Ellsworth Kelly was a significant force in shaping the post-war art world. He first rose to critical acclaim in the 1950s with his multi-paneled and bright, monochromatic canvases. Maintaining a persistent focus on the dynamic relationships between shape, form and color, Kelly was one of the first artists to create irregularly shaped canvases. His subsequent layered reliefs, flat sculptures and lined drawings further challenged viewers' conceptions of space. While not adhering to any one artistic movement, Kelly vitally influenced the development of Minimalism, Hard-edge painting, Color-field, and Pop Art.

• Kelly intends for viewers to experience his artwork with instinctive, physical responses to structure and color rather than with attempts at contextual analysis. He encourages this active participation through bold and contrasting colors that engage the eye, layered panels protruding from the wall and irregular forms that challenge perception.
• Kelly's real-life observations are the backbone of his work. He produces direct - yet abstracted - replications of the shapes, shadows and contrasts he perceives around him. At the same time, while using reality as inspiration, he aims to establish new, unrecognizable forms.
• Kelly was pioneering in his view of the painting as an object. He creates canvases free of gestural brushstrokes or imagery, so their content resides purely in their physical shapes and interactions with the surrounding space.

Born in Newburgh, New York in 1923, Ellsworth Kelly was the second of three boys. He grew up in northern New Jersey, where he spent much of his time alone, often watching birds and insects. These observations of nature would later inform his unique way of creating and looking at art. After graduating from high school, he studied technical art at the Pratt Institute from 1941-1942. His parents, an insurance company executive and a teacher, were practical and supported his art career only if he pursued this technical training. In 1943, Kelly enlisted in the army and joined the camouflage unit called "the Ghost Army," which had among its members many artists and designers. The unit's task was to misdirect enemy soldiers with inflatable tanks. While in the army, Kelly served in France, England and Germany, including a brief stay in Paris. His visual experiences with camouflage and shadows, as well as his short time in Paris strongly impacted Kelly's aesthetic and future career path.

After his army discharge in 1945, Kelly studied at the Boston Museum of the Fine Arts School for two years, where his work was largely figurative and classical. In 1948, with support from the G.I. Bill, he returned to Paris and began a six-year stay that was instrumental in establishing his personal, singular aesthetic. Abstract Expressionism was taking shape in the U.S., but Kelly's physical distance allowed him to develop his style away from its dominating influence. He enrolled at the Ecole des Beaux-Arts, saying at that point, "I wasn't interested in abstraction at all. I was interested in Picasso, in the Renaissance." Romanesque and Byzantine art appealed to him, as did the Surrealist method of automatic drawing and the concept of art dictated by chance.

While absorbing the work of these many movements and artists, Kelly has said, "I was deciding what I didn't want in a painting, and just kept throwing things out - like marks, lines and the painted edge." During a visit to the Musee d'Art Moderne in Paris, he paid more attention to the museum's windows than to the art on display. Directly inspired by this observation, he created his own version of these windows. After that point, he has said, "Painting as I had known it was finished for me. Everywhere I looked, everything I saw, became something to be made, and it had to be made exactly as it was, with nothing added." This view shaped what would become Kelly's overarching artistic perspective throughout his career, and his way of transforming what he saw in reality into the abstracted content, form and colors of his art.

After being well received within the Paris art world, Kelly left for New York in 1954, at the height of Abstract Expressionism. While his work markedly differed from that of his New York colleagues, he said, "By the time I got to New York I felt like I was already through with gesture. I wanted something more subdued, less conscious.. I didn't want my personality in it. The space I was interested in was not the surface of the painting, but the space between you and the painting." Although his work was not a reaction to Abstract Expressionism, Kelly did find inspiration in the large scale of the Abstract Expressionist works and continued creating ever-larger paintings and sculptures.

In New York City, while creating canvases with precise blocks of solid color, he lived in a community with such artists as James Rosenquist, Jack Youngerman and Agnes Martin. The Betty Parsons Gallery gave Kelly his first solo show in 1956. In 1959, he was part of the Museum of Modern Art's major Sixteen Americans exhibition, alongside Jasper Johns, Frank Stella and Robert Rauschenberg.

His rectangular panels gave way to unconventionally shaped canvases, painted in bold, monochromatic colors. At the same time, Kelly was making sculptures comprised of flat shapes and bright color. His sculptures were largely two-dimensional and shallow, more so than his paintings. Conversely, in the paintings he was experimenting with relief. During the 1960s, Kelly began printmaking as well. Throughout his career, frequent subjects for his lithographs and drawings have been simple, lined renditions of plants, leaves and flowers. In these works, as with his abstracted paintings, Kelly placed primary importance in form and shape.

In 1970, Kelly moved to upstate New York, where he continues to reside and work today. Over the next two decades, he made use of his bigger studio space by creating even larger multi-panel works and outdoor steel, aluminum and bronze sculptures. He also adopted more curved forms in both canvas shape and areas of precisely painted color. In addition to creating totemic sculptures, Kelly began making publicly commissioned artwork, including a sculpture for the city of Barcelona in 1978 and an installation for the United States Holocaust Memorial Museum in Washington, D.C. in 1993. He continues to make new paintings, sculptures, drawings and lithographs, even re-visiting older collages and drawings into new works. The more recent creations have expanded his use of relief and layering, while continuing to utilize brightly colored, abstracted shapes. Kelly is currently represented by Matthew Marks Gallery in New York City.

For most of his career, Kelly has been an internationally-acclaimed artist, even before he received his first museum retrospective in 1973 at the Museum of Modern Art. With artworks currently in most major museum collections, such as the Metropolitan Museum of Art, the Guggenheim, MoMA, the Art Institute of Chicago and the National Gallery of Art amongst many others, he has remained crucial within the art world through his imaginative manipulations of shape, color, form and space. Kelly's innovative paintings and sculptures, which challenge traditionally-held notions of each art form, have laid an essential foundation for diverse artistic movements throughout the last half-century. As a result, Kelly continues to hold a vital place within contemporary art history.


Below are Ellsworth Kelly's major influences, and the people and ideas that he influenced in turn.



The form of my painting is the content. My work is made of single or multiple panels: rectangle, curved or square. I am less interested in marks on the panels than the "presence" of the panels themselves. In "Red, Yellow, Blue," the square panels present color. It was made to exist forever in the present; it is an idea and can be repeated anytime in the future.

I think that if you can turn off the mind and look only with the eyes, ultimately everything becomes abstract.

I am not interested in painting as it has been accepted for so long-to hang on the walls of houses as pictures. To hell with pictures-they should be the wall.

I have worked to free shape from its ground, and then to work the shape so that it has a definite relationship to the space around it; so that it has a clarity and a measure within itself of its parts (angles, curves, edges and mass); and so that, with color and tonality, the shape finds its own space and always demands its freedom and separateness.