New New York York Sconybrook Sconybrook 01 01

Stocc Stocc U ni versity versity of of

ScJllcr ScJllcr Cc nc c r r fo r r chc chc Arts Arts

University University Art Art Gallery Gallery

Jun e e 1 7 - July July 30, 30, 1994 1994

E.st E.st Hampcon, Hampcon, New New York York

and and Study Study Center Center

Pollock - Krasner Krasner House House

S.ltctcd S.ltctcd Works Works on on l'>per l'>per

April April 30 - July July 30. 30. 1994 1994

90 90 x x 80 80 inches inches

1960. 1960. oil oil on on c:mv:as, c:mv:as,

flonu1gr flonu1gr "11le1], "11le1], lo lo

Cover: Cover:

1 1008 1750 1750

C C 1993 1993 Brandeis Brandeis U n ivcrsiry ivcrsiry

Offi ce ce of of f>ubli cat ions ions

93.onn7 93.onn7

Card Card Number Number Cai~log Cai~log

Libr.ary Libr.ary of of Congress Congress Contents

2 Prebce Carl Bdz

3 Acknowlcdgmenu Bonnie L. Grad

4 Robert Richenburg: Bonnie L. Grad AbStr2Ct Ei

32 Foor notes

34 Chronology

36 Sclecrcd Bibliography

40 Exhibition Checklist

2 2

Oireaor Oireaor Foner Foner Lois Lois and and cruy cruy H

Carl Carl Belz Belz

. . iu iu expression of of rewards rewards visual visual die die

and and inspiration inspiration his his for for , , anist e e di

10 10 grateful grateful , , am am Equally . . I I rcaliud been been

not not have have could could proj

dcdica1ed dcdica1ed selfless selfless and and wbooc wbooc withou1 withou1

Grad, Grad, Bonnie Bonnie r r curato guest guest to to gra1cful gra1cful

do do am am I I 10 10 so, so, opponuniiy opponuniiy the the For For

sponsor. sponsor. to to proud proud is is Museum Museum Art Art Rose Rose

the the which which exhibition, exhibition, of of thi& thi& purpose purpose

the the is is Such Such audience. audience. larger larger a a School-co School-co

York York New New the the of of accounu accounu bmorical bmorical

in in bypassed bypassed subsequcndy subsequcndy , , ~ ~ forged was was

ce ce fa e Pr

tha1 tha1 time time ii ii the the , , learn would would I I ai ai

, , admowledg«I widcly widcly - ach~mcn1

' ' s s Richcnburg bring bring 10 10 desire desire her her shared shared

likewise likewise and and I I ambition, ambition, and and scale scale vision, vision,

's 's k or w the the y y b ressed ressed imp immediately immediately

I I been, been, had had he he s wa.s wa.s 986. 986. 1 As As in in chance chance by by

y y l on it it scovered scovered di lf lf se r e h had had who who Grad, Grad,

Bonnie Bonnie historian historian an an University University Ouk Ouk

distinguished distinguished by by attention attention my my to to brought brought

it it until until work work s s ' was was Richenburg Robcn Robcn

Expressionist Expressionist Abstract Abstract of of unaware unaware I I was was This project would nor have happened Clark also deserves thanks for without the support of nuny individiWs accommodating my leave ofabsence to and institutions. However, it is the work work on ibis projccr at Brandeis. of Robert Richcnbwg rhar constirures the cxbibitiOn, so firs< honors mus< go 10 Some of the ideas in this exhibit I him. From rhe time of my firsr viewing was able to explore in a preliminary way of Bob Richcnburg's paintings in bis Easr in my "An Since 1945" classroom at fhmpron srudio and garage seven years Clark. My srudenrs' projccrs on "The Uses ago, borb he and bis wife, Margucr Kerr, of Black" in rhe art of this period have answered countless questions, uncovered some rdevant sources. One uncovered long-unseen paintings and student~ Lynne Moulton. went on to drawings, helped move unwieldy canvases become an invaluable research assisrant, out for viewing. uncarrbed 30-ycar- working borh in Bosron and in Easr old clippings, r=lled the circumstances Hampron on many aspccrs of this projccr. in which painrings were crcared or career Among other conrribucions, she was ~ions made, and, in general, have primarily responsible for the chronology patiently patticipared in a rcrrospective included with this caralog. Valuable review of75 years oflife. Thanks 10 them assisranoe was also provided by Rebecca both and, mOSt, ro Bob for having Clark and Beth Fritz. fuhioned works worthy ofsuch effort. Over the course ofrcscarcb a number of Having a brilliant corpus of paintings to other individiWs discussed Richcnburg's exhibit is one ming. bringing "unknown" an wich me or reviewed aspecu of works by an older artist to rhe public work of the period or the organization of eye is anorhcr. This exhibition would not the exhibition. Among these should have appeared wirhout the willingness be mentioned Ibram Lassaw, Pcrer Kahn, ofCarl Belz of rhe Rose An Museum to Bernice Stcinbaum, Professor Ellen look at unfuniliar paintings, and, then, to Landau ofCase Western Reserve (a former sponsor a show of rhem. Helen Harrison srudent of Richen burg's), Jeffrey Wechsler at the Pollock-Krasner House and at the Zimmerli An Museum at Rutgers, Srudy Center and Rhonda Cooper ar rhe Tibor de Nagy and Andrew H. University An Gallery at the Srarc Argot, Assisrant Director of rhc Tibor de University of New York ar Srony Brook Nagy Gallery. were equally supportive in committing · their institutions to an exhibit Additionally, I thank the staffs ar of"new" work, and rbanks are also due the Bosron Public Library, the Archives to Nancy Jarzombek, formerly of of American An, the Robert Hurchins the Herbert F. Johnson Museum of An Goddard Library at Clark University at Cornell University. and the Rose An Museum and Goldfub Library at Brandeis University. I am Key encourag<:menr in the form of grarcful to the Whimcy Museum financial assistance came wirh a grant of American An, the Museum of Modern from the Richard A. Florsheim An Fund An, the Hirshhorn Museum of An and ofTampa, Florida Clark University the Cho/sler An Museum in Norfolk. awarded me a Faculty Development Virginia, for cheir help in providing access Grant as well, and a Mellon Grant from to Richenburg's works in their collections. Clark enabled me to take a class to East Harnpron in 1987 to visit galleries I also thank my father, Julius Grad, and and srudios, including Richenbwg's. my husband, Gary Wolf.

B.G.

3

5 5

acdaim. acdaim. univcrral univcrral abnoa abnoa t t • • •• ••

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ally ally Ricbenbwg Ricbenbwg had had 1960i, 1960i,

odica. odica. , , 111 ~ ~ C C among among IJ.-ICI IJ.-ICI f f

...... Judd Judd Ndlcld Ndlcld Donald Donald

.mews .mews _, --- Dore Dore by by

created created student student female female his his of of work work who who

and and

his his dealer, dealer, the the over over head head a a to to coming coming philooophy, philooophy, ...... ! !

che che ol ol ...... de de Tibor Tibor teaching teaching his his and and painter" painter" c:xpressionin c:xpressionin

.,of .,of · , 1959, 1959, In In ' ' P P Ans. Ans. "well-known "well-known the the abstract abstract o""' o""' controversy controversy

,. ,. 1960 organized organized by by USA: USA: ...... the the of of 7imtS 7imtS details details the the Yori Yori Ntw Ntw

He.-• He.-•

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Wlai-r Wlai-r of of llKWl'I llKWl'I M dic dic .. .. his his directions directions radical radical encourage encourage in in to to case, case,

this this meant, meant, which which , , fit saw saw he he as as in in teach teach

Gugmheim Gugmheim

R. R. _ _ ......

of of odem odem MUINID MUINID M ·-

to to right right his his o""r o""r showdown showdown a a became became

squabble squabble a a only only been been have have might might What What in in included included _,,, _,,, W W . . . . F F

.' .' School Yock Yock and and New New freedom. freedom. c c i over over academ admini.stntion admini.stntion

for for ocherYilual ocherYilual forunv forunv Pnn Pnn the the with with argued argued Richcnburg Richcnburg

Gallety Gallety che che _. _. Sable Sable 964. 964. 1 In In last. last. to to not not success success This This was was

School School -·to for for New New che che • •

at at exhibit exhibit

career. career. his his

of of height height the the and and 44 44 was was Richenburg Richenburg at at

praise, praise, of of words words s s hi hed hed s i publ Sandler Sandler

when when 1961, 1961, In In s. s. n collectio their their to to work work

s s hi added added others, others, mong mong a of of useum useum M An, An,

a a Philadelphi the the d d an An An rn rn Mode of of

useum useum M the the American American of of An, An, Museum Museum

. . Whitney The The ' ' direction. 's 's Richcnburg

in in him him pointed pointed had had Sandler Sandler Irving Irving

and and Amason Amason rvcy rvcy . Ha how how recounted recounted

Michener Michener author author n n i Voico Voico rt rt . in in A , , 1962

essay essay an an in in and and burg, burg, Richen Richen of of followers followers

avid avid wttc wttc particular, particular, in in ichener, ichener, M

and and Chrysler Chrysler Weisman. Weisman. Frederick Frederick

. . Mrs and and Mr. Mr. and and and and Newman Newman urid urid M

Alben Alben , , Michener James James Lannan, Lannan, Patrick Patrick

Hitshhom, Hitshhom, Joseph Joseph Ouyslcr, Ouyslcr, Walter Walter them them

among among paintiJI&<. paintiJI&<. s s ' purchased purchased Ricbcnburg

an an conternporuy conternporuy of of colleaors colleaors Major Major

., ., . . paintinp paintinp symbolical symbolical forcieful forcieful

srunningly srunningly shows shows ) ) wbo [ .. .. abotnctionist. abotnctionist.

individual individual •powerfully •powerfully a a was was Ricbenburg Ricbenburg

TribrtMthat TribrtMthat Ym Ym Htrtzli/ Htrtzli/ Nnu Nnu the the

in in rcponed rcponed Gcnauer Gcnauer Emily Emily year, year, nat nat The The

commanding."' commanding."' vital, vital, and and , , "indMdual

was was an an his his that that cledartd cledartd Sandler Sandler

Pon, Pon, Yori Yori Nnu Nnu the the In In Scene."' Scene."' York York An An

New New the the on on ten ten of of pain pain fon:cful fon:cful the the lllOI( lllOI(

one one as as emerges emerges Richenburg Richenburg " that that 1961 1961 in in

lnt""4M1141 lnt""4M1141 in in Art Art wrote wrote Sandler Sandler lrring lrring

6 6

expressionism. expressionism. abstract abstract

of of inheritance inheritance the the or or undemanding undemanding our our

expand expand and and artist artist 10 10 exceptional exceptional an an

ttdisoover ttdisoover opponunity opponunity 10 10 ingular ingular s

the the offers offers bition bition i exh ibis ibis 7, 7, 1951-6 from from

paperworks paperworks rdated rdated and and paintings paintings

s s ' ' Richenburg Robert Robert Presenting Presenting exhibit. exhibit. painting. painting. abandon abandon not not did did he he although although

ibis ibis undertook undertook I I , , era ibis ibis of of an an the the small, small, work work to to him him lead lead to to oonspired oonspired

co co commiancnc commiancnc standing standing - long Museum's Museum's , , scale grand grand a a such such for for required required strength strength

Rose Rose An An the the oontinucs oontinucs who who l l Belz, Belz, Car physical physical sh= sh= the the and and studio studio large large a a

of of support support bold bold die die Wiih Wiih light. light. maintaining maintaining of of 10 10 ncccssity ncccssity die die expense, expense, die die

an an his his bring bring to to pledged pledged I I and and ob.curiiy, ob.curiiy, induding induding canV2SCS, canV2SCS, 1111widdy 1111widdy and and large large

inco inco fallen fallen undeservedly undeservedly lwl lwl School School on on working working of of problems problems The The yean. yean. 20 20

York York New New die die of of an an or or y y bod important important than than more more for for u.nsccn u.nsccn remain remain to to , , up rolJcd rolJcd

chat chat an an convinced convinced '"""' '"""' became became I I paintings paintings moment* moment* monumenal monumenal yean. yean. His His

fresh fresh so so work work could could How How astonishment. astonishment. stopped stopped he he and and Univenity, Univenity, Cornell Cornell

was was impression impression My My immediarc immediarc ac ac £each £each co co York, York, New New Ithaca, Ithaca, co co moved moved

. . slumber decades decades over over from from unpacked unpacked tw0 tw0 He He terminated. terminated. Galleiy Galleiy Nagy Nagy de de Tibor Tibor

just just , , an s s ' Richenburg Rohen Rohen saw saw first first I I the the by by sponsorship sponsorship is is . h ruptured, ruptured, world world an an

that that 1986 1986 in in studio studio Hampton Hampton East East die die wiih wiih ties ties his his l"ound l"ound soon soon and and years. years.

oom.pleted oom.pleted recently recently wife's wife's second second and and bis bis ihese ihese over over ished ished . he he establ had had momentum momentum

to to bis bis visit visit serendipitous serendipitous a a during during was was It It die die forfeiting forfeiting son, son, wife wife and and his his with with City City

York York New New left left He He clscwhere. clscwhere. employment employment

recognition." recognition." deserves deserves that that School School York York new new finding finding meant meant years years 13 13 or or position position

New New die die of of an an die die in in excur>ion excur>ion unknown unknown teaching teaching liis liis of of loss loss The The price. price. high high a a

an an represent represent

Together Together oils. oils. moDumenal moDumenal earlier earlier his his

to to ttlated ttlated closely closely oeuvn: oeuvn: an an as as $Wld $Wld works works .' .' world an an die die in in themselves themselves

paper paper 1960s' 1960s' these these , , media other other in in and and emblish emblish on on went went to to students students bis bis of of

maccriab maccriab other other with with cxpcrimcncicion cxpcrimcncicion uch uch s number number a a and and galleries. galleries. York York New New in in SOOD SOOD

pu..ue pu..ue to to on on went went Richenburg Richenburg While While up up show show would would nurtured nurtured RicheDburg RicheDburg

expttSSionism. expttSSionism. ab.tract ab.tract or or dittetions dittetions die die

enrich enrich and and nd nd exte that that exercises exercises brilliant brilliant all all happenings happenings and and an an environmental environmental

times times at at paper paper on on works works att att these these decade, decade, mininul, mininul, oonceprual. oonceprual. assemblage, assemblage,

pttvious pttvious die die of of paintings paintings his his in in inhcn:m inhcn:m pop, pop, as as aprcaioniam, aprcaioniam, abstna abstna

'""'° '""'° painting painting and and a a wiih wiih paint paint exploring. exploring. applying applying roUer roUer srudents srudents dw dw bis bis an an

printing. printing. dec:aloomani>, dec:aloomani>, paper, paper, com com approaches approaches to to new new die die acknowledged acknowledged he he

, , oolhge inoorporacing inoorporacing techniques, techniques, of of ideas, ideas, new new by by shocked shocked W

sons sons all all wiih wiih "play" "play" and and experimemation experimemation guard" guard" "old "old ddenly ddenly su many many to to oontraSt oontraSt In In

endless endless widi widi engagement engagement his his n:vcal n:vcal School. School. York York New New die die in in rooted rooted was was an an

These These paper. paper. on on works works of of series series divcr>e divcr>e own own his his that that f.ict f.ict die die despite despite dusroom, dusroom,

, , exceptional an an created created He He creativity. creativity. the the in in environment environment cxpcrimcnral cxpcrimcnral open, open,

of of period period unknown unknown vinually vinually rich, rich, a a into into an an encouraged encouraged Ricbenbwg Ricbenbwg Holinann'$, Holinann'$, at at

him him launched launched also also career career his his sundaed sundaed student student a a as as Just Just opcricnced opcricnced he he had had as as

that that adversity adversity the the Thus, Thus, techniques. techniques.

and and materials materials new new his his did did as as ideai, ideai, new new resigned.' resigned.'

generated generated turn turn in in which which painting. painting. he he end, end, die die refused. refused. In In He He students. students. in in his his

his his from from ideas ideas pur>ued pur>ued purposefully purposefully rein rein to to Richenburg Richenburg told told administration administration

Richenburg Richenburg eye, eye, public public the the of of out out The The plastic."' plastic."' in in together together bo1111d bo1111d objects objects

scale, scale, pet>0oal pet>0oal mon: mon: a a on on DOW DOW Cttating Cttating oiher oiher and and tinfoil, tinfoil, or or rag> rag> asscmblaga asscmblaga • •

8 8

_ _ '' '' night. ofrhr ofrhr

darkness darkness the the 1vith 1vith one one i11ro i11ro 111tlt 111tlt to to ser1ntd ser1ntd

which which groans, groans, rhrir rhrir with with filktf filktf runs runs army army rhr rhr

,,,,,,/,,prJ ,,,,,,/,,prJ rlw rlw gloom gloom Thr Thr 11ighr. 11ighr. ofrhr ofrhr

Jarltnns Jarltnns i11 i11 the the othtr othtr any any than than hrard hrard J(lt111d J(lt111d

Jisrinn'1 Jisrinn'1 morr morr """" """" wountktl wountktl oftlN oftlN 1Jt1ien 1Jt1ien

anJ anJ iroans iroans thr thr rumbk. rumbk. gmmtl gmmtl rlN rlN AmiJ AmiJ

anJ anJ wh«ls. wh«ls. ofhoofi ofhoofi 1'>unJ 1'>unJ 1/N 1/N anJ anJ 1allt 1allt aml aml

whisf'"S whisf'"S with with hu111111i11g hu111111i11g tlirmion, tlirmion, 011t 011t

in in alwaJS alwaJS jlowi11g jlowi11g river""" river""" gloon11 gloon11 unJt'tll unJt'tll

a a though though ru ru it it dark11eJJ, dark11eJJ, u~n1etl u~n1etl the the /11 /11

ng: ng: i 1h

re:il re:il Lhe Lhe were were s und so 's 's Tols10y gh gh u ohho

war, war, of of onguish onguish the the of of sense sense the the hcighren hcighren

to to darkness darkness used used he he where where Peact Peact and and

in in War War sunc sunc night night vivid vivid Tolstoy's Tolstoy's mind mind

to to brings brings w>r w>r by by ravaged ravaged land land a a in in vigils vigils

nocturnal nocturnal his his of of account account Richcnburg's Richcnburg's

terror. terror. with with filled filled was was night night •ll •ll Thac Thac

. . g in scrc:an1 hun1ans hun1ans like like sounded sounded rhat rhat

ses ses i no n1aking n1aking eking, eking, hri s cocks cocks pea heard heard I I

night night One One on on in in moving moving 1hings 1hings 111c. 111c.

of of feeling feeling 1he 1he had had cominuously cominuously I I . . it with with

one one bcc

h•unring h•unring immenS<, immenS<, the the in in pulling pulling " recalls, recalls,

he he as as fonh, fonh, and and back back mardicd mardicd he he time time

:u :u hours hours four four For For night. night. even even :;a :;a -at -at

destruction, destruction, of of these these of of ag<'ntS ag<'ntS "cmrody' "cmrody'

the the around around revolved revolved life life s s Hi traps. traps. booby booby

and and n1incs n1incs dcmoli1ion.s, dcmoli1ion.s, in in trOOp$ trOOp$ trained trained

and and ves ves i os l exp er er h ot and and TNT TNT with with

loaded loaded ck ck tru a a in in ce ce n Fra and and nd nd a l Eng

throughout throughout travelled travelled e e H risk. risk. high high of of

position position a a cillc cillc ror ror nondescript nondescript a a ngineer, ngineer, e

combat combat • • b.came b.came Richenburg Richenburg draft. 1n1.h1.-s 1n1.h1.-s ot;O ot;O x x 60 60

11 11

'"°'"'""'""" '"°'"'""'""" m,.J,. m,.J,. nu>nl nu>nl '>Sl. '>Sl. I I the the for for old old too too wcr< wcr< whom whom of of most most

aprcssioniscs. aprcssioniscs. abstract abstract of of generation generation first first

the the unlike unlike years, years, thr

Europe Europe to to sent sent was was and and 1942 1942 in in army army

the the in10 in10 dr•fted dr•fted was was Richcnburg Richcnburg 1917, 1917,

in in Born Born work. work. ater. ater. l s s hi in in n1a1urc n1a1urc rhcmcs rhcmcs

rorcshadow rorcshadow d d an generation generation is is h of of anisr anisr

ony ony by by war war of of trauma trauma l l ogia l sycho p >< >< 1 1

of of investigation investigation ncense ncense i st st n1o che che an1ong an1ong

r

"Painting/ "Painting/ and and painrings painrings ar!<" ar!<" ·o his his

works, works, 02rly 's 's Ridicnburg Rob.n Rob.n Among Among

9 9

psychological psychological affinities . . Richcnburg Richcnburg had had

shared shared the the mosc mosc profound profound social social and and

Goya. Goya. an an arrisr arrisr with with whom whom Richenburg Richenburg

Slum/Hr Slum/Hr recalls recalls the the work work of of Francisco Francisco

ofhisiory. ofhisiory.

has has unfolded unfolded pan pan of of a a normal normal life life cycle. cycle. as as confront confront they they the the viewer viewer with with the the ugliness ugliness

world · at · largc largc and and noc noc as as a a condicion condicion that that that that prcscm prcscm they they his his personal personal experience, experience,

"l...ik "l...ik basicall y y rr.1gic. rr.1gic. is is ""Ar ""Ar the the same same rime rime rauh rauh of of somnhing somnhing gone gone amok amok in in chc chc

death death visualitcd visualitcd or or ilS ilS mosr mosr disturbing. disturbing. a a assemblages assemblages convey convey rhc rhc as as 's 's anisr belief belief thac thac

Richcnburg ' s s is is dearly dearly about about ~inting ~inting Whatever Whatever their their rh csc csc violcnc violcnc sources, sources,

inspimion inspimion the the of of Picasso Picasso and and Duchamp . . darkness. darkness. Although Although the the image image is is abstracr , ,

using using " found found such such in in his his an an ro ro obj«:rs" obj«:rs" jusi jusi beyond beyond our our in in an an reach reach impcnnrablc impcnnrablc

Richcnburg Richcnburg hi s s openness openness whicc whicc presence presence suspended suspended er.aces er.aces eerily eerily in in space space 1 0 0

vioknr vioknr the the energy energy of of fururist fururist brushwork . . wc wc :arc :arc prcscnccd prcscnccd :an :an unknown with with , , a a

although although rhc rhc painting painting is is also also indebred indebred to to London London during during the the bombinjl$. bombinjl$. SlumWr, SlumWr, I n n

o rouching rouching in in the the subway subway runnels runnels of of Munch's Munch's as as hi s s sourer, sourer, Stw11m Stw11m dir ~ ~

lies lies wired. wired. doll doll Richcnburg Richcnburg ci t es es Edvard Edvard Henry Henry Moore 's 's drawing.t drawing.t offii,'Urcs offii,'Urcs

cpiccn1cr cpiccn1cr of of canvas, canvas, where where one one lone lone 1h~ 1h~ noc noc i n n a a specific specific sense. sense. as as i n , , fo r r example, example,

of of blue blue and and red red painr painr r2diu c c from from the the with with darkness. darkness. is is What What we we h orrific. orrific. but but sec sec

In In Balla -esquc -esquc strokes strokes Unctming(l949), Unctming(l949), the the arms arms a nd nd legs , , .. .. was hin g" g" over over them them

he he evokes evokes the the intcnsicy intcnsicy of of explos i ons . . hun1:an hun1:an fig ur e, e, l a c e r r he he eliminated eliminated bu l l

suggem suggem physical physical 60 60 ann i hilat i n i on. on. d1 c' c' Elsewhere, Elsewhere, S/11111b

such such works works Richcnburg Richcnburg graph i ca ll y y s waddlin g g clot h es . . When When Richenburg Richenburg oi l l on on canvJ\ canvJ\

looking looking down down upon upon rhc rhc devastation .' ' ' I n n a pp ears ears be be d ea d d bod y y a a wrapped wrapped i n n 195 1 1 10 10

appears appears ro ro thac thac from from be be a11 a11 airpla11 c, c, visible . . C l ose ose reveal i n spect s s \vhat \vhat ion ion .5/ton/Jrr .5/ton/Jrr

2. 2. wasteland. wasteland. The The perspectiv e e of of th e e viewer viewer the the in in ce nter. nter. Above Above is is a a black black su n , , b arely arely

conveys conveys the the sense sense of of a a bombed -o ur ur ob l iterat in g g :an :an unidentifiable unidentifiable whice whice fo rm rm

chaotic chaotic the the array array of of mixed mixed media , , wh ile ile i r r dense dense layers layers of of dark dark grey grey paint, paint, nearly nearly

with with black black which which serves serves un ify ify the the :artist :artist cove red red ~int, ~int, i ent re re canvas canvas to to lhc lhc with with

Richcnburg Richcnburg covered covered much much of of the the ca n vas vas In In Richenburg's Richenburg's S/umwr(l95 1 , , figure2), figure2),

of of wrinkled wrinkled cloths cloths evoke evoke co llapsed llapsed tents. tents.

rhc rhc canvas, canvas, Across Across canb. canb. fr.agmcnrs fr.agmcnrs ro ro own own forces forces ...... hiJ hiJ •

1 7 7

painted painted black black rc

on on a a mda mda mound mound of of sand sand rhac rhac the the Sanre Sanre wrocc wrocc rhac rhac " " .. .. .the .the dying dying war war leaves leaves

ground ground of of pcsri l encc encc and and hacc ," ," and and have have doll doll " f.illcn f.illcn •dead •dead appears appears in in irs irs to to

...... ungly ...... ungly a a banlcfidd. banlcfidd. Each Each rubble rubble heap , , a a c harnd harnd house , , a a breeding breeding aa05S aa05S strcWR strcWR

"""""m.lion , , displa rhac, rhac, ys ys dolls, dolls, mind . . 18 18 Churchill Churchill described described Europe Europe as as " a a

painted painted ro ro The The canvases moor moor . . dr2macic dr2macic of of cvcn cvcn grasped grasped b y y chc chc human human hean hean and and

nalr.cd nalr.cd dolls dolls baby baby arru:hed arru:hed by by wira wira complnc complnc arc arc ir ir could could nor nor accounted accounted be be for for or or

in in humaniry humaniry a a and and ro ro dcmoraliution dcmoraliution so so I) I) is is one one of of nine nine works works in in which which small small

"""""""'lion """""""'lion aaanblages.) aaanblages.) (1952, (1952, figure figure war war led, led, for for many , , t o o a a of of 1055 1055 f;Urh f;Urh

confused , , bur bur developed developed be be his his victorious victorious conclusion conclusion for for the the Allies, Allies, the the

with with whom whom Richcnburg Richcnburg Bob" Bob" would would devastation devastation death . . Despite Despite and and i1S i1S

bd'ott bd'ott Robcn Robcn Rauschenburg. Rauschenburg. rhc rhc "other "other use use of of black black to to deal deal with with the the themes themes of of

ofbartlc ofbartlc groun cquinlcnrs cquinlcnrs ds. ds. (This (This paintinjl$ paintinjl$ to to ction ction abstra and and the the was was symbolic symbolic

assemblages assemblages as as a a way way ro ro crcacc crcacc rh c c assemb l ages, ages, he he turned turned the the "Dar k " " in in

Richcnburg Richcnburg invcnred invcnred dimcnsionaJ dimcnsionaJ human human figures figures in in ~intingl ~intingl his his

various various means means such such u u primitivi sm, sm, through through the the lit eral eral incorporation incorporation of of

thrcc­ 14 14

dealr dealr with with rhc rhc war war mc mc .. .. phorically phorically through through of of t h e e physical physical dcva.s dcva.s .. .. tion tion of of war war

o

-

10 10

blaclt blaclt is is tlM tlM CflUJrofnizh~ CflUJrofnizh~ whm whm your your

negative negative atui atui ftarfal ftarfal ass0

Blacltnm Blacltnm ponesm ponesm an an immmse immmse range range of of

of of black: black:

recurrent recurrent Rwsdl Rwsdl njghunarc, njghunarc, which which develops develops the the negative negative he he traces traces meanings meanings ro ro

a a teenager teenager as as he he traum21iud traum21iud was was by by The The a a Dn!i£ Dn!i£ rhe rhe scholar scholar Jeffrq Jeffrq Bun on on

deformation deformation wacn·r wacn·r pain pain cnought cnought •heroism" •heroism" as-U. his his In In book book

entitled entitled

22 22

of of being being an an oursider. oursider. if if the the physical physical As As death , , doom , , darkness,• darkness,• but but with with

sclf<0ruciowncss sclf<0ruciowncss and and with with feelings feelings 1960., 1960., associated associated black black with with .criminal .criminal

scar> scar> well. well. as as grew grew He He up up with with intense intense an an turning turning ro ro his his toWly toWly black black works works of of the the

inc ident ident left left permanent permanent psychological psychological painringJ painringJ in in the the 1950s 1950s early early before before

as as different different from from other other chi l dren, dren, and and the the also also pa . inrcd inrcd dark dark and and monochromatic monochromatic

From From this this age , , he he visib l y y "branded" "branded" was was Richenburg 's 's friend friend Ad Ad Reinhardt, Reinhardt, who who

scarring scarring h i m m and and leaving leaving him him partly partly bald. bald.

contenrs contenrs landed landed on on hi s s head, head, permanently permanently on on is is us us rtprnenud rtprnenud I,, I,, m

11 11

almost almost died. died. of of Much Much t>ur t>ur of of the the aNI aNI n«r

aisttnu aisttnu thing thing of of that"" that"" on on him bqoNI bqoNI , , burning burning rlN rlN ""'h ""'h him him so so scve . rcly rcly that that be be

""" """ dUApptArinz dUApptArinz ...... TIN TIN ftit;hrminz ftit;hrminz boiling boiling tomatoes tomatoes had had accidenWly accidenWly faUcn faUcn

his his life. life. When When th. th. artist artist he he was was shttw shttw lift lift a a pot pot as as two, two, pl'Ot'ts1 pl'Ot'ts1 11 11 of of

apptarinz apptarinz of of

Knoedler Knoedler

Co Co

.. ..

1918 1918 Ill Ill

Stlltie Stlltie ""'"" ""'"" with with inwnu11. inwnu11. 11 11 constllnl constllnl accident accident that that had had irrcver>ibly irrcver>ibly transformed transformed

of of Gifi Gifi Art of of , ,

M . .

Richenburg Richenburg /iltely /iltely had had experienced experienced rtt11m rtt11m iL iL to to a a lnsltfld lnsltfld terrible terrible to to ofpmmtinz ofpmmtinz 11 11

M~rropoliran M~rropoliran Museum Museum

his his own own "Black "Black nnnginzfrom nnnginzfrom Paintings" Paintings" 11 11 relate, relate, of of

non-bring non-bring

and and

lllllt lllllt

all all righrs righrs reserved reserved

deaf deaf from from rte

to to impmtion impmtion which which of of

thing thing

6 6 inches inches 8 ~ ~ x x

with with Goya Goya fa;/ fa;/

too: too: ofblaclt ofblaclt just just nothingnm, nothingnm, Goya Goya as as had had

beoome beoome the the beholdrr beholdrr

1 799. 799.

erching erching

Richenburg Richenburg shared shared something something deeper deeper When When darlmm darlmm is is so so tktp tktp that that

it it provitk1 provitk1 a a

Reason Reason Produl'n Produl'n Mo1u1~n Mo1u1~n

historical historical weU weU as as as as penonal penonal na:cssiry. na:cssiry.

TIMSlrtpof TIMSlrtpof

evil, evil, and and effectively effectively evokes evokes wed wed it it SIMmbtr. SIMmbtr. serve serve to to

Francisco Francisco Goy.o Goy.o

idencify idencify black black 11NI 11NI with with V'uwtl V'uwtl darkness Pnortption, Pnortption, , , death death and and in in

a a that that ~ ~

3. 3.

ignoble ignoble ignor.tncc. ignor.tncc. He He coo coo came came to to Rudolph Rudolph by by Amheim Amheim in in An An

in in the the face face of of human human acrocicics acrocicics and and blind, blind, as:soci2red as:soci2red with with blac:lc blac:lc disn•sscd disn•sscd is is

Richcnburg Richcnburg shat«! shat«! with with his his Goy.o Goy.o Why Why much much so so r.tge r.tge psychological psychological is is pow.:r pow.:r

the the darkness darkness and and irrationality irrationality

of of history. history. silence silence of of black black is is the the silence silence of of death. "

11 11

0 0

of of ignorance ignorance and . vice, vice, and and which which evoke evoke something something motionless motionless l ike ike a a corpse . . The The

bats, bats, which which h ave ave been been seen seen as as symbo ls ls out, out, like like the the ashes ashes of of a a funeral funeral pyre, pyre,

a a sleep ing ing anist anist surrounded surrounded by by owls owls and and possibilities possibilities ...... Black Black is is something something burnt burnt

Museum Museum of of An) An) in in which which he he ponr.tycd ponr.tycd that that • • ...... black black a a silence silence is is with with no no

Monsrm Monsrm 1 799 799 of of (figure (figure 3, 3, Metropolitan Metropolitan th. th. Spiritrutl Spiritrutl in in Art. Art. Kandinsky Kandinsky explained explained

master's master's 7"' 7"' Slnp Slnp of of llrAJOn llrAJOn ofWassily ofWassily ProJuas ProJuas ycan ycan Kandinsky's Kandinsky's Con<"11inz Con<"11inz

imagiruuivc imagiruuivc m:ollcaion m:ollcaion but but also also through through of of readings readings the the his his Spanish Spanish the the over over

be be seen seen a a tribute tribute Goy.o, Goy.o, as as to to an an pow.:r pow.:r of of bbck bbck not not only only through through Goy.o, Goy.o,

more more drawin&< drawin&< from from them. them. Sbimbn- may may Richcnburg Richcnburg became became aware aware of of the the symbolic symbolic

Goya's Goya's Disastm, Disastm, although although he he made made no no

turned turned his his attention attention to to the the study study of of from from thi s s accident accident and and his his dream." dream."

war , , Richen Richen burg burg recalls recalls that that he he once once again again motlvacion motlvacion ro ro exp blackness blackness l ore ore der i ves ves

of of War War Los Los and and Coprirhos. Coprirhos. After After the the Richenburg Richenburg believes believes that that his his deepest deepest

drawin&' drawin&' ( now now lost) lost) from from Goy.o Disastm Disastm 's 's whose whose forrns forrns he he could could not not decipher . .

An. An. At At that that time time he he had had made made 10 10 burning burning ember> ember> and and fiUed fiUed with with monster> monster>

an an an an uudent uudent at at the the Corconn Corconn School School of of the the darkness darkness of of a a cellar, cellar, illuminated illuminated by by

discovered discovered Goy.o Goy.o in in 1941. 1941. when when was was he he this this accident, accident, which which in in he he descended descended to to

11 11

· · --- ' '

• •

inches inches 50 50 60 60 x x

anvn anvn on on

gnd gnd and and l l oi

1956. 1956.

life." life." aoldier's aoldier's

Moompots Moompots

average average 1he 1he of of oftbe oftbe rqimcnmion rqimcnmion scriCI scriCI 5. 5.

mg;- himself himself free free order order in in 10 10

oombac oombac of of assignmen< assignmen< dangerous dangerous the the &Ir &Ir

n1ccrcd n1ccrcd lu &a, &a, vo had had Richcnburg Richcnburg In In

"" "" cc. cc. -punished -punished dUobcdien for for

who who forced forced slaves, slaves, robe robe aoldien aoldien " fllr fllr Ml'C Ml'C

He He • • an). an). wd wd of of pofcaon pofcaon o( o( (M (M

army army of of IDiclicrt IDiclicrt rhe rhe aequired aequired in in ......

obcdicn~ obcdicn~ rebellion rebellion opinst opinst ofllis ofllis OWll OWll

1 1 ' .a. recoll

discoYered discoYered may may Of Of Ii Ii be be of of rw. rw. •I •I , , __ __

pcnonaJ pcnonaJ mgeciy. mgeciy. lads lads --- The The ID ID

* * ......

all all blind blind of of authoriry authoriry aa:cpcancc aa:cpcancc

incha incha 60 60 50 50 x x

* *

history, history,

obodimce obodimce in in of of ing ing

anv;as anv;as on on

abou1 abou1 sca1emen1 sca1emen1 ilap ilap neplivc neplivc .,.tly .,.tly u( u(

.oiland,..nd .oiland,..nd 1 95 1

grey, grey, p.uu.d p.uu.d opaque opaque clcaclly, clcaclly, in in (1!156). (1!156). 1 1

U1c1mrntt U1c1mrntt

Obttlimn Obttlimn oui. oui. being being snul!Cd snul!Cd of of plllCm plllCm

~. ~.

in in the the •dim •dim rcscn«S, rcscn«S, p ..,., ..,., fading fading and and

1 1 1ha ors ors l oo buely-pcrccpciblc buely-pcrccpciblc _, _,

ankets ankets l b lnllllucenl lnllllucenl blackness blackness vcil vcil of of Jll Jll

, , _

.. .. :,,. :,,. U.mbtr. U.mbtr. S dark, dark, a a like like much much piillliDg, piillliDg, (. (.

J J

brooding brooding a a CMtmt CMtmt is is (1953) (1953) Dft Dft ,_. ,_.

I I

me me deeds deeds immcdia1e immcdia1e ...... o( o(

r r

( (

and and forces forces •'I •'I evil evil wocb wocb CIOlljurc CIOlljurc ' ' lit lit ~' ~'

_,.. _,.. These These deeds deeds ."" ."" dicir dicir evil i.-

lig!n, lig!n, than than mhcr mhcr

....,_ ....,_ ......

• •

•w'-ku •w'-ku John John (3:19): (3:19): GOlpcl GOlpcl ibc ibc of of , , :

dw dw kast kast be be mad mad may may ' ' f" f" ...... al al n n

Western Western The The , , ~I ~I ...... uauma, uauma,

_1 _1 os os u u ory ory well well hiR ..._of ..._of

( ( IJJow IJJow the the evoke evoke ) ) 1962 lMrft lMrft (1962) (1962) llllld llllld

Tho11ghts Tho11ghts 08 08 Air* Air* ), ), 7Wi1ot(l960

, , Dtir*App/,,we(1%0), Dtir*App/,,we(1%0), I I , , (1956) Q' Q'

Air* Air* Po_.(1955). Po_.(1955). 0-.(1953), 0-.(1953),

Dark Dark ( ( Villttiny Villttiny NCh NCh 1950), 1950), 111111 111111 colllp colllp u u

-W -W paintini;s paintini;s His His mm. mm. pre pre widi widi

darkness darkness identified identified y y fnqumd .lkjlicaliJull .lkjlicaliJull

tM tM '-'""-""' '-'""-""' -" -" •• •• NOnsci1J11J. NOnsci1J11J. 11

......

'-,i=U, '-,i=U, foirfol foirfol _,., _,., 11111 11111 tipifin tipifin the the I I ii ii --~"" --~""

I I

rJx rJx

U U I' I' ~it ~it tlwl; tlwl;

;, ;, I I

"'>· "'>· • , , 'f'"k.U, J J C C ,_ ,_

.. ..

- ·- tttwk tttwk lar. lar. INi"t.' INi"t.' .....__ .....__ ~ ~

(Jin (Jin

• •

, , • • ' ______,..,... _,..,... •"" •"" .1 .1 ' ' _...: _...: While thC$C imagC$ of darkness and paint with sand. These painting-s have despair provide a dominant theme in the a materialiry and 1aailiry no< unlike the artist's work of the early 1950s and .. matter" painting-s of Antoni Tapies. foreshadow the mosrcrworks to come, his Richenburg's "Whites.. have a concrete small series of..-Whire Paintings," presence.; it is as if the artist has cut out a also of the ea.rly 1950s, reveal that he section of :i beach or a rock, luminous simuluneoU$1y explored concepts of wi1h the light of the sun. Lacmcmee crcar.ion and regcne.rarion. In contrast to a (1951, figure 4), with sand dimibured direct relationship between chc images generously throughout the canvas., and history, as in the "Darks" and bespeaks teeming abundance, perhaps a the "Painting/Assemblages," thC$C whirc reference to an unconditional abstractions appear ahistorical in their nourishment attributable to Mother celebration of a mythic dmc when Eanh from which all life, ultimatdy, the world was pure and inviolate-. Yct chey arises. Alaba.sur ( 1952) refers to geologic too rake their impulse dirccdy &om time and the miraculous formation 6 the aftermath of war: the search for new of rare and precious substances over the A New Day beginnings was a dcc-p oonccrn and eons. Renew (1951) is a vision of 1956, gouache on paper a basic psychological need of many other rcgeneradon. Moonspots(l956, figure 5), 15x lOinches abstract expressionists, who sought to with its large black ovals Aoating on white eradicate the past in their art and. ground, was originally a white paiming. meraphorically, in life, to begin, as it The "moonspots" he l>rer added. were, from scratch, ro create a new It is the onJy painting rc.maining in the world order.21 Richenburg used white to artist's collection that retains it·s original suggC$t the "primal" as described by white surface along with the lacer addition Kandinsky: "White has the appeal of of black forms. Taking us beyond the nothingnC$s that is before birth, of the the realm of the earthly, ir reminds us of world in rhe ice age."l• the creation oft.he universe.

Through the use of whiteness, While in these "Darks" and "Whites" Richenburg crc:ned images th.at convey Richenburg reduced his artistic means by optimism and spirirua.liry. The idea to using primarily black or whire, he also make these white paintings was sparked used che.m together in works other by Hans Arp's white "Constellation" than Moonsµts, and, elsewhere, he used reliefs dm Richenburg saw at the Sidney vigorous color co suggest a primordial Janis Gallery in 1950." Although energy. In a series ofsmal l black and Richenburg was attracted to these as white ink drawings on paper &om 1956, formal exercises, they nevc.nhelcss and a seties ofsmall black and blue embodied spiritual valuC$, For Arp 1hey tempera paintings from 1955-56, he conveyed "nature's endless cycles of explored further a key theme ofabstract dissolution and regeneration."'° Using expressionism, mythic creation. A N~w white, Arp achieved what has been Day (1956, figure 6), a black and white described as a ",vcightlcss. immaterial abstraction that suggests the slow quality. "' 1 His title, "Constellation," awakening of life, pays homage to Barnett suggests the universe, or a piece of it. Newman's Gmesis--The Break of 1946 (The Men ii Collection, Houston, T exos). In conirost to Arp, who used wood relief, Souru Man (1956, figure 7) and Richenburg painted on canvas, gaining A R

12 7. Sour(t J\/1111 1956, gouachc on paper I Sx 101nch<.':\

8. A Real /1,,fotnent 1955, gouache on paper 15 x 10 inches

4 4 1

of of raping raping sc ucas ucas by by panem panem regula.r regula.r a a n n i

color color unveil unveil to to began began he he , , further pain1ing pain1ing

the the worked worked he he undemea1h. undemea1h. N N r r o ol c

of of pa1ches pa1ches brilliant brilliant reveal reveal to to k k c bl. the the off off

scmched scmched and and scraped scraped peeled, peeled, he he dried, dried,

had had ii ii when when black; black; wirh wirh painting painting colorful colorful

tht tht symboliu symboliu must must painting painting Thit Thit ...... Nagy Nagy , , . encire c.he c.he d d covere he he manner, manner, this this in in

tk tk Tibor Tibor at at txhibition txhibition Riche11b111-gi Riche11b111-gi Robert Robert off off or or l co 1he 1he ng ng i scrap of of instead instead day, day, One One

tiominatn tiominatn abstraction abstraction inrricar. inrricar. hugt hugt A A

pallor. pallor. ghosdy ghosdy a a works works 1hcse 1hcse gives gives pain1 pain1 of of

>: >: Mirror lt lt t Bla " " "erasure this this by by behind behind left left color color

possibly possibly painting. painting. black black unnamed unnamed " " residual " an an The The overlay. overlay. grid grid black black a a added added

Timnof Timnof Yo1* Yo1* New New Th< Th< in in wro1e wro1e 7. 7. 195 in in he he finally finally and and , , away ii ii scraping scraping by by paint paint

work work burg's burg's Richen Richen follow follow begun begun to to had had subtracted subtracted ncx1 ncx1 he he abstraction, abstraction, color color a a

Nhcon, Nhcon, who who Dore Dore . . tions ca publi major major in in painted painted Richcnburg Richcnburg firsi firsi processes: processes: several several

reviews reviews f.ivorable f.ivorable attraeted attraeted paintings. paintings. large large of of combin>.tion combin>.tion rhe rhe through through dissolu1ion dissolu1ion

eight eight with with exhibition, exhibition, firsi firsi 's 's Richenburg of of energy energy die die ) ) 10 evokes evokes figure figure (1959. (1959.

unknown. unknown. realms realms DisinU'f;Tat~ DisinU'f;Tat~ inco inco

very very that that . . gallery gallery year entrance entrance an an of of dukncss dukncss ttric ttric the the suggem: suggem:

at at solo solo chc chc 10 10 Richenburg Richenburg invi1od invi1od He He . . saw painter painter the the bl>.ck, bl>.ck, wirh wirh Opmint(l959) Opmint(l959)

be be that that "Blacks" "Blacks" 1hese 1hese was was it it 1959. 1959. in in Darft Darft of of ower ower l the the half half covering covering By By es. es. id s

his his studio studio visired visired Gallery, Gallery, Nagy Nagy de de Tibor Tibor four four on on color color all all the the surrounds surrounds border border

the the of of dircc1or dircc1or rhe rhe Myers, Myers, Bernard Bernard ack ack bl ar ar l irregu an an 958-59), 958-59), ( ( 1 Undtrtowr Undtrtowr

Jolin Jolin When When effccr. effccr. in in elming elming h overw In In vegetation. vegetation. chaotic chaotic unhealthy, unhealthy,

and and environmental environmental were were canvases canvases rhcsc rhcsc by by earth earth overpowered overpowered an an above above

4 4 inches­ fce1 fce1 by by fce1 fce1 as as large large as as 11 11 8 8 sky sky blackened blackened as as reads reads which which landscape, landscape,

si..,_ si..,_ in in grand grand Often Often ." ." painrings •stack" •stack" rhreatcning rhreatcning create create ro ro a a bl..:k bl..:k wirh wirh

60 60 over over of of series series monumenw monumenw a a craftod craftod he he abstraction abstraction colored colored a a of of quarter quarter top top rhe rhe

seven seven next next ibe ibe Over Over years years blackness. blackness. covered covered be be Tanx/e(l956), Tanx/e(l956), In In knife. knife.

and and color color between between in1erplay in1erplay and and contrasl contrasl palette palette the the with with color color rhe rhe away away scraping scraping

rhe rhe by by generated generated energy energy and and tension tension rhen rhen and and paintings paintings of of these these seaions seaions

dynunic dynunic rhe rhe pussuing pussuing and and potential potential its its over over black black applying applying began began be be Kooning. Kooning. de de

probing probing technique, technique, is is ib of of ion ion . invcstigat and and PoUock PoUock of of work work rdlea rdlea die die diru:tly diru:tly

extensive extensive began began an an Richenburg Richenburg which which 9), 9), figure figure Tri.rngk(l959, Tri.rngk(l959, YtllDw YtllDw as as

such such 1953-56, 1953-56, between between abstractions abstractions

ring. ring. pain pain breakthrough breakthrough the the was was figure figure ) ) color color 11 pure pure of of series series a a exploring exploring After After

unknown, unknown, whereabouts whereabouts ( ( 1959, 1959, Mirrors Mirrors cy. cy. infini as as and and •nothingness" •nothingness" as as

Blaclt Blaclt energy. energy. explosive explosive tremendous, tremendous, ofbLackness ofbLackness idea idea the the upon upon medication medication he< he< c in 56 56 6 6 7 x x

a a was was result result The The grids. grids. in in forms forms geometric geometric visual visual a a presented presented Richenburg Richenburg Paintings.• Paintings.• can= can= on on oil oil 9. 9. 95 1

of of layer layer another another of of ction ction introdu rhe rhe "Black "Black new new monumental monumental the« the« of of first first Triangle Triangle Yellotu Yellotu

and and black, black, this this of of scraping scraping ve ve i subtl'Oct the the the the In In experience. experience. historical historical and and personal personal 9. 9.

overlay, overlay, black black 1he 1he color, color, original original rhe rhe of of negativity negativity the the ihan ihan rarher rarher cosmos cosmos

another­ after after one one diffcrcnr"laycrs" diffcrcnr"laycrs" rhe

worked worked an:iSt an:iSt The The . . evidcnr quire quire is is il il at at implying implying associations, associations, of of ran~ ran~

orhcrs, orhcrs, in in while while , , visible barely barely is is ii ii broader broader a a on on rake rake to to begins begins now now Black Black

subdc, subdc, so so is is suucrure suucrure ibis ibis places places some some In In throughout. throughout. energy energy underlying underlying an an wiih wiih

grid. grid. regular regular less less or or more more a a in in , , :again , , painting in in die die integrated integrated creation creation Ame Ame

once once bbck bbck by by applying applying rectangles rectangles black black and and dcsttuction dcsttuction of of !hemes !hemes find find we we which which

of of small small suuaure suuaure uperimposed uperimposed s !hen !hen he he 2 2 in in color color and and black black wiih wiih experiments experiments

this, this, of of 1op 1op On On upon upon row row , , row. row. black of of series series a a began began Richcnburg Richcnburg 1956, 1956, In In

1958-64 1958-64 Paintings: Paintings: Black" Black" " The The

--

lClcc lClcc ul ul I' I'

I~. I~.

inches inches J2 J2 I I , , 11(• 11(•

on on )(,(}, )(,(}, oil oil I I

" " mrT mrT

17 17

U,. U,. nigh1m11rt nigh1m11rt alkJI alkJI in in ri ri tin tin aftrr aftrr darlt ." ."

lights lights hllnring hllnring on on and and off off in in houl houl rooms rooms and and

tubtnrane11n tubtnrane11n im11t"1 · · Ont Ont thin/ts thin/ts of of nMn nMn

shimmrringfouhn shimmrringfouhn of of light light that""'"' that""'"' 11 11

ntnJOus ntnJOus m"f)' m"f)' . .. .. /rl1f1J /rl1f1J bristk bristk with with luping, luping,

{his/ {his/ tanwtsn tanwtsn f/itfttr f/itfttr and and tla.uk tla.uk with with night night with with its its evcrc:hanging evcrc:hanging forms! "" "" In In

wrote: wrote: "O h! h! The The magi c c of of night, night,

wrote: wrote: i ts ts evancscenr evancscenr effects effects of of which which Whis1 l c . r r

New New Yo rk rk c rit ies, ies, Larry Larry Rottersman Rottersman abstr.ict abstr.ict incerpremion incerpremion of of night night and and

Museum. Museum. Using Using langua ge ge that that reealls reealls t.he t.he fireworks fireworks or or stars, stars, provided provided a a nearly nearly

Angeles Angeles and and then then to to the the Santa Santa Batbara Batbara of of the the datkncss datkncss punctuated punctuated by by city city lighcs , ,

traveled traveled first first Dwan Dwan to to the the Gallery Gallery Freer Freer Los Los Gal in in le ry ry of of These These images images An. An.

That That same same ycat, ycat, anot.her anot.her solo solo show show saw saw the the many many Whisdcr Whisdcr nocturnes nocturnes at at the the

the the Coroor.an Coroor.an in in 1940. 1940. the the aniJt aniJt

the the night. " " in in hours hours day . . Larer , , when when each each he he studied studied at at

white white &.gmencs &.gmencs that that glow glow ineandc:sccndy ineandc:sccndy to to srudy srudy in in the the museum museum for for two two

imcsspcncd imcsspcncd with with red, red, orange, orange, and and the the age age of of 13 , , when when he he won won a a schob.rship schob.rship

spotted spotted rbyduniealJy rbyduniealJy the the sumc:c, sumc:c, where where been been he he had had a a regular regular visitor visitor ar< ar< OVct OVct from from

Small Small blade blade overlapping overlapping obloni;<, obloni;<, the the Museum Museum of of Fine Fine in in Boston, Boston, Ans Ans

oonRia oonRia between between light light and and da . rk. rk. Noctumein Noctumein Bl11t11nd Bl11t11nd Gold. Gold. (1879-80) (1879-80) at at

[he] [he] rums rums his his dialectic dialectic inro inro a a titanic titanic first first saw saw Whistler's Whistler's Lagoon, Lagoon, The The Venia: Venia:

Irving Irving Sand l er er wrote wrote in in Art Art lnumation11L · · night night illuminated illuminated by by lighcs. lighcs. Ric:henbu.rg Ric:henbu.rg

revealed revealed the the beauty beauty and and mystery mystery of of

Edgar Edgar Varnei Varnei mu.sic .l from from each each of of them. them. Whistler's Whistler's noeturna noeturna 1 1

with with the the rotmopolitan rotmopolitan rhythms rhythms familiar familiar in in and and he he selectively selectively used used what what he he nccdcd nccdcd

]11rring ]11rring to'4 r r and and denu denu blat!ts blat!ts pulsatt pulsatt flux flux and and process process in in his his own own nocturnes. nocturnes.

anti anti rtinfortn rtinfortn ~/low, ~/low, tilJ tilJ assoti111ions. assoti111ions. tht tht Ric:henbu.rg Ric:henbu.rg examples examples of of how how to to visualize visualize

{his/ {his/ for for a«mlS a«mlS ""bright ""bright or11ngt, or11ngt, ml, ml, these these attiscs attiscs appcat, appcat, they they offered offered

S.,Ullrt. S.,Ullrt. with with Timn Timn Tlxir Tlxir prima17 prima17 "1"'1nns, "1"'1nns, all all provided provided guidance . . As As di/Tc.rent di/Tc.rent as as

riry riry nutU-i.nsin nutU-i.nsin on on iJ.mrifitAti4n iJ.mrifitAti4n Joseph Joseph Stelb., Stelb., Paul Paul Klee Klee and and Matk Matk Tobey Tobey

oflight-U,. oflight-U,. lighr lighr sun sun thro11gh thro11gh tlx tlx 11ngular 11ngular paintings paintings of of Jatna Jatna McNeil McNeil Whistles , ,

m«IMnuJJ/ m«IMnuJJ/ ofrlx ofrlx fomu fomu rifJ. rifJ. f11llttl f11llttl bums bums With With to to h . is is aniJtic aniJtic precursors, precursors, the the ttSpCct ttSpCct

"I""""' "I""""' refrr refrr rmangla, rmangla, 11nd 11nd dJ< dJ< to to

urban urban 11nd 11nd Pinwhttls, Pinwhttls, Jisa, Jisa, in in 1949 1949 110

"'°" "'°"

I,, I,, fl#tring fl#tring is is lighr lighr pmisrmd7 pmisrmd7 the the Museum Museum of of Non-Obje

His His imagt imagt of of a a pitch-bku!t pitch-bku!t pkut pkut ""through ""through oomplctcd oomplctcd the the worlc.s worlc.s that that wue wue shown shown at at

as as early early as as the the lace lace 1940s, 1940s, when when he he

Art Art and and Architttturt: Architttturt: found found inspir2tion inspir2tion in in New New York's York's night night

the the urban urban and and noeturnal. noeturnal. Ashton Ashton wrote wrote in in in in 1962. 1962. ( Ric:henburg Ric:henburg had , , in in face, face,

on on the the F.ict F.ict that that his his abstr.actions abstr.actions evoked evoked (1961), (1961), the the laner laner shown shown Tibor Tibor de de Nagy Nagy at at

attention, attention, muc:h muc:h of of whic:h whic:h focused focused (1960, (1960, figure figure 12), 12), and and Night Night Cu

Ric:henburg Ric:henburg re

painting painting titles titles of of the the early early 1950s. 1950s. inspiration inspiration for for such such " Black " " paintings paintings as as

the the seasons seasons or or weather, weather, as as had had some some impression impression on on him. him. He He cites cites it it as as an an

of of whic:h whic:h r

paintings paintings now now tid<1, tid<1, many many r

accuced accuced between between 1959 1959 and and 1961. 1961. All All apcricnc:c, apcricnc:c, the the illuminated illuminated city city at at night, night,

ooncaincd ooncaincd 13 13 large-sale large-sale paintings paintings with with black black to to back back his his war-time war-time

solo solo show show at at the the Tibor Tibor ck ck Nagy Nagy Gall

Two Two Richenbutg's Richenbutg's ycan ycan acer, acer, 1961 1961 Indeed, Indeed, while while we we might might trace trace some some of of

18 18

''" ......

oflifc oflifc units units 12 12

companmented companmented through through flows flows which which idea idea

unifying unifying a a as as ght ght i l mbolize mbolize sy ...... • • d d l cou

he he believed believed He He continuum. continuum. a a cnral. cnral. nm cnviro

in in them them connect.$ connect.$ ter in and and events events visual visual of of almost almost experience experience perceptual perceptual me me renders renders

negotiation negotiation further further multiplicity multiplicity the the unifies unifies writing writing Th.is Th.is painting painting this this of of siu siu monumental monumental The The

in in

viewer viewer 1he 1he engages engages c:olor c:olor of of rows rows the the . . dcetriccncrgy of of currents currents nd nd . a lights lights neon neon cffccc. cffccc. in in stroboscopic stroboscopic almost almost off, off, and and on on

on on

superimposed superimposed boxes boxes or or hapes hapes s suggested suggested be be • • writing, "white "white called called blinking blinking and and ffickering ffickering glowing, glowing, as as

· ·

geom geom

of of grid grid

Klee-like Klee-like ."" ."" boxes This This Tobey Tobey which which script, script, white white fluid fluid c, c, dynami perecpcually perecpcually registers registers lightS lightS colored colored be be

•seem •seem these these her. her. was, was, painting painting the the 10 10 his his Through Through energy. energy. intense intense wii:h wii:h pulsing pulsing to to appear appear what what of of multiplici

mat mat said said

and and ," ," own itS itS of of world world •little •little landscape landscape noaurnal noaurnal of• of• precedent precedent of of blanket blanket the the bcneai:h bcneai:h from from emerge emerge

up up

opening opening boxes boxes licde licde i:hcsc i:hcsc l l "al saw saw a a provided provided Museum). Museum). Art Art Seattle Seattle The The 14, 14, to to ors ors l co vibrant vibrant of of host host a a allow allow to to canvas canvas

she she that that s s recall He He 5). 5). 1 figure figure (1961, (1961, (6gure (6gure of of 1944 1944 Night Night Ekctric Ekctric in in as as lights, lights, the the across across areas areas of of hundreds hundreds in in paint paint

Boxn Boxn

Stem Stem

named named subsequently subsequently he he that that clcccric clcccric of of thousands thousands with with ablue ablue York York ck ck bla e e m away away scraped scraped Richenburg Richenburg Night, Night,

painting painting the the saw saw and and tudio tudio s his his New New of of spcccacle spcccacle the the oF oF p•intings p•intings Tobey's Tobey's In In Summer'/ Summer'/ object. object. " " nccJvening "'i

visit visit

she she

when when

Richenburg Richenburg co co uggested uggested s . . abstracdons urban urban noaurnaJ noaurnaJ dramatic dramatic the the altogether altogether cJiminating cJiminating while while processJ processJ

Moore Moore

M:uianne M:uianne as as , , black the the poet poet 's 's Tobey Mark Mark erence erence ref was was other other One One technical technical complex complex his his through through directly directly

bcneai:h bcneai:h

from from flicker flicker worlds worlds ysccrious ysccrious M M dfcct dfcct analogous analogous an an created created Richenburg Richenburg

light. light. colored colored of of diargcs diargcs countless countless by by mucabili

bamgcd bamgcd is is

viewer viewer The The paint. paint. black black away away of of process process a a visWJ visWJ in in engaged engaged perccprually perccprually of of fuc­ speed speed me me convey convey to to interpcnarace interpcnarace

scnping scnping

of of process process subtractive subtractive the the of of becomes becomes viewer viewer The The . . again and and again again and and collide collide forms forms abstracted abstracted

result result a a

as as

fodd, fodd, piaorW piaorW

me me throughout throughout or, or, l co given given any any or or grid grid the the lose lose then then and and of of varie

simultaneously simultaneously appearing appearing events events visual visual rediscover rediscover co co y y l on lights, lights, and and colors colors highly· highly· a a create create to to forms forms of of faceting faceting

multiplici

evelation evelation r the the through through adjacent adjacent by by away away swept swept y y l Jual i v being being futuristic futuristic used used SttUa SttUa , , rides tumbling tumbling and and

energy energy

ant ant radi a a genera[CS genera[CS e e H well. well. it, it, loses loses immediarcly immediarcly n n . the but but grid, grid, turning turning its its whirling, whirling, , , k with with par

a.s a.s

arises arises

of of ry ry . sense sense A A a.s a.s mys[c a a were. were. it it of of presence presence me me of of aware aware becomes becomes r r , vicwe :a.muscmcnr :a.muscmcnr exciting exciting the the of of matter matter

•paniclcs,• •paniclcs,• or or units units constituent constituent small small The The activities. activities. visual visual of of welter welter the the in in subjccc subjccc i:he i:he From From energy. energy. uncontainable uncontainable

into into

down down

broken broken seemingly seemingly also also as as and and identi

tension, tension, this this i:hrough i:hrough energy energy convey convey or or circles circles reccangJcs--fOmctimcs reccangJcs--fOmctimcs blade blade of of example example lent lent . excd an an is is Gallery). Gallery). Art Art

co co

means means

i:he i:he found found bad bad be be technique, technique, of of small small a a grid grid superimposed superimposed frequently frequently Universi

inventive inventive 's 's Richcnburg Through Through be be energy: energy: intensify intensify to to and and subili

create create to to boi:h boi:h grid grid a a used used Richenburg Richenburg Art. Art. An An to to 1961." 1961." 1958 1958 from from eve'>' eve'>' year year

" " kwl m"YJ m"YJ possibk possibk hightrt hightrt Modern Modern of of Museum Museum me me in in 13) 13) figure figure exhibited exhibited it it where where was was Gallery, Gallery, Zabriskie Zabriskie

tht tht

c

fordblJ fordblJ ht ht

to to tttm tttm forward, forward, come come nasuraU1 nasuraU1 lacked lacked and and geometry geometry irregular irregular Stclla's Stclla's Joseph Joseph in in futurism, futurism, in in precedent precedent

brightnm brightnm hy hy rhtir rhtir which which colon colon 1/u 1/u an an usually usually it it order, order, geometric geometric was was i:hrough i:hrough nificant nificant sig one one found found e e H rgy. rgy. ne e

. . ,

surfaa;.

tht tht to to color, color, rutding rutding a a unt11U1 unt11U1 painting painting his his on on structure structure imposed imposed osive osive l exp an an generate generate co co sought sought

b/4tt, b/4tt,

rht rht forrts forrts this this and and owrlaps, owrlaps, blaelt blaelt tht tht often often Klee Klee While While order. order. and and mystery mystery of of Richenburg Richenburg nightsapcs, nightsapcs, contemplative contemplative

1"41 1"41 . .

One One

window a a of of ban ban thielt thielt 1tt1 1tt1 wry wry combination combination uncanny uncanny itS itS for for admired admired more more 'Whisdcr'5 'Whisdcr'5 to to contrast contrast in in However. However.

liltt liltt blad, blad, owrlyint owrlyint an an in in holes holes 1hrtn.fh 1hrtn.fh he he an an whose whose Klee, Klee, by by influenced influenced directly directly

a" a" , , tlmritity or or

txplomms txplomms fim. fim. rlmuls, rlmuls, grid grid a a of of was was adoption adoption Richenburg'• Richenburg'• nocturnes. nocturnes. Whistler's Whistler's of of desandcnt desandcnt

111nsn 111nsn swirls swirls in in , , /jk~ /jk~ inlmtir, nuvrimum nuvrimum York. York. New New in in later later museums museums and and

at at abstr.tct abstr.tct an an is is oflight, oflight, bands bands multicolored multicolored

colors. colors. nrnu· nrnu· Bright Bright

about about 111 111 tptrifoaU, tptrifoaU,

Corcoran Corcoran me me ac ac he he when when Collcccion Collcccion was was by by everywhere everywhere penetrated penetrated and and

b. b.

to to

.. .. painting. painting. Rkhmburg's Rkhmburg's sttm sttm ...... Phillips Phillips i:he i:he ac ac pain

years years me me over over Thin/ting Thin/ting Tht Tht Eyt Eyt Klee's Klee's abstract abstract an an (1960), (1960), Night Night Summn-'s Summn-'s

frame: frame: window window a a oF oF form form reread reread and and ccad ccad Richenburg Richenburg Stuttgart). Stuttgart). Richenburg's Richenburg's night. night. i:he i:he punctuate punctuate lamps lamps

i:he i:he

overlaid overlaid he he which which in in p•intings p•intings his his of of (StaatSgalerie, (StaatSgalerie, Fornt Fornt a a in in b. b. Built Built srrccc srrccc of of ts ts ligh ydlow ydlow and and UJ UJ red red and and orange orange

one one of of Nation Nation The The in in wrote wrote Poncr Poncr Cutk Cutk in in as as bcneai:h, bcneai:h, forms forms ored ored l co i:he i:he ali:hough ali:hough forms, forms, obliterating obliterating ci

Fairfodd Fairfodd

as as , , energy wii:h wii:h charged charged also also beautiful beautiful to to reveal reveal paint paint black black removed removed i:he i:he envdops envdops darkness darkness , , Collcccion Freer Freer

were were Tobey's, Tobey's, unlike unlike quite quite visually visually Klee Klee whidi whidi in in paintings,• paintings,• "black "black 's 's Klee me me in in is is which which CheU--S1Ww(l875·m. CheU--S1Ww(l875·m.

while while

Paintings." Paintings." "Blade "Blade Richcnburg's Richcnburg's Paul Paul admired admired and and also also knew knew Ridienburg Ridienburg TNfoftrr TNfoftrr ~. ~. Nom;rn.: Nom;rn.: Whistler's Whistler's

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20 20

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' ' v.in, is is in in tlN tlN "" "" nt4J:iw nt4J:iw ""'' ""'' tonvinion tonvinion

For For b. b. SMppos

or or irrelevant irrelevant so so rreithtT rreithtT is is .. .. oils. oils. his his of of 11bstr11tt 11bstr11tt

one one by by artist] artist] ft/,, ft/,, ...... fiwn fiwn titk titk Tht Tht U1 U1

a a of of flow flow me me only only but but abiding, abiding, nothing nothing

scatic, scatic, nothing nothing is is there there th.ac th.ac notion notion tcxl: tcxl: 1he 1he and and Vafn;r Vafn;r

The The wrocc, wrocc, He He form. form. expanding. expanding. to to Homage Homage bclWcen bclWcen "jJ "jJ resonance resonance artistic artistic the the V11fn;r: V11fn;r: to to Homage Homage

or or growing, growing, the the of of phenomenon phenomenon appreciated appreciated Preston Preston Stuan Stuan York York Timt>, Timt>, particularly particularly and and pain

Ntw Ntw Tht Tht of•the of•the in in show show expressive expressive this this mosc mosc Reviewing Reviewing religion religion Indian Indian Richenburg's Richenburg's describe describe equally equally might might tha1 tha1

the the as as Hinduism Hinduism idenrified idenrified Zimmer Zimmer Nagy. Nagy. de de Tibor Tibor a1 a1 exhibition exhibition 1961 1961 s s hi 1erms 1erms in in Hacken Hacken C.A C.A scholar scholar the the

expansion. expansion. of of scacc scacc a a in in and and dynamic dynamic as as in in Vafn;r Vafn;r Homage"' Homage"' exhibited exhibited Richenburg Richenburg by by described described been been has has scene scene the the of of

energy energy of of concept concept

his his influenced influenced also also

evocation evocation .sensuous .sensuous Valcry's Valcry's hccs."

7 7 4

"""lll """lll " Civi'w' Art Art tmd tmd

Indian Indian Symbols Symbols in in 11nd 11nd ovals."" ovals."" pcbblc-lilcc pcbblc-lilcc diousand diousand a a of of phosphorescence phosphorescence the the vas1 vas1

MJ'hs MJ'hs

Zimmer's Zimmer's Heinrich Heinrich of of 1950s 1950s small small of of hundreds hundreds by by peopled peopled faces faces

only only remained remained therc therc ...... low low quite quite

!au: !au: the the in in rcaclings rcaclings fim fim 's 's burg Richen Richen m m · of of darkness darkness a a abstraa abstraa vein: vein: more more a a in in lighc] lighc] [die [die whco whco was was "and "and : : audience" the the

reads reads dia1 dia1 scme scme this this of of translation translation &c:.s" &c:.s" of of little little "diousand "diousand the the of of glow glow

. . . achicvcmcn1 achicvcmcn1 well, well, and and his his •she •she the the a a quotes quotes and and thcaccr thcaccr die die in in T T lights lights Monsieur Monsieur dimming dimming co co the the •prc&c.c •prc&c.c cste, cste,

as as in1cncion in1cncion burg's burg's Richen Richen became became This This , , essay 's 's Moore Marianne Marianne in in lhar lhar note note connas1 connas1 bctwttn bctwttn die die of of picture picture vivid vivid a a

O• O• 10 10 interesting interesting is is energy. energy. 1ccming 1ccming of of drow drow 10 10 setting setting the the Valery Valery used used and and nigh<, nigh<,

" " powe,.. dfca dfca clcrnenial clcrnenial !heir !heir same same the the they they suggest suggest clwidcliers, clwidcliers, a1 a1 occurs occurs scene scene The The petformance. petformance. 1he 1he

rode, rode, vcgct:ation~d vcgct:ation~d w.atcr. w.atcr. air, air, itself, itself, of of ligh

matter matter of of feel feel the the but but scenery, scenery, and and the the of of faces faces thousand thousand the the visualize visualize literally literally the the ar ar arrcnd.ancc arrcnd.ancc in in Tcs1c, Tcs1c, Monsieur Monsieur

dccoratioa dccoratioa no1 no1 history, history, No1 No1 forms. forms. makes makes not not do do these these While While areas. areas. color-ligh1 color-ligh1 example, example, •for •for Tcsrc, Tcsrc, Monsieur Monsieur with with

which which that that but but forms, forms, forces-no< forces-no< only only die die of of some some around around circles circles scro1chcd scro1chcd Evening Evening "An "An chap1cr, chap1cr, ' inrroducrory 1he 1he In In

world world (visible) (visible) the the from from borrow borrow to to wish wish I I Richenburg Richenburg Furthermore, Furthermore, descriptions. descriptions. admired. admired. have have mus• mus• Richenburg Richenburg cha1 cha1

noted: noted: MonsicurTestc MonsicurTestc Tcstc," Tcstc," wrincn wrincn " " "synesthccic c.ff'cets c.ff'cets his his through through crc;ucd crc;ucd often often , , writer a a as as VaJcry, VaJcry,

Monsieur Monsieur of of Logbook Logbook the the from from Excerpts Excerpts light light and and color color scruuous scruuous of of sensation sensation the the alone, alone, influence influence anisric anisric of of level level the the

"More "More in in later, later, mutabili

a a in in our our before before move move eyes eyes to to appear appear VCI)' VCI)' of of process process me me words words wim wim and and writing writing author, author, the the 10 10 paintings paintings major major his his of of e e on

ligh1 ligh1 and and color color of of patterns patterns the the abstrac1 abstrac1 associating associating iocmicably iocmicably

roa,.. roa,.. · p of of ruuurc ruuurc die die 10 10 directly directly refer refer 16) 16) Val

figure figure (1961, (1961, Night Night Oueiuk Oueiuk and and (1961) (1961) die die incising incising painting. painting. to to his his Val

Changing Changing Shifang(l')(IJ), Shifang(l')(IJ), 's 's Richenburg also also added added Richcnburg Richcnburg some some paintings. paintings.

as as paintings paintings Such Such "'' "'' ronsformation. ronsformation. . 1 a a rekrenoe rekrenoe black black Jung Jung Richenburg's Richenburg's in in was was crcativiry. crcativiry. Carl Carl and and cus1omary cus1omary

llm llm , , movcrnem mixrurc, mixrurc, 1 1 lovc-dunge, lovc-dunge, is is suu~

· · ' ' of of images images and and lcgibl~ lcgibl~ organized organized delighlful delighlful logically logically smsatians, smsatians, concep1 concep1 to to his his significantly significantly connibuted connibuted

and and • • clearly clearly co: co: more more arc arc ascribes ascribes grid grid narr.ator narr.ator black black the the wh.ich wh.ich 11h1tran 11h1tran tbat tbat ccaclings ccaclings specific specific cites cites Richenburg Richenburg

music, music, of of power power the the discuss discuss narro1or narro1or the the superimposed superimposed die die and and .. .. colo colo of of rows rows The The

and and Tcsrc Tcsrc Monsieur Monsieur opera, opera, the the at at scene scene sc:cnc. sc:cnc. very very this this of of evocation evocation ab&lnct ab&lnct an an war. war. the the during during

the the after after tha1 tha1 occu.. occu.. passage passage a a In In him. him. to to as as in1crpre1ed in1crpre1ed be be migh1 migh1 Vafn;r Vafn;r to to Homagt Homagt worked worked had had Richenburg Richenburg which which with with

that that sense sense made made absrracrion absrracrion of of meanings meanings explosives explosives the the of of not not if if fireworks, fireworks,

the the of of " " an an ...... and and viroliry viroliry anjculation anjculation abstraction abstraction of of noises noises irregular irregular craclding, craclding, che che of of ound ound

for for bi bi justification justification philosophical philosophical the the borh borh electric electric of of kind kind a a chandeliers chandeliers the the of of s s the the of of cxpcccacion cxpcccacion an an buc buc energy, energy,

found found Richenburg Richenburg Monsieur Monsieur ln ln ligh

the the and and cauldron; cauldron; huge huge a a in in as as burn burn syncsth

,. ,...... faithfa/nm. faithfa/nm. "1111illnAbY "1111illnAbY and and scctbe scctbe 10 10 EYCl)'thing EYCl)'thing seems seems Oueiuk Oueiuk dynamic. dynamic. Nit/>t Nit/>t Nitht. Nitht. long-Sum,,,,,.; long-Sum,,,,,.; f«t f«t

with with fa/Iowa/ fa/Iowa/ is is mttli11111 mttli11111 of of the the and and arumatcd arumatcd "1ntr0I "1ntr0I essentially essentially is is i1 i1 Bui Bui over over high high and and 11 11 feet feet paintings, paintings, 8 8 lugcst lugcst

11nd 11nd inulkmutl inulkmutl form form of of planes. planes. "4ri'1 "4ri'1 marud marud and and dearly dearly horiiontals, horiiontals, energy. energy. ln ln his his of of cruumincrs cruumincrs :aaivaced :aaivaced

on on insistma insistma •nd •nd the the [ } } lll'tists painting, painting, vcrtica1s vcrtica1s and and with with its its anacrurt, anacrurt, bighly­ the the in in become become colors colors clwiging clwiging of of

in in paralkleJ paralkleJ is is '"'4in/y '"'4in/y trtlltion trtlltion llhstr11tt llhstr11tt mathematical mathematical almost almost , , liglu and and color color yci yci row row upon upon row row upon upon Raw Raw depth. depth.

ofllrtistic ofllrtistic thmu thmu AM AM SM/,jtrt SM/,jtrt ilH/ft/,, ilH/ft/,, wim wim painting painting complex complex and and rich rich a a lilcc lilcc is is h h and and swfu:c swfu:c muion muion bctwttn bctwttn the the with with .. .. 16. 1ViKht (,1J.r1uk 1961. oil on {'Jnvas 96 x 136 inches

17 Brokf11 L011rit1tti1y 1962

21

23 23

the the announce announce spiral spiral

glowing glowing , , Docs Docs radiant is is th . . ) 20 6gwe 6gwe 61, 61,

D1tT!11m D1tT!11m (1959- of of Sign Sign ponder ponder when when we we

question question same same the the pose pose might might We We

. . work the the within within answers answers no no find find we we and and

usive. usive. l e and and mystcriow mystcriow is is blackness blackness

ution? ution? The The l diuo in in ball ball or or mation mation · for in in

the the Is Is ime? ime? t of of end end the the or or e e tim of of

g g n ni n begi e e h t is is h 1 space. space. Is Is of of id id vo ack ack l b

the the gh gh u ro h 1 ing ing l r i wh •mcars •mcars ng ng i rn u ch

and and ng ng i rurn of of ball ball a a fcarurcs fcarurcs 19) 19)

l966. l966. ( figure figure Centrifoge "" "" rttum? One One

the the docs docs wher< wher< One: One: the the co co r

thing.s thing.s All All • : : n . koa Zen Zen unanswerable unanswerable the the as as

such such read, read, he he passages passages as as underlined underlined

he he and and thing.s, thing.s, all all of of intcrrcbtcdncss intcrrcbtcdncss the the

of of view view mystical mystical s s ' ' Suzulci etnbraocd etnbraocd

Richenburg Richenburg . . him to to recommended recommended Cage Cage

John John and and l.assaw l.assaw lbram lbram his his friend friend both both

which which Buddhism, Buddhism, an an in in s s ' Suzuki ESS11JS ESS11JS

n n inches inches 5714 5714 x x T T cit2r0 cit2r0 Daisctt Daisctt of of rcading.s rcading.s Richcnburg's Richcnburg's

Clnvas Clnvas n n o l l oi 1959·61. 1959·61. relleas relleas p.Untings p.Untings these these of of ambiguity ambiguity

Dar/mm Dar/mm of of n n Sig ch ch i r The The . . world the the of of end end the the f f o

20. 20. or or creation creation the the of of rcc:nactmcnt rcc:nactmcnt is is visual visual a a

seeing seeing we we n n osio l p ex t t grc.a e e th r r e ~re ~re th e wh

• • paintings paintings these these ear ear l c t t I fronl fronl t t o n is is

lmagim")." lmagim")." and and Expressionists Expressionists Abstract Abstract

"American "American , , 1961 in in Guggenheim Guggenheim the the at at

exhibit exhibit s s ' Amason . . H.H in in included included it it was was

. . P Cohen Cohen . . Mrs Wilfred Wilfred when when and and Mr. Mr.

of of collection collection the the in in Br

Ydl#w Ydl#w ) ) l961 and and ( /nuntrtioir , , ) Micbcoct

James James and and of of Gift Gift Mari Mari Austin, Austin,

at at ex:as ex:as ofT ofT University University , , Gallery Art Art

Huntington Huntington Archer Archer . . M Tw(l961, Tw(l961,

BrtAlring BrtAlring ), ), Blau Blau (1961 (1961 include include paintiogs paintiogs

Similar Similar scaring. scaring. almost almost "hot,• "hot,• very very d d an

brilliant brilliant osive, osive, l exp , , d lou are are ashes ashes pl s

Richenburg's Richenburg's down. down. de de r sc rsts" rsts" bu " e e th as as

, , n creatio c c t.h r r e t af ce ce n e l si of of nt nt e mom

a a ates ates l p em t con r r viewe e e th as as em, em, th ut ut bo a

e e d eru i qu a a have have tings tings n pai s s ' dieb r Go

different. different. altogether altogether is is effect effect the the 1960s, 1960s,

early early and and 950s 950s late late the the of of "Bursts" "Bursts" I I

recalls recalls Gonlicb's Gonlicb's " " initially initially this this "futhall of of

th2pc th2pc the the While While us. us. toward toward hurtling hurtling

to to or or be be painting painting the the into into crashed crashed to to h2vc h2vc

eithet eithet appears appears flame flame yellow yellow vibrant vibrant

of of • • ), ), 18 6gwe 6gwe fi~J fi~J Raa'iana(l963, Raa'iana(l963,

Hor Hor In In . . field pictorw pictorw colored colored and and formation ofa galaxy, or i!S death? The Tht brush must nm owr tht paper swiftly, spiral appca!S to whU through the boU/y, folJy, and irrnJ()cably just ulte blackness ofspace surrounded everywhere the worlt ofcreation when the univn1e tllfN by buoyanc colored orbs ofl.ighr thac into being.... Thert is alwayJ an seem co glow and sparkle. Richenburg's ekmmt ofuntxp«Udnns ... in Sumiye."' tide recalls che proclivicy of prcsciencific cultures to interpret celestial cvcncs Ricbcnburg's underlining in this volume as porten!S ofgood or evil. also calls attcnrion co Suzuki's frcqucnc reference 10 the "neglect of form," which In one work, Gnmis (1964, figure 21). characterizes all forms of mysticism. Richenburg was unambiguously dealing Suzuki encouraged the medicacor and wich the concept of "chc beginning." anist to think imaginatively. in abstract In contrast co chc spiric of his silcm A terms: •The special merit ofa picture Ntw Day or Source Man, previously is co be soughc in its spiricual rhythm and discussed, he ince.rpms the beginning of not in its compositions; in its invisible time as an explosive, intense, loud atmosphere and not in its visible forms;"'1 even< in Gmnis. Two orbs, one black, (Ricbenburg drew an arrow co chis one red, reside within a band or opening passage in the margins of his book and of billing, blinding lighc; above pencilled in the words "mystic rhythmic 21. and below the orbs is a field of energy presence.") Empmirs WalJ(l963, Genesis composed of rows of multicolored boxes figure 22) is jusc such a painting, where 1964, acrylic and collage cue from another canvas and fastened to the rhythms alone carry the viewer on canvas chc host canvas by staples. (We inco, chrough and across piccorial space in 96 x 96 inches remember thac Richenburg previously the absence of reference 10 visible form. had layered canvas on canvas in such Related paimings, such as Chinnt innovative early works as Prrxlamation.) WalJof 1963, in the Whicney Museum al, These arc organized row upon row like American An, draw from this Oriental the grids in che black paintings. We conccpc as well. Elsewhere Suzuki sense here a cosmic explosion "'nihi~ admonished the anise co • ... creace living ouc of nochingness--wich the orbs objects out ofour own imagination. As being ejected, as ic were, from a powerful long as we all belong to the same field of unconrainablc energy. Although universe, our creations may show some this is a vis.ion of the genesis, it docs, correspondence to what we call objem nevertheless, remind us of the thin line of nature .... "6l bcrwcen destruction and creation, for the field ofenergy before us seems endowed with acomic capabilities. This is among chc most incense interpretations of the genesis in the history of abstraet: expressionism, where it was a rcoJrrcnc theme.

Richenburg apprcciaced the relationship between his subject matter and his own crearive process. In his copy ofSuzuki, he underlined Suzuki's discussion ofSumiye and calligraphy, which the wricer likened to chat ofcreation:

24

25 25

mchn mchn l8 l8 22 22 x x

ho.I.rd ho.I.rd ulus(ration ulus(ration on on

,ullagc ,ullagc %0, %0, I I

!l1inlung !l1inlung /);1rk /);1rk

l\ l\

'Xl 'Xl hes hes x x inc 6 6

n\.l.S n\.l.S

J J an l.;lsc l.;lsc

1.0 1.0 0 0

'W•U 'W•U ··-·-· Explorations on Paper: 1964-67

While Richcnburg's works on paper from Ofall his works on paper, the series ofsix 1964-67 represent a decisive break black collages made on illustration in his art, as well as in his life. as we have boards is most reminiscent of the •slack discussed earlier, in these essentially Paintings.• In fact, Richen burg initiated private works we find the free expression this "Board" series in 1960 with and dcvdopment ofsome of the ideas Dark Thinlting (figure 23) . These collages that be had been exploring in bis began as illustration boards that the imntings. While he bad alwaY" made artist 6rst imnted black. He then cut into exploratory paintings on paper and them and tore paper away, usually collages as pan of his working process, he in a more or less regular grid, as in his had never worked primarily with paper "Black Paintings." This reveals both or on a small scale. The anise moment in his rccaJI Charles Burchfidd's winter scenes! an-like Valery's Monsieur T este, whom Richenburg believed lived like a Zen The "Poked Paintings" of 1966, named Master." Richenburg revelled in the afrer their many "poked• out shapes fro arbi

26

28 28

Japan Japan Tokyo. Tokyo.

Radin Radin Robin Robin Collection Collection

inches inches Y. Y. ~ ~ S 8 x x

%6. %6. c c iyli paper paper c a on on I I

/\fou/,,w /\fou/,,w

7. 7. 2

inches inches ~ ~ 15 x x ~ ~ 19

ic ic l paper paper acry on on 966. 966. 1

Cliffe Cliffe \'(lhiu \'(lhiu

. . 28

29 29

Bonnie Bonnie Grad Grad L. L.

paper paper that that were were rhcn rhcn reassembled. reassembled.

&om &om cur cur and and torn torn scraps scraps of of Emptiness Emptiness irsclf irsclf ......

fli fli rhc rhc . . sky This This collage collage ultimate ultimate ground ground of of rhinll$. rhinll$. be be mUSt mUSt be be was was all all

r:oscrhcr. r:oscrhcr. wirh wirh traces traces of of blue, blue, rhe rhe work's work's this this meaning: meaning: is is " I f f God God the the 10 10

~· ~· which which seems seems to to speak speak fngmen rs rs of of paper. paper. densely densely

Richcnburg Richcnburg underlined underlined the the following following forest forest rhickct rhickct with with irs irs and and red red

(1966, (1966, 29) 29) figure figure reads reads like like is is a a book. book. emptiness. emptiness. In In his his copy copy of of Suzuki's Suzuki's

curquoi.sc curquoi.sc spheres: spheres: fume fume inside inside rhc rhc rhe rhe North North abotract abotract "landscape.• "landscape.•

a a cosmk cosmk frame frame in in which which he he has has suspended suspended to to be be an an armospheric armospheric white white Ii.Im Ii.Im

energy-packed energy-packed "Blacks." "Blacks." He He created created has has pages pages · · n n of of resulted resulted the the in in wt.or wt.or

&..arcs &..arcs of of diffs. diffs. Herc , , again, again, rhe rhe of of the the beyond, beyond, in in contrast contrast co co the the explosive, explosive,

Richcnburg Richcnburg suggested suggested has has rhe rhe emptiness emptiness duough duough define , , ir ir appears, appears, space space 10 10

...... _..!...... _..!.. R41mtktl R41mtktl figure figure 967. 967. s,,r{llll s,,r{llll 33), 33), where where (I (I producr producr of of roller-that roller-that a a

The The most most Grun Grun allusive allusive Spots Spots collage collage is is figure figure with with irs irs four four incisive incisive 28), 28),

thc thc Whi1t Whi1t Cuffe Cuffe exq ui.sire, ui.sire, economic economic

corn ers ers remain remain int.act. int.act. conveyi conveyi a a pastoral pastoral So So calm. calm. roo roo

(1966, (1966, Our Our light light In In figure figure while while 32). 32). the the y y born born whiteness whiteness of of rearing rearing and and

son, son, rhe rhe square square come come Dttrlt Dttrlt undone undone in in blanket ed ed by by a a almosr almosr

pieces pieces and and chunks chunks along along rhe rhe edges edges of of Radin Japan). Japan). , Tokyo, Tokyo, wir.h wir.h irs irs

(1966, (1966, 27. 27. figure figure C..mm C..mm Co ll ccrion ccrion ( ( of of 1966, 1966, figure figure 31), 31), while while

paper paper rhar rhar pulled pulled away. away. and and the the undone undone was was in in FlipfMd FlipfMd cenrer~me cenrer~me

" " unevenl y y wirh wirh the the r esidue esidue of of rhe rhe wet. wet. Bits Bits and and p i eces eces of of the the corncrs-

the the rextures rextures rhat rhat resulted resulted were were dissolving dissolving like like a a crac k er er rhat rhat has has become become

popcr popcr would would ger ger sruck sruck ro ro 30), 30), r . h e e paint, paint, a a squue squue its its comes comes apart apart at at edges, edges,

and and rhen rhen scparared scparared eyes. eyes. rhem. rhem. Fraught Fraught Orren Orren

Jn Jn 1 967 967 Geommyof Geommyof (figure (figure

11 11 l-1• l-1• in c hes hes 8 ~ ~ x x

sheets sheets of of paper

, , pressed pressed rhe rhe papers papers dissolution dissolution as as it it sile ntly ntly unfolds unfolds before before our our

1966 , , acry l ic ic paper paper on on

In In rhcsc, rhcsc, he he rolled rolled painr painr berween berween we we sense sense rhe rhe process process of of change change and and

North North WooJt WooJt

sprayed sprayed with with blac k k paint paint and and rhen rhen torn , , · ng ng else else he he h ad ad produced produced unril unril

29. 29.

quire quire different different in in feeling feeling from from a l most most between between papen papen placed placed on on a a sheet sheet of of paper, paper,

Created Created from from rhe rhe dialectic dialectic interplay interplay , , Richen burg burg created created works works that that

rhc rhc "Pastoral" "Pastoral" collages collages began began that that he he in in they they have have &een, &een, arc arc singularly singularly •q uiet. "' "'

experience. experience. In In else else conrrasr conrrasr to to all all rhar rhar we we

bring bring us us ro ro anolhcr anolhcr dimension dimension of of a a window window by by frame frame form. form.

whire whire acrylic acrylic "Spray" "Spray" collages collages 1966-67 1966-67 of of 1960 , , Wi""4wt. Wi""4wt. which which Bliuk Bliuk is is likewise likewise

Finally, Finally, Richenburg's Richenburg's series series ofbbclc ofbbclc and and to to rhe rhe •s tack " " painring painring

poked poked "droplets" "droplets" the the as as rain. rain. It It

,,,, ,,,,

won won tomi"! tomi"! it it into into /Hing." /Hing." ..., ..., fuur fuur encouraga encouraga rhe rhe lidd$, lidd$, viewer viewer ro ro Ill Ill UhU UhU

hMI hMI trlUIJima trlUIJima wtkomttl wtkomttl in# in# wirh wirh irs irs division division Ntr, Ntr, of of rhe rhe paper paper n1t11 n1t11

of of txistma. txistma. Not Not only only ..,...U y y it, it, Mttpud Mttpud """I """I as as abstractions, abstractions, read read I I Wi""4w Wi""4w O MT MT

- layer layer to to rhe rhe next. next. While While rhcsc rhcsc ftUlinx. ftUlinx. th. th. withmns, withmns, th. th. spooltishnm spooltishnm th. th.

rM rM •""'l· •""'l· im,.,.,,,,nrn«, im,.,.,,,,nrn«, th. th. bmdfJ, bmdfJ, • • rhc rhc vicw<:r vicw<:r aaually aaually looks looks through through

llpCrimpo

The The of of paper paper shca shca rhen rhen was was

made made by by to to explain explain his his colbg

rhar rhar - uolike uolike in in rhe rhe " blaclc blaclc piaures."" piaures."" collages collages may may be be understood understood by by a a statement statement

our , , which which crcared crcared a a kind kind of of rhythm rhythm Dada Dada arbitrary, arbitrary, Zen. Zen. as as in in and and These These lllm lllm

dim dim hol es es were were poked poked in in rhe rhe paper paper and and He He ddighrs ddighrs in in rhe rhe a ccidental ccidental and and rhe rhe

dim dim painr painr was was applied applied a a second second alluding alluding the the iim~ iim~ transitory transitory nature nature of of rime. rime. 10 10

wirh wirh relatively relatively mllm mllm rhin rhin paint; paint; Richenburg Richenburg becomes becomes impressionistic, impressionistic,

The The sheer sheer of of paper paper was was prinred prinred using using In In these these paperworks paperworks in in particular, particular,

lO lO

.. ..

23'-I 23'-I x x 18 18 inch<:> inch<:>

on on paper paper

1966, 1966, acrylic acrylic collage collage

U.mm U.mm FlipJKd FlipJKd

31. 31.

inch" inch" 23'4 23'4 18 18 x x

on on pa~r pa~r

1967. 1967. acrylic acrylic collage collage

Fraught Fraught Gebm

1n

p.1pcr p.1pcr on on

"oll.1gc "oll.1gc u.r)li1. u.r)li1. .. .. 19'17 19'17

\urf,/t, \urf,/t,

< < J(tnoult1I J(tnoult1I \j111/J \j111/J 1rrr11 1rrr11

u. u.

' ' !l !l n

f"p

&" &" •en •en col col 1%6. 1%6.

In In tglt tglt l l Out Out O,,rk O,,rk l2 l2 Footnota

I. 9. 15. Paul Valery, M•nlUur Tate, Rjchcnburg' s former stud.cnu Hdcn Harri.son, dircccor of New York, Alfml A. Knopf, include anises Ed Koren, the Pollock-Krasner Howe 1948, pp. 86-87. Mede Leduman-Uceles, and Study Center in East Roben M0«0vio: and Raphad Hampton, made this 2. Ortiz,, among numerous observation to the author These exhibition.s arc others. while reviewing some of doaiment

32 25. 39. 49. Conversation with the author, Urry Ronenman,'" Richcnburg Patricia C. Willi.s, ·Mari~nc Uni\•ersity of Texas al Ausrin, June 8, 1992. Works Personal, Vital; Santa Moore, Prcf'aa to Monsieur 1976. "Yellow BrMuseum of Modern Art, l.M. 45. p. 130. 1961, p. 162. Tc .rrcc Arabcnhorsr-Randall. 34. Jung and Abstract 54. 66. Lawrence Campbell, "Rohen Expmsi4niJm: Tht C(l/kniw Ibid, p. 131. Conversation with the author, Richcnburg. • kt Nt·ws, Image Among Jntli11id1111.I June 8, 1962. N.,.mbcr 1959, pp. 42-43. V4ict'I. exhibition catalog. 55. Ho&r.ra Museum, Hempstead, Ibid., p. 128. 67. 35. N.Y., 1986 Arp. op. New York City. 57. p. 323. 47. /b;d. , p. 130. 36. Ibid., p. 18. lbiJ. 58. 48. MBrcaking Tide" w.u 11. C.A. Hacken, "'Tcstc and La illustrated in the catalog as one Dort Ashton, '"'Robcn Soiree Avcc. Monsieur TC$cc; of three Richenburg canvases Richen burg.• Art and FrmchStwliri,21,April 1967, included in an cxhibir Alrhil«fllll, April 1961, p. 5. p. 119. orginizcd by Earl A. Powell 11 1, Absrran Exprmi(lnists 11nd 38. fmagim: A Rrrr"!l!_«tiw View; lning H. S..dler, "New Yorlc An Exhibiti"n of Pa.in1ings from l.cntr,'" An lnurnationa/,.)'OI. tlN MichrntT Coll«tion., The d.April 5, 1961 , p. 39.

33 1917 194 1 1949 Born 14 July, in Boston, Leaves the An Studenu' Lass:aw invites him to join lhe MassachusctU, third of four League; spends a year at the Ani.sts' Club s.honly after its children to architect Frederick Metropolitan MU$CUm of An cst.tbli.shmcnt in 1949. He Henry Richcnbu.rg and Spray copying Rembrandt, Daumier, organizes several of the weekly Edna Barde« Richenburg, Ccunne, Renoir and £1 Friday night pand disclWions.. Greco; later, on his own. Included in Loan Exhibition 1926 studies Picasso, Mondrian, at t.hc Museum ofNon­ Begins drawing at age nine, Miro, Rouault, Surrealism and Objcetive Pa.inting. copying cartoon strips. Dadajsm. 1950 1930 1942 Included again in a Loan Enters emoon drawings and Marries Libby Pehyn, and is Exhibition at the Museum of copies of paintings and still life drafted rwo weeks later; serves Non4Jbjcctive Painting. Chronology: in annual city-wide contest for rwo ycan in the army in Included in an exhibit at $Cholardtips co dasses at the Europe; after being a member Provincetown An Association. Boston Museum of Fine Arts. of a camouflage outfit, Robert Richenburg Wins scholarship and draws becomes a combat engineer 1951 from cuu and tapcst:rics ac the cnvcling around England and Begins teaching evenings at museum during afternoons Fran« training rroops how to the Pratt ln$Citutc in throughout h igh school. make and dismantle mines, Brooklyn. Leo Castdli sclc<:ts demolitions and booby mps. "White Cross· for the Ninth 1933 Street Show. He exhibits At the height of the 1945 alongs:ide work by the chancr Depression, while still in hiah OischargCooper Union, Uni\•crsity in Washington, Ronald, i.s born. Begins to New York Exhibiu in second D.C., uudjcs an hiStory and teach night an dasscs for the Stable Annual. decides to be an an.ist. College of the City of New York. Extension Division, 1955 1939 ca.ming $I 0 for each night of .Exhibits in third Stable Drops out of George tc:tching. Annual. Washington University to paint; spends four months 1948 1957 camping and srudying nature Leaves Oicnltnt to study in One~pcrson shows at the in the Sierra Nevada the more open armospherc of A.n isu' Gallery, New York, Mountains, and rerurns to Hans Hofmann's school. and at Hansa Gallery, New Washington, D.C., ro study at Hofmann pr.i.iscs his work at York. the Co=ran School of Art. weekly critiques. Work of Picasso, Hans Arp, Miro and 1958 1940 Hans Hartung influences him. Waher Chrysler buys: 13 Studies at the An Srudena' Begins summc:ring in Y•orks; one is the featured League in New York City with Provincetown, Massachusens. v."Ork in a special preview at Georg< Gron and Rrc "Photography Exhibition," Included in "New Talent in "'Biennial of American Uni\•crsicy and the Ithaca Ver-llcst of 1960-61 show. Exhibiu in "'This was Pratt: New York Exhibitions," Ya!e 1982 Former F-aculcy Centennial Univcniry Art Gallery; 1965 Exhibits in "The Uncxpcccccl." Exhibition." Pratt Institute. "Annual,• Whitney Mu.scum Exhibit$ in "The Emerging Elaine Benson Gallery. One-person show at rhc of American Art, New Yorlc; Decade," Seattle An Bridgehampton, New York; Benton GaUery. and •eotlcctor's Choice," Museum. and one-person show .. A Baltimore Mu.scum ofAn . Roving Ey<," Graduate School 1990 1966 of Business, Cornell Panicipatcs in .. Ani.sts 1962 Exhibit$ in '"Hilles Collection University. Roundt2blc Discus.s:ion of the 0nc-ptt$0n show at the of Paintings and Sculpture,• Fifties• at the Pollock-Krasner Dayton Art Institute, O hio. Museum of Fine Aru, Boston. 1983 House and Study Center, East &hibia ~'Ork in group Rcdrcs from Ithaca College; Hampton. ahibirions, including 1967 moves to Eas1 Hampton fo r 91.ntcmacionaJ Selection of Moves back to New Yortc ro summer. Exhibits selected 1991 <:oncemporary Painting and teach at Hunter College where work" Guild Hall Museum, Exhibits in "Four Decades," Sculpture," Dayton An he receives tenwc. E.x.hibits in East Hampton; the Bologna/ Benton Gallery . Institute; "'Twtncieth.Ccntury .. Recent Acquisition.sin Landi Gallery, Ea.n Hampion; American painting1" (James A. Modern Art;'' University An and the Cornell Universicy 1992 Micbmer Foundation Mu.scum, University of Laboratory of Ornithology. )uditcd "Best ;n Show" at Collcction), Rockhill Nelson California. Bcrtccley. Guild Hall Museum mcmbcl'$' Golkry, iun... c;iy, 1984 show by Barbara Hukcll, M.islouri; also exhibitions at 1968 Selected sculptures included in curator, Whirncy Museum of dte Allentown An Museum, Exhibiu in "Painting as "Outdoor Srulptun: 1984, Art, for a small wood, wire, Pmn.sytvania Sr.ne University Painting,"' University Art Fifiecn Ithaca Anisu," Ithaca; paper, canvas and acrylic ond the Asbrua.s Art Center, Mu.scum, Univc11ity ofTcus and .. Ordinary and sculpture. One-person show l.inlc Reck. at Austin; "'"The Square in "Robert Richcnburg; A Fifry P:Unring," orgmtt.cd by the Year Survey;" at Guild Hall American Federation of An.s; Museum. .. and the Whitney Museum Annual.

35

36 36

13. 13.

. . p , , 198'1 . . Sep< , , S no. no. 72. 72. vol. vol.

A1'f

and and 1....., 1....., · Judd, Judd, Donald Donald

11. 11. p. p. 1959. 1959. 7, 7, . . Nov , , Y1r*tr

Nn11 Nn11 • • Th< Th< RichcnbufJ, RichcnbufJ, Robcn Robcn 1979. 1979. . . p . n Oct. Oct. (pub!iation), (pub!iation),

u.,,.,,.., u.,,.,,.., Town, Town, About About on on ings ings •Go N•rfo/.lt N•rfo/.lt Chryskr Chryskr

£xhjbilion.· £xhjbilion.· Tcmporaiy Tcmporaiy

21. 21. p. p. 1959. 1959. in in Fettu.rcd Fettu.rcd Ex:prasionism Ex:prasionism

, , 1 Nov. Nov. 2, 2, 1, 1, 7 1 37, 37, ICCtion ICCtion "Abs1ncr "Abs1ncr . . Styron Tom Tom rcproduaion. rcproduaion.

no. no. vol. vol. ClX. ClX. Timn, Timn, k k Yor NN NN pogc pogc full full with with 9S. 9S.

Thi Thi Reviewed." Reviewed." "R=ntly "R=ntly with with 84- pp. pp. , , 1962 March March , , 827 o. o. n rtproductjon. rtproductjon.

13, 13, p. p. 1964, 1964, . . D

p. p. 959. 959. 1 29, 29, . . IA4. IA4. Oct 6S. 6S. 1 l. l. vo Richenburg," Richenburg," N,.,,, N,.,,, Art Art USA USA •An •An AJhton, AJhton, Dore Dore

37, 37, . . no CIX, CIX, Timn. Timn. vol. vol. York York Robert Robert " Campbell, Campbell, Lawrence Lawrence

Ntw Ntw T/,, T/,, Shown," Shown," burg burg Richen Richen reproducuon. reproducuon.

by by •works •works Ashton, Ashton, Dore Dore . . rcproductton with with 39. 39. with with . . p April.'961, April.'961, v/,l, v/,l,

1964,p.40, 1964,p.40, 52,no.4,August 52,no.4,August vol. vol. l•tm11ri4N:/. l•tm11ri4N:/. An An Later." Later."

62. 62. . . p 1959. 1959. , , 10 Aug. Aug. 6, 6, . . vol .. .. Amm't Amm't . . ;. ;. An An Sculptors. York York "l'lcw "l'lcw . . H Sandkt, Sandkt, INing INing

74, 74, vol vol ?• ?• ls '"What '"What DO. DO. Ti~. Ti~. and and Painter> Painter> "Fifiy..U "Fifiy..U

reptoduaion. reptoduaion. with with

4. 4. p. p. 1958, 1958, 21, 21, 5. 5. . . p 1961, 1961, artist. artist.

April April

Arrltit«fllTY, Arrltit«fllTY,

---~.Aug. ---~.Aug.

of of

.l6. .l6. phoh phoh - P with with RichcnbufJ,. RichcnbufJ,. Am Am

..J ..J

Pro-V'i

Shown Shown • • p;.u • Al Al Richcnburg's Richcnburg's in in '" '" ? Boom Al1 Al1 Cu.lwnl Cu.lwnl

"Robcn "Robcn Bishop, Bishop, H

in in Scdder, Scdder, Dorochy Dorochy 13. 13. . . p "Artists "Artists 1961, 1961, Feb. Feb. 10, 10, no. no. S9. S9.

8-2. 8-2. p. p. 19SS, 19SS, vol. vol. Nn111, Nn111, • • An An RJchcnbulJ. RJchcnbulJ.

4, 4,

Jun< Jun< , , Section Brooklyn Brooklyn Su•, Su•, ttproduaion. ttproduaion. with with Edgar, Edgar, "Roben "Roben Na.Wt Na.Wt

mu/ mu/ Show." Show." Tt/,gr4m Tt/,gr4m Wor/J Wor/J .. .. n.p n.p 1963, 1963, April April no. no. 2, 2, 62. 62.

Heights Heights An An AnL

"Famed "Famed Walton, Walton, . . J R;chard R;chard "Rohen "Rohen Sandler, Sandler, . . H Irving Irving Spring Spring I, I, . . no Amtrir•, Amtrir•, 48, 48, . . vol

Art Art Painting,• Painting,• in in USA: USA:

8. 8. p. p. S7. S7. l9 .59-60. .59-60. pp . 1963 25. 25.

Talent Talent l'lcw l'lcw "

Canaday, Canaday,

John John

Yo-*"· Yo-*"· 23, 23, March March 33. 33. vol. vol. l l Apri Vll/4, Vll/4, vol. vol. lnln'1WioN:/. lnln'1WioN:/.

Nnu Nnu TIN TIN R;chcnburg." R;chcnburg." Rob

Town, Town, About About on on •coinp •coinp ,pp.4Z. ,pp.4Z. 19S9 . . 7, 7, l'lov 58,no. 58,no.

. . SS . . p 1963. 1963. April April vol. vol. • • N,.,,, N,.,,, An An RichcnbufJ, RichcnbufJ,

l39. l39. p. p. 1957, 1957, 14, 14, March March . . no 7, 7, vol. vol. 37, 37, AfAtui.,, AfAtui.,, "ROOoe Lawru>oe

209, 209, 36. 36. C\11, C\11, no. no. vol. vol. Timn, Timn, Calkrics.. Calkrics.. th< th< In In Exhibitions: Exhibitions:

Judd. Judd. York York "l'lcw "l'lcw DonaJd DonaJd • • Yorlt Yorlt RJchcnburg. RJchcnburg. New New TN TN 44, 44, reptoduaions. reptoduaions. rwo rwo

•Robert •Robert , , Aduon Dore Dore . . pp 19S9, 19S9, 28, 28, AuNtM AuNtM It It /4 /4

. . IS . . p 1963, 1963, 2. 2. April April 62. 62. no. no.

. . 5 . . p 1953, 1953, 17, 17, .u..,....,,Sep<. .u..,....,,Sep<. vol. vol. Ricbcnbwg." Ricbcnbwg." An An N,_ N,_ autcmcnt autcmcnt by by artist. artist. and and

, , "Robert "Robert Saodkr

living living H. H. Record,. Record,. f'm,;.,,,,,.,,, f'm,;.,,,,,.,,,

uc0oo uc0oo pla

~.::.r.· ~.::.r.· 43, 43, b. b. Autumt1 Autumt1 It It Wed< Wed< Two Two Seu Seu 2S6 2S6 "Callery "Callery

reptoduaions. reptoduaions.

photognpb. photognpb. group group srudio srudio and and rwo rwo his his p. p. 19S8, 19S8, 20. 20. 9,Jan. 9,Jan. no. no. S6. S6.

3, 3, p. p. 1953, 1953, 3, 3, , , SepL SepL AJW<•U in in anist anist of of pboh pboh 22-23, 22-23, vol. vol. Nn111, Nn111, An An RJchcnbulJo RJchcnbulJo

Pr.vin«O>wn Pr.vin«O>wn 256." 256." Callhbc'r· A>hbc'r· "Roben "Roben John John

of of Opening Opening Attend Attend An An "Many "Many Rkh

Micb

"Jama "Jama James James Mich

n.p. n.p. 1953, 1953, S, S, Feb. Feb.

ln'luim, ln'luim, no. no. 31, 31, l. l. vo • • Richcnburg. Richcnburg. Am. Am.

y y Bibliograph Selected Selected

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Painting anJ SnJpt11n S-km•n I 967: &w: 50 (vidco12pe) Antn"ie.in P.iintint' I 946- --rcaching li\d the Anist-A William C. Scitt, The An •f 1966. exhibition cacalogue., Contemporary Problem,.. The "Robert Richen burg, Artist,• .Assnnb/.ag,, MWcum of lnrroduction by Richard Artisu' aub. 39 Easr Eighth An &a~ vol. I, 12, 12pcd ar Modem Art, New York, 1961. Hirsch, AJlentown An Street, New Yorlc, Ototy CoUccrion, 1965: S-.lprurr. 1950-1970. The Univc-nity's Cc-ncennial Year Interviewed by Dorothy James A. Michener, T~J11ma Picker Gallety, Colgarc Class Reunion Programs. Scolder. (audio12pc) A. Mkhmtr FounJatiQn Univc-nity and Ithaca College IA/kai••. Foreword by James Museum ofArt, 1970. ..Provincetown: Memories of .. American AlMtraa A. Michener, Allentown, Cape Lighr." Guild Hall Ex:prcs:sionists: Robert Pennsylvania: Allentown An Earl A PowdJ, Ill, Alntrad Museum, East Hampton, NY, Richenburg, Artim of the 9ih Museum, J 963, p. vi, with Exprasion.isu 11nJ lm11fjsts: A JulyZJ, 1986. B. H. Scroet Show,"' edited by four reproductions. R'rrot:::,w Virut; An Friedman, moderator; other Marib Hertkovic. Ph.D. and Exhi ;Jion ofPaintings ftom tlN participants: Howard Breu Blear; produced and An Exhibition°/,''" ft11n Michmtr ColJ«tion, Austin: Kanovia.. Marcia Marcus and directed by Thomas Out'4nd Chryt

• General Rcadinp:: Artide.s General Worb: Books

Alloway, lawttncc, ..Sign and Firestone, Evan, •James Joya: Apostolos-Cappadona, Diane, Rowell, Margit, AJ R.tinhardt Surf.ice Noics on Black and and the First Gencntion New Ed., An, Crearivil], and rlN •na O,t.r. New Yorlc The White Painting in New York," York School," Arts Mag~M. &urul. New York: The Solomon R. Guggenheim Quadrum, 1960, p. 49-62. vol. ;6, no. 10, June 1982, pp. CroWA·ord Publishing Museum~ 1980. 116-121. Company, 198). Basrow, David, "Otto and Rubin, David S., Blad •na Numinous Experience.• Gunton, Colin, .. Creation and Baur, John I. H., fo"Ph Sulla, White 11.n Col.ors: P11.intinp of &ligious Studits, vol. 12, June Rc-creicion: An Explanation New York: Praeger Publishers, th< 1950i-J!)70i, Claremont, 1976. pp. 159-176. of Some Themes in Aesthetics 1971. Californii: Pomona College, and Theology." Modnn 1979. BeU, Richard H., "The Tkoiogy, Oct. 1985, pp. t-19. Dory, Robert; Waldnun, Atsthctia Factor in Act and Diane, Adolph Gottlieb. New Sanchez, Alphonso E.; Sayre, Rdigion,"' Religious Stsulies. HadJcr, Mon.a, •wtlliam York: The Whitney Museum Eleanor A., Goy;r •na 1/,. Spirit vol. 22,Junel986,pp.181- Baz.iotcs: A Contempo1'2ry of American Art, 1968. ofEnligh rmmmt, Boscon: 192. Pocc·Pa.inter,• Arts Magar.in~, Museum of Fine Ans, 1989. June 1977. Heller, Ben. Bwlt • Whir<, Brunelle. AJ, "Rollin New York: The Jewish Schmied, W.eland, Tob.m C., M•rk Toblism in Soby, James Thrall, Arp. Search for Abstnct &ligi4n 11ntl lir"atu", New Garden Ciiy, NJ: Doubleday Expressionism's Successor: A Landau, Ellen G., "Lee York: George Braziller, Inc.., & Co., Inc., 1958. Srudy in the Manipulacion of Kramer's .Early Career, Pan 1960. Avant-Garde Consciousness," Tw'" The I940's," Aru Suzuki, D.T., /imJys in Zm Am Magar.in~, vol. 61, no. 9, M11g1ZZine, \'OI. 56, no. 3. Nov. Polari, Stephen, Absrra.rr Buddh;,,.,, (2nd. S. Europ< Sin« 1m, PP· 141 -147. Smith, Robena, .. Report from 1715: A Modn-n Hisrory, New W:u.hingron: The 50's York: W.W. Nonon &: Firestone, Evan, .. Herman Revisited, not Revised." An in Company, Inc., 1972. Mdville's ' Moby Dick' and Amni,a, No\'emhf.r 1980, ,,·ol. the Abstract Expressionists," 65. pp. 47-49, 51. Zimmer, Heinrich. M1rhs anti Arl1 Mat'"-in~. vol. 57. no. 7, S1mhols in lndi11n Art and March, 1980. Wcch.slcr, Lawrence, ... A CiviliuritJn, New York: Repone.r at Large: A Srr.ange Harper & Row Publiihers, Dcsriny; The N"" Yorktr, 1946. December 16, 1985. pp. 47- 84.

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Stoops Stoops Susan Susan L. L.

Jill Jill Siarr Siarr

Stanton Stanton Jeanne Jeanne

Squire Squire David David

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R. R. Mc.Canby Mc.Canby Mn< Mn<

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Croaman Croaman Steven Steven Petcnon Petcnon Sar.a Sar.a Mcncdcy: Mcncdcy: Edwanl Edwanl

Goldman Goldman Judy Judy Prcpar.uor Prcpar.uor 26,27,28,29,32 26,27,28,29,32

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Loil Loil Foster Foster eu: eu: l Ban Harry Harry

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Curhan Curhan Ronald Ronald Friends Friends and and Pauoiu Pauoiu 3 3 figure figure

Zimmermann Zimmermann CorinllC CorinllC of of Ast Ast Museum Museum Mcc:ropolitatl Mcc:ropolitatl

Bush Bush Gerald Gerald Scmces, Scmces, the: the:

Phorognph Phorognph

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