of Art, Washington, D.C.; 89: ( ourtesj of ^nthonj figure number: I ( of Chronology, by d'Offaj Gallery, London; 99: ferrj . rhompson, ourtesy

2: I I abenski; L I, J, 6, 8, 9: < ourtesj ol the artist; Hen the artist; 112, 131, 145, 148, I4 ': c ourtesj of Matthew artist; Ellsworth 4: Lawrence Williams, ( ourtesj ol the 5: Marks Gallery, New York; US. 119.2, 119.6, ID'.", 119.13, the artist; 7: Dallas Museum of An 1 Kelly, ( ourtesj of 1 32, 141. 14", 56, 1 19.14, 1 19.21-1 19.23, 122, 12k 155, Institute of 158-163: Ellen I abenski; 130:© 1995 [Tie Art •< fack shear ( of the lender; Frontispiece: . ourtesj c hicago; 142: Robert I Mates; 143:

( onnecticul 144: l'.oh kolbrcner; 14(v Wadsworth Atheneum, Divider pages: © fack Shear

Waldman essay, by figure number: 3": artist; 22. 26, 1, 3s": Same Forlano, C ourtesj of the 2. 25, Arts, I of 1 ine Ellen I abenski; J-5: © 1996 he Museum

Boston; 6: O. Zimmermann; 7: ferrj 1 Thompson; 8,

2s ; C ourtesj ol the artist; ". © 1996 4 I 1 llsworth Kelly, 23, The Museum of Modern Art. New York; 10-16, 20, 21, 4": artist; 1": [org P. 24, JO, J6, J8, J9, 42, ( ourtesj of the Anders. Berhu. 1983; 18: David Heald; 19:© 1 996 The Rockefeller Museum of Modern Art. New York, Nelson A

I he Bequest; 2": C ourtesj of I la igs ( !< meentemuseum, of the Hague; 29: Hans Petersen; Jl: Fritz Goro, < ourtesj artist; J3: Hans artist; 32: Hans Namuth. ( ourtesj of the artist; Gianfranco Gorgoni, Landshoff, ( ourtesj of the J4: Marks artist, 40: < ourtesj of Matthew ( ourtesj of the ourtesj of the artist; Gallery, New York; 41: Eric Pollitzer, ( C ourtesj of the 44: ©Jack Shear; 45: Jerrj 1 . Thompson, ol the artist, artist; 46: Ziebell/Zhotograph, ( ourtesj 48: Wojtek Naczas, Courtesy of the artist

Photo < redits j J5 Ellsworth Kellj