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Kenneth Noland
Kenneth Noland (April 10, 1924 – January 5, 2010) was an American painter. He was one of the best-known American color field painters, although in the 1950s he was thought of as an abstract expressionist and in the early 1960s as a minimalist painter. Noland helped establish the Washington Color School movement. In 1977, he was honored with a major retrospective at the Solomon R. Guggenheim Museum in New York that then traveled to the Hirshhorn Museum and Sculpture Garden in Washington, D.C., and Ohio's Toledo Museum of Art in 1978. In 2006, Noland's Stripe Paintings were exhibited at the Tate in London.
A son of Harry Caswell Noland (1896–1975), a pathologist, and his wife, Bessie (1897–1980), Kenneth Clifton Noland was born in Asheville, North Carolina. He had four siblings: David, Bill, Neil, and Harry Jr.
Noland enlisted in the U.S. Air Force in 1942 after completing high school. As a veteran of World War II, he took advantage of the G.I. Bill to study art at Black Mountain College in his home state of North Carolina. At Black Mountain, where two of his brothers also studied art, Noland studied with Ilya Bolotowsky, a professor who introduced him to neoplasticism and the work of Piet Mondrian. Noland also studied Bauhaus theory and color there under Josef Albers and became interested in Paul Klee—specifically Klee's sensitivity to color.
In 1948 and 1949 Noland worked with Ossip Zadkine in Paris, and had his first exhibition of his paintings there in 1949. After returning to the U.S., he taught in Washington, D.C., at Catholic University (1951–1960) and the Institute of Contemporary Arts.
In the early 1950s, Noland met Morris Louis in D.C. while teaching night classes at the Washington Workshop Center for the Arts. He became friends with Louis, and after being introduced by Clement Greenberg to Helen Frankenthaler and seeing her new paintings at her studio in New York City in 1953, he and Louis adopted her "soak-stain" technique of allowing thinned paint to soak into unprimed canvases.
Most of Noland's paintings fall into one of four groups: circles (or targets), chevrons, stripes, and shaped canvases. His preoccupation with the relationship of the image to the containing edge of the picture led him to a series of studies of concentric rings or bullseyes, commonly called targets, which, like the one reproduced here—Beginning (1958)—used unlikely color combinations. This also led Noland away from Louis in 1958.
In 1964, he was included in the exhibition Post-Painterly Abstraction curated by Clement Greenberg, which traveled the country and helped to firmly establish color field painting as an important new movement in contemporary art of the 1960s. Noland pioneered the shaped canvas, initially with a series of symmetrical and asymmetrical diamonds or chevrons. In these paintings, the edges of the canvas become as structurally important as the center.
During the 1970s and 1980s his shaped canvases were highly irregular and asymmetrical. These resulted in increasingly complex structures of highly sophisticated and controlled color and surface integrity.
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Kenneth Noland
Kenneth Noland (April 10, 1924 – January 5, 2010) was an American painter. He was one of the best-known American color field painters, although in the 1950s he was thought of as an abstract expressionist and in the early 1960s as a minimalist painter. Noland helped establish the Washington Color School movement. In 1977, he was honored with a major retrospective at the Solomon R. Guggenheim Museum in New York that then traveled to the Hirshhorn Museum and Sculpture Garden in Washington, D.C., and Ohio's Toledo Museum of Art in 1978. In 2006, Noland's Stripe Paintings were exhibited at the Tate in London.
A son of Harry Caswell Noland (1896–1975), a pathologist, and his wife, Bessie (1897–1980), Kenneth Clifton Noland was born in Asheville, North Carolina. He had four siblings: David, Bill, Neil, and Harry Jr.
Noland enlisted in the U.S. Air Force in 1942 after completing high school. As a veteran of World War II, he took advantage of the G.I. Bill to study art at Black Mountain College in his home state of North Carolina. At Black Mountain, where two of his brothers also studied art, Noland studied with Ilya Bolotowsky, a professor who introduced him to neoplasticism and the work of Piet Mondrian. Noland also studied Bauhaus theory and color there under Josef Albers and became interested in Paul Klee—specifically Klee's sensitivity to color.
In 1948 and 1949 Noland worked with Ossip Zadkine in Paris, and had his first exhibition of his paintings there in 1949. After returning to the U.S., he taught in Washington, D.C., at Catholic University (1951–1960) and the Institute of Contemporary Arts.
In the early 1950s, Noland met Morris Louis in D.C. while teaching night classes at the Washington Workshop Center for the Arts. He became friends with Louis, and after being introduced by Clement Greenberg to Helen Frankenthaler and seeing her new paintings at her studio in New York City in 1953, he and Louis adopted her "soak-stain" technique of allowing thinned paint to soak into unprimed canvases.
Most of Noland's paintings fall into one of four groups: circles (or targets), chevrons, stripes, and shaped canvases. His preoccupation with the relationship of the image to the containing edge of the picture led him to a series of studies of concentric rings or bullseyes, commonly called targets, which, like the one reproduced here—Beginning (1958)—used unlikely color combinations. This also led Noland away from Louis in 1958.
In 1964, he was included in the exhibition Post-Painterly Abstraction curated by Clement Greenberg, which traveled the country and helped to firmly establish color field painting as an important new movement in contemporary art of the 1960s. Noland pioneered the shaped canvas, initially with a series of symmetrical and asymmetrical diamonds or chevrons. In these paintings, the edges of the canvas become as structurally important as the center.
During the 1970s and 1980s his shaped canvases were highly irregular and asymmetrical. These resulted in increasingly complex structures of highly sophisticated and controlled color and surface integrity.