About us
Artists Robert Ryman
Robert Ryman Photo

Robert Ryman

American Painter and Conceptual Artist

Movements and Styles: Conceptual Art, Minimalism

Born: May 30, 1930 - Nashville, Tennessee

Robert Ryman Timeline

Quotes

"The painting can be very thin, very close to the wall. Sometimes it can come away from the wall. I think it's important that it stay connected to the wall; I think it needs the wall itself to be complete."
Robert Ryman
"I am not a picture painter. I work with real light and space, and since real light is an important aspect of the paintings, it always presents some problems."
Robert Ryman
"There is never any question of what to paint only how to paint."
Robert Ryman
"I would begin by putting down a lot of color, and then it was always a matter of taking out, painting out the color; painting out the painting to where I ended up with very little color left."
Robert Ryman
"White has a tendency to make things visible. With white, you can see more of a nuance; you can see more."
Robert Ryman
"I'm not limited by a certain narrative that I want to get across. There's no symbolism or story that I need to tell or some kind of political project that I might want to do."
Robert Ryman
"the painting needs a certain reverent atmosphere to be complete. It has to be in a situation so it can reveal itself - since it is what it is, on its own. It's not representing anything else - what you're seeing is really what it is - so it has to be in a certain visual situation because anything else will dilute or disturb it. The paintings do not signify anything other than how they work in the environment."
Robert Ryman
"It may look easy, but any good painting looks easy, as if no struggle was involved ... If you look at a Matisse, it looks like he just picked up a brush and did a few strokes, as if by magic. That's the mark of a good painting."
Robert Ryman
"The work's a combination of radicalism and humanism. When I stand in front of these paintings, it forces me to be there in a way I recognize as essential to my well-being."
Roni Horn

"Monet did a lot of waterlilies and also some haystacks, a number of haystacks, that were very similar, but very unique, and I think it's the same with me."

Robert Ryman Signature

Synopsis

When Robert Ryman and his first wife Lucy Lippard were expecting their first child, the two went through a protracted search for the right name, leaving the unborn baby without a clear identity for several weeks, before they eventually settled on "Ethan." The absence of a name was fitting, given that many of Ryman's painted progeny are both untitled and noted for their absence of color due to his overwhelming use of white paint. Despite Ryman's difficulty in finding names for either his human offspring or his artwork, the paintings have endured and in latter years have raised his stature as one of the most important and committed figures of Minimalism, though his fame did not come as immediately during the 1960s as some of as his comrades in the movement. Nonetheless, Ryman's attachment to one idiom and its variations have proven remarkably resilient, allowing him to move away from content and instead raise larger questions about the nature of art and its exhibition.

Key Ideas

Though not as well-known as figures such as Frank Stella, Sol LeWitt, or Dan Flavin, Ryman is nonetheless one of the pioneers of Minimalist painting, whose works attempt to empty the painting of content - and color - in order to focus almost entirely on form and process, an idiom in which he has continued to work for some sixty years, long past the demise of Minimalism as a cutting-edge movement. He thus might be termed one of the movement's most committed adherents.
Like much Minimalist art, Ryman's work often asks the viewer to reconsider larger questions about the work of art - its placement within the gallery, the figure-ground relationship, its manufactured qualities vs. the hand of the artist, its permanence and boundaries, and others, and in many ways his paintings become more like objects than flat images.
Ryman's works are nearly universally characterized by his wholesale use of white paint - almost to the exclusion of all other hues - which tends to be worked extremely thoroughly to give the surfaces a varied, almost tectonic, three-dimensional quality, so that his working process becomes plainly visible, a technique that can be traced to his formative experiences viewing Abstract Expressionist works.

Biography

Robert Ryman Photo

Childhood

Robert Ryman was born in Nashville, Tennessee. After finishing high school in 1948, he matriculated to the Tennessee Polytechnic Institute (now Tennessee Tech) in Cookeville, where he studied the saxophone. The following year, he enrolled at the George Peabody College for Teachers in Nashville, now part of Vanderbilt University.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Robert Ryman Biography Continues

Important Art by Robert Ryman

The below artworks are the most important by Robert Ryman - that both overview the major creative periods, and highlight the greatest achievements by the artist.

Untitled (Orange Painting) (1955 and 1959)
Artwork Images

Untitled (Orange Painting) (1955 and 1959)

Artwork description & Analysis: Ryman considers this painting to be his first "professional" work. Though primarily orange, small points of green paint can be seen, mostly at the edges of the canvas. Inspired by Abstract Expressionist works at MoMA, Ryman bought some art supplies from a local store. He later recalled his thought process when approaching his early works: "I thought I would see what would happen. I wanted to see what the paint would do, how the brushes would work. That was the first step. I just played around. I had nothing really in mind to paint. I was just finding out how the paint worked, colors, thick and thin, the brushes, surfaces."

Unlike almost all of Ryman's later works, this piece is essentially a study of color and the interaction between pigments. It appears at first glance to be monochromatic, but a closer inspection reveals the subtlety both in texture over the surface as well as in the variations in tone. At the edges of the canvas, the orange contrasts sharply with the green paint behind it, and in certain areas, such as the bottom right, it is possible to see where thinner regions of orange paint have begun to blend with the layers of color underneath them. Also unlike Ryman's other works, there appears to be no underlying "strategy" that creates a sense of unity; instead, there is an uneven application of thickness to the canvas. This, however, forecasts the way that Ryman's use of paint in his mature work tends to be nearly sculptural relative to the picture plane, and like the rest of Ryman's work its form assumes that of the square canvas, devoid of representation.

Oil on canvas - MoMA, New York

Untitled (1960)
Artwork Images

Untitled (1960)

Artwork description & Analysis: This work from 1960 shows the development of Ryman's mature style and his habitual use of white on a square canvas, but it also suggests a lingering influence from his early experiments with color, as the edges of the canvas reveal layers of blue and green underpainting. It also points to Ryman's debt to the Abstract Expressionists such as Jackson Pollock, characteristically termed "action painters" by critic Harold Rosenberg due to the way their painting revealed the process of creation. Ryman's work constitutes "action painting" in the sense that it indicates how the thick layers of white are built up with a knife or another tool, with more paint deposited towards the upper left corner, thus making the composition appear "off center." Even a neatly painted white rectangular form is visible along the bottom edge, along with the green and blue streaks, making evident each method that Ryman has used in compiling the final product. Also like the Abstract Expressionists, Ryman inserts his bright yellow signature at the bottom, signaling the work's completion.

Ryman's use of color here also serves a second important function, which is to reveal the substantive nature of the materials. Though traditionally white is treated as a background or for its distinct absence of other characteristics, here its application on top of the blue and green parts of the painting reveals its active quality, with distinct mass, shape, pliability, and opacity that proves its ability to literally cover and fully hide the other regions - as well as to seemingly "pull" the center of the painting up towards the top corner.

Oil and gesso on canvas - Dia, New York, NY

Untitled (Background Music) (1962)
Artwork Images

Untitled (Background Music) (1962)

Artwork description & Analysis: This painting emphasizes the importance of color in Ryman's work; even when the key color he uses is white, shade and tone are always carefully calculated. Here, the thickly laid white paint acts as a type of screen for the red, purple, and yellow hues behind it. The screen-like quality of the white painting dovetails with the title, possibly a reference to Ryman's attempt to become a professional saxophonist. By 1962, he had abandoned his musical career for one as an artist, thus relegating the former to the background with respect to his new profession.

The textured surface of Untitled (Background Music) seems to ripple if the light changes in the gallery space, emphasizing the importance of the work's context for the viewing experience, but also the general experience of background music, which by its nature is always partially blocked or indistinct for the listener, due to the screen created by distance or interposed barriers. The work presents the viewer with a set of choices, since it is possible to ignore the overlaid white paint to focus in on the regions of color, and vice versa. Much in the same way that one can "tune out" background music by refusing to strain one's ears to capture the sound or, alternatively, focus on the background music completely.

Finally, the "rippling" of the color in the painting parallels the way that some clips of background music seem clearer than others depending on the screening conditions and variability of volume. Such variation can be extended to a sense of randomness in both the nature of improvisational jazz music as well as the absence of any clear logic in the painting to undergird the way that Ryman covers the colored paint with white. The random quality is underscored by the square format of the canvas, which presents no obvious orientation for up, down, left, or right for the way that the painting must be hung.

Oil on canvas - Dia, New York, NY

More Robert Ryman Artwork and Analysis:

Arista (1968) Counsel (1982) Accord (1985)


By submitting the above you agree to The Art Story privacy policy.

Influences and Connections

Influences on Artist
Artists, Friends, Movements
Influenced by Artist
Artists, Friends, Movements
Robert Ryman
Interactive chart with Robert Ryman's main influences, and the people and ideas that the artist influenced in turn.
View Influences Chart

Artists

Henri MatisseHenri Matisse
Mark RothkoMark Rothko
Jackson PollockJackson Pollock
Barnett NewmanBarnett Newman

Personal Contacts

Dan FlavinDan Flavin
Sol LeWittSol LeWitt
Eva HesseEva Hesse

Movements

Abstract ExpressionismAbstract Expressionism

Influences on Artist
Robert Ryman
Robert Ryman
Years Worked: 1955 - present
Influenced by Artist

Artists

Fernanda GomesFernanda Gomes

Personal Contacts

Lucy LippardLucy Lippard

Movements

Conceptual ArtConceptual Art
MinimalismMinimalism

Useful Resources on Robert Ryman

Videos

Books

Articles

The books and articles below constitute a bibliography of the sources used in the writing of this page. These also suggest some accessible resources for further research, especially ones that can be found and purchased via the internet.

biography

Robert Ryman: Used Paint Recomended resource

By Suzanne Hudson

Robert Ryman

By Janet Boris, Walter Hopps and Deborah Schwartz

artworks

Robert Ryman: Works on Paper 1957-64

By Peter Blum

Robert Ryman: Critical Texts Since 1967

By Vittorio Colaizzi and Karsten Schubert

More Interesting Books about Robert Ryman
Shades of White Recomended resource

By Peter Schjedahl
The New Yorker
December 21, 2015

Robert Ryman Interview: Color, Surface and Seeing

Art 21

Robert Ryman Review - more than simply pale and interesting

By Jason Farago
The Guardian
December 23, 2015

Home is Where the Art Is: The Ryman Family

By Howie Khan
Wall Street Journal
November 17, 2015

More Interesting Articles about Robert Ryman
If you see an error or typo, please:
tell us
Cite this page

Content compiled and written by Anna Souter

Edited and revised, with Synopsis and Key Ideas added by Peter Clericuzio

" Artist Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Anna Souter
Edited and revised, with Synopsis and Key Ideas added by Peter Clericuzio
Available from:
[Accessed ]

Did we succeed in explaining the art to you?
If Yes, please tell others about us: