Recent from talks
Brice Marden
Knowledge base stats:
Talk channels stats:
Members stats:
Brice Marden
Nicholas Brice Marden Jr. (October 15, 1938 – August 9, 2023) was an American artist generally described as minimalist, although his work has roots in abstract expressionism, color field painting, and lyrical abstraction. He lived and worked in New York City; Tivoli, New York; Hydra, Greece; and Eagles Mere, Pennsylvania.
Nicholas Brice Marden Jr. was born in Bronxville, New York, and grew up in nearby Briarcliff Manor. He attended Florida Southern College from 1957 to 1958 before earning his B.F.A. in 1961 from Boston University School of Fine and Applied Arts.[citation needed] In 1963, Marden received his M.F.A. from Yale School of Art, where he studied with Esteban Vicente, Alex Katz, Jon Schueler, Jack Tworkov, Reginald Pollack, Philip Pearlstein, and Gabor Peterdi. Among his fellow students were future artists Richard Serra, Chuck Close, Janet Fish, Vija Celmins, Nancy Graves, Gary Hudson, and Sylvia and Robert Mangold. While studying art, Marden was also immersed in the American folk music revival scene, based in Cambridge, Massachusetts. His first wife, Pauline Baez, whom he married in 1960, was Joan Baez's sister. He met Bob Dylan and Pete Seeger and lived for a while at Joan Baez's house in Carmel, California.
It was at Yale that Marden developed the formal strategies that would characterize his drawings and paintings in the proceeding decades: a preoccupation with rectangular formats, and the repeated use of a muted palette. In his early work of the 1960s and 1970s, he used simplified means, typically monochrome canvases either alone or in series of panels, diptychs or triptychs. These include the works The Dylan Painting (1966); 1986 (now in the collection of San Francisco Museum of Modern Art); 1969's Fave (the Jack S. Blanton Museum of Art, University of Texas at Austin); and Lethykos (for Tonto) (1976) (The Museum of Modern Art, New York).
Marden relocated to New York City in 1963, where he came into contact with the work of Jasper Johns while employed as a guard at the Jewish Museum during the museum's 1964 retrospective of Johns' oeuvre. The following summer, Marden traveled to Paris, where he began to make compressed charcoal and graphite grid-patterned drawings. Marden's graphic works are a corollary to his paintings, and he would transfer ideas into even his most recent paintings and drawings. Marden made his first monochromatic single-panel painting in the winter of 1964. It was also in Paris that he admired the work of Alberto Giacometti and Jean Fautrier, although masters such as Francisco de Zurbarán, Diego Velázquez, and Édouard Manet also informed Marden's artistic practice.
In 1966, at Dorothea Rockburne's suggestion, Marden was hired by Robert Rauschenberg to work as his assistant. That same year, he had his first solo show in New York at the Bykert Gallery, which exhibited the first of his classic oil-and-beeswax paintings. Prior to that, he had worked at Chiron Press as an assistant to Steve Poleskie. Marden created the lithograph Gulf (from the New York 10-69 portfolio) in 1969 while at Chiron Press.
In the late 1960s and early '70s, a moment when painting was widely considered moribund, Marden gained international fame as the master of the monochrome panel. In 1971, Brice and his wife, Helen Harrington, visited the Greek island of Hydra, to which they returned every year thereafter. The couple bought their first home there in 1973. The light and landscape greatly influenced Marden's work (see, for instance, the five Grove Group paintings, 1972–1980; Souvenir de Grèce works on paper, 1974–1996). Executed in oil on marble fragments, he made a total of 31 paintings on marble on Hydra.
Marden's early monochromatic paintings exist as single panels, diptychs, and triptychs. In each of the four Red Yellow Blue paintings (1974), the artist painted slabs of dense yet nuanced color on three adjoined canvas panels, using oil paint mixed on the spot with melted beeswax and turpentine and applied with a knife and spatula. He gradually increased the number of panels, arranging them into post-and-lintel configurations.
In 1977, Brice Marden was commissioned (after an invited art competition with artists Samuel Buri, Joseph Beuys, Alfred Jensen, Jasper Johns, Roy Lichtenstein, Penck, Robert Ryman, Antoni Tàpies, and Jim Turrell) to design the windows lining the apse of the Basel Cathedral, a project that he labored on continuously from 1978 to 1985. Influenced in part by the Rothko Chapel in Houston, Texas, which the artist visited in 1972, Marden painted with the aim of fostering a heightened spiritual environment through abstraction. Occupying the space above the altar, these windows would be central to the ritual activity of the space, and the artist spent the next seven years honing his concept to address the spiritual weight of the installation context, culminating in a limited group of Window Study paintings. After preparing designs for stained-glass windows for Basel Cathedral, he became interested in expressing in his paintings the conditions of colour and light in architecture. The Basel commission saw the artist move away from the understated encaustic monochromes that dominated his output during the 1960s and 1970s to embrace a new, vibrant palette and set of linear compositional devices. In part influenced by his growing interest in alchemy, he decided to work with combinations of colors limited to three (the Trinity) for the linear components and four (the elements – earth, air, fire, water) for the monochrome panels. While the windows were never physically fabricated, Marden's paintings for the Basel Cathedral endure as masterworks of his oeuvre because of their conceptual aims.
Hub AI
Brice Marden AI simulator
(@Brice Marden_simulator)
Brice Marden
Nicholas Brice Marden Jr. (October 15, 1938 – August 9, 2023) was an American artist generally described as minimalist, although his work has roots in abstract expressionism, color field painting, and lyrical abstraction. He lived and worked in New York City; Tivoli, New York; Hydra, Greece; and Eagles Mere, Pennsylvania.
Nicholas Brice Marden Jr. was born in Bronxville, New York, and grew up in nearby Briarcliff Manor. He attended Florida Southern College from 1957 to 1958 before earning his B.F.A. in 1961 from Boston University School of Fine and Applied Arts.[citation needed] In 1963, Marden received his M.F.A. from Yale School of Art, where he studied with Esteban Vicente, Alex Katz, Jon Schueler, Jack Tworkov, Reginald Pollack, Philip Pearlstein, and Gabor Peterdi. Among his fellow students were future artists Richard Serra, Chuck Close, Janet Fish, Vija Celmins, Nancy Graves, Gary Hudson, and Sylvia and Robert Mangold. While studying art, Marden was also immersed in the American folk music revival scene, based in Cambridge, Massachusetts. His first wife, Pauline Baez, whom he married in 1960, was Joan Baez's sister. He met Bob Dylan and Pete Seeger and lived for a while at Joan Baez's house in Carmel, California.
It was at Yale that Marden developed the formal strategies that would characterize his drawings and paintings in the proceeding decades: a preoccupation with rectangular formats, and the repeated use of a muted palette. In his early work of the 1960s and 1970s, he used simplified means, typically monochrome canvases either alone or in series of panels, diptychs or triptychs. These include the works The Dylan Painting (1966); 1986 (now in the collection of San Francisco Museum of Modern Art); 1969's Fave (the Jack S. Blanton Museum of Art, University of Texas at Austin); and Lethykos (for Tonto) (1976) (The Museum of Modern Art, New York).
Marden relocated to New York City in 1963, where he came into contact with the work of Jasper Johns while employed as a guard at the Jewish Museum during the museum's 1964 retrospective of Johns' oeuvre. The following summer, Marden traveled to Paris, where he began to make compressed charcoal and graphite grid-patterned drawings. Marden's graphic works are a corollary to his paintings, and he would transfer ideas into even his most recent paintings and drawings. Marden made his first monochromatic single-panel painting in the winter of 1964. It was also in Paris that he admired the work of Alberto Giacometti and Jean Fautrier, although masters such as Francisco de Zurbarán, Diego Velázquez, and Édouard Manet also informed Marden's artistic practice.
In 1966, at Dorothea Rockburne's suggestion, Marden was hired by Robert Rauschenberg to work as his assistant. That same year, he had his first solo show in New York at the Bykert Gallery, which exhibited the first of his classic oil-and-beeswax paintings. Prior to that, he had worked at Chiron Press as an assistant to Steve Poleskie. Marden created the lithograph Gulf (from the New York 10-69 portfolio) in 1969 while at Chiron Press.
In the late 1960s and early '70s, a moment when painting was widely considered moribund, Marden gained international fame as the master of the monochrome panel. In 1971, Brice and his wife, Helen Harrington, visited the Greek island of Hydra, to which they returned every year thereafter. The couple bought their first home there in 1973. The light and landscape greatly influenced Marden's work (see, for instance, the five Grove Group paintings, 1972–1980; Souvenir de Grèce works on paper, 1974–1996). Executed in oil on marble fragments, he made a total of 31 paintings on marble on Hydra.
Marden's early monochromatic paintings exist as single panels, diptychs, and triptychs. In each of the four Red Yellow Blue paintings (1974), the artist painted slabs of dense yet nuanced color on three adjoined canvas panels, using oil paint mixed on the spot with melted beeswax and turpentine and applied with a knife and spatula. He gradually increased the number of panels, arranging them into post-and-lintel configurations.
In 1977, Brice Marden was commissioned (after an invited art competition with artists Samuel Buri, Joseph Beuys, Alfred Jensen, Jasper Johns, Roy Lichtenstein, Penck, Robert Ryman, Antoni Tàpies, and Jim Turrell) to design the windows lining the apse of the Basel Cathedral, a project that he labored on continuously from 1978 to 1985. Influenced in part by the Rothko Chapel in Houston, Texas, which the artist visited in 1972, Marden painted with the aim of fostering a heightened spiritual environment through abstraction. Occupying the space above the altar, these windows would be central to the ritual activity of the space, and the artist spent the next seven years honing his concept to address the spiritual weight of the installation context, culminating in a limited group of Window Study paintings. After preparing designs for stained-glass windows for Basel Cathedral, he became interested in expressing in his paintings the conditions of colour and light in architecture. The Basel commission saw the artist move away from the understated encaustic monochromes that dominated his output during the 1960s and 1970s to embrace a new, vibrant palette and set of linear compositional devices. In part influenced by his growing interest in alchemy, he decided to work with combinations of colors limited to three (the Trinity) for the linear components and four (the elements – earth, air, fire, water) for the monochrome panels. While the windows were never physically fabricated, Marden's paintings for the Basel Cathedral endure as masterworks of his oeuvre because of their conceptual aims.
Recent media