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Richard Anuszkiewicz - Biography and Legacy

American Painter, Printmaker, and Sculptor

Born: May 23, 1930 - Erie, Pennsylvania
Died: May 19, 2020 - Englewood, New Jersey
Movements and Styles: Op Art, Kinetic Art
Richard Anuszkiewicz Timeline
I'm interested in making something romantic out of a very, very mechanistic geometry. Geometry and color represent to me an idealized, classical place that's very clear and very pure.
Richard Anuszkiewicz
I would like to point out that the image in my work has always been determined by what I wanted the color to do. Color function becomes my subject matter and its performance is my painting.
Richard Anuszkiewicz
My work is of an experimental nature and has centered on an investigation into the effects of complementary colors of full intensity when juxtaposed and the optical changes that occur as a result, and a study of the dynamic effect of the whole under changing conditions of light, and the effect of light on color.
Richard Anuszkiewicz
When you consider where I started from all this work progresses and slowly changes. And you move from one area to the next. It's more drastic when you can jump from, say 1958 to 1968, to see one painting from each period. But if you were to see all of them together, it would be a natural progression.
Richard Anuszkiewicz
People thought that I always wanted to shock the eye. I didn't want to shock the eye. I wanted to use colors together that had never been used together before. I'm still doing what I was doing, but in greater depth.
Richard Anuszkiewicz
I've taken color a step further than it had been taken by the Impressionists and the Neo-Impressionists.
Richard Anuszkiewicz
Art has been a way of life for me. I have never done anything else. Art was something I needed to say. It made life more than existence. I just hope that in 100 years people aren't worried about when I did something, but what I did.
Richard Anuszkiewicz
The changes in my work are not dramatic. I prefer to continue exploring what I've laid out for myself.
Richard Anuszkiewicz
Like the Impressionists, I want the viewer to mix the colors in his eye. I do not want to mix them on the palette. This way, I get greater intensity of color and greater purity, too...Unlike the Impressionists, however, I've freed such explorations from subject matter and discovered greater freedom in non-objective art.
Richard Anuszkiewicz
Subject matter is something that has to come from within you, and everybody has to find it for himself.
Richard Anuszkiewicz
My approach to painting is a kind of problem-solving one. I've always set out to experiment with some idea - some visual idea - to solve for myself
Richard Anuszkiewicz
My thesis in graduate school at Yale dealt with the creation of space with line drawing. I explored how the line can be used to create space, and I still do that.
Richard Anuszkiewicz
There were two concurrent movements in vogue during that period: Abstract Expressionism and Pop Art which had very strong critical advocates. Well, those advocates helped to bring out the demise of Op Art. What was so hurtful, as far as I was concerned, was that as much as I was given praise and popularity before the movement, once the movement really got on the way I was attacked - and vehemently so. I felt betrayed by my own critics in this country...Also, I feel I've explored areas that hadn't been touched by other artists, including Albers - perceptual ideas that I hope will be lasting...Then there is the matter of optical mixture of color. The Impressionist and Neo-impressionists pioneered the use of color in this fashion, but I think I was the first to explore its possibilities in geometric abstraction with the use of my own color ideas.
Richard Anuszkiewicz
Albers used to talk about Cezanne, he used to talk about Klee, and that helped in appreciating the work. For the first time I started appreciating what the Impressionists were doing and I could then appreciate his color ideas - something does happen when you put two colors together, it has an effect. The colorful thing about Cezanne's work was the manipulation of the warm and cool colors. He was putting a warm shade next to a cool shade which sort of charges those colors up.... Then I could also understand Albers' interaction, where a color changes another color.
Richard Anuszkiewicz
I think the idea, which again is - I feel - one of the most important things in a work, usually takes more time than the execution.
Richard Anuszkiewicz
I sometimes refer to my painting as architectural, because I work out my plan, I work out my idea, and then I go about constructing the painting.
Richard Anuszkiewicz
The ideas I work on are essentially timeless. If you're working with present-day matter, your work can grow old and unimportant. Working with basic ideas will always be exciting, and if color or form is visually exciting in any profound sense, it will be that way ten or twenty years from now also.
Richard Anuszkiewicz

Biography of Richard Anuszkiewicz

Childhood

Richard Anuszkiewicz was born in Erie, Pennsylvania, the only child of Polish immigrant parents - though his mother was already a widow with five children. Despite growing up in a family of modest means, Anuszkiewicz would later recall: "I really had a very happy childhood and never wanted anything ... I had companionship, affection, all the good things." He loved art as a child and drew every day, supported by his parents. His father, who operated a machine at a paper mill, encouraged him by bringing pads of paper home for him to use. His family was devoutly Catholic, and he attended Catholic grade schools, where he was given extra time to draw as a result of his excellent academic performance. In 1944 he transferred to Erie Technical High School, attending art classes for three hours every day. In these classes he learned about Impressionist color theory, the theory of complementary colors, and the spectrum prism. Even in high school his approach to painting was very disciplined. He would set himself the challenge of mixing a broad range of tones from a limited palette of three or four colors. His art teacher encouraged him to enter competitions, many of which he won, including a major prize in his senior year in the 1947 National Scholastic Art Awards and, ultimately, a full scholarship to the Cleveland Institute of Art.

Early Training and Work

At the Cleveland Institute of Art, Anuszkiewicz began to simplify his representational scenes into abstract designs. In the summer of 1950, between his sophomore and junior years, he experimented with plein-air painting on Cape Cod with the painter Henry Hensche, who deepened his understanding of the Impressionist movement by teaching him about the Impressionist technique of mixing colors on the canvas. In his final academic year at Cleveland, 1952-53, he was awarded a Pulitzer Traveling Scholarship to study art in Europe. However, feeling his urgent need was to learn more about the principles of color, he decided instead to attend Yale School of Art and Architecture to study with the renowned artist, and color theorist Josef Albers, then chairman of the Department of Painting.

Albers was a former teacher at the Bauhaus and Black Mountain College, who had already taught a generation of American modern artists such as Cy Twombly, and whose precisely conceived theories of color combination, later expounded in his book The Interaction of Color (1963), fostered a deep understanding of color relationships amongst countless educators and art students. Albers was a formidable and exacting teacher, strengthening his students' perceptual abilities through exercises based on observation and experiment. Anuszkiewicz graduated from Yale with a Master in Fine Art in 1955, learning Bauhaus and Constructivist-influenced principles of simplified abstract art, as well as Paul Klee's theories of color interaction. Anuszkiewicz's work became more and more abstract as he began to imbibe these concepts more and more. He also became interested in the science of perception and optics, reading the perceptual psychologist Rudolph Arnheim's book Art and Visual Perception, which inspired the topic of his graduate thesis, A Study of the Creation of Space with Line Drawing. The work undertaken towards the thesis benefitted him greatly, and line became an important compositional tool in his work, second only to color combination. Beginning in his second year at Yale, he roomed with his Cleveland friend (and future influential Op Artist) Julian Stanczak, who was also of Polish descent. The two students took field trips together to New York City to see paintings by the Abstract Expressionists and other artists whose use of color excited Anuszkiewicz, including Stuart Davis, Ben Shahn, Henri Matisse, and Pierre Bonnard.

After graduating from Yale, Anuszkiewicz moved back to Ohio, earning a teaching degree to supplement his income from art. He graduated from Kent State University in 1956 with a Bachelor of Science in Education. In Ohio, away from the overt influence of Albers, he began to develop the style for which he is best-known, creating abstract compositions from high-intensity contrasts of warm and cool colors. He also experimented with the interaction of complementary colors under different light conditions. By the early spring of 1957, at the age of 27, he had created enough paintings to move to New York City and show his work to galleries.

In New York, Anuszkiewicz was initially met with rejection. Gallerists still caught up in the emotional intensity of Abstract Expressionism were not used to seeing work of such precision and preemptive compositional intelligence. Nonetheless, Anuszkiewicz continued to develop his painting technique while holding down various odd jobs, experimenting further with contrasting colors, and also exploring the possibilities of repeated shapes and geometric forms. At the end of the 1950s he set off on a six-month tour of Europe, and when he returned to New York he was given a solo show at the Contemporaries Gallery in March 1960. After a slow start the show proved a resounding success. Alfred Barr, director of New York's Museum of Modern Art, bought the first painting, Fluorescent Complement, for the MoMA collection and other notable collectors followed suit. Following the success of this exhibition Anuszkiewicz quit his other jobs to devote himself full-time to painting. He also married Elizabeth (Sally) Feeney, a schoolteacher from East Orange, New Jersey, and the couple moved to Englewood, New Jersey.

The years that followed Anuszkiewicz's Contemporaries exhibition brought him increasing notoriety, and his technique developed. During 1962-63 he started using masking tape instead of painting freehand in order to create more precise geometric shapes and generate the razor-sharp division lines which would become his trademark. He and other Op Artists also started using Liquitex acrylic paint, which made it easier to create sharp edges and was available in a more 'modern' range of colors. In 1963 he exhibited five paintings in The Americans, a show at MoMA which was covered by TIME magazine, in an article featuring his work. LIFE magazine also displayed his painting Mercurian in The Fire on their cover in December 1964, describing Anuszkiewicz as the "New Wizard of Op."

Mature Period

In 1965 Anuszkiewicz was included in The Responsive Eye at MoMA, a landmark exhibition which helped Op Art to break through into the mainstream. Among the many works on display, only the British painter Bridget Riley's attracted comparable attention to Anuszkiewicz's dazzling compositions. The New York Times called him "one of the brightest stars in The Responsive Eye", "a virtuoso technician whose sizzling colors arranged in symmetrical bands, stripes and squares almost jump from canvas to eye", who "might already be called an op old master". Not all reviews were so favorable though. A New York Times editor, Lester Markel, wrote a letter condemning the favorable review which his own newspaper had given, stating that Op Art "is fascinating as a technique, but it is not art at all."

Fame and more shows followed, including at the prominent Sidney Janis Gallery in New York. This exhibition included some of Anuszkiewicz's Sol series, each painting from which consisted of a centered square within another of a brightly contrasting color, an approach very reminiscent of Josef Albers's Homage to the Square series. A major retrospective of Anuszkiewicz's work followed at the Cleveland Museum of Art, and he was included in H.H. Arnason's influential primer History of Modern Art. His work became highly mechanical and mathematical, described by John Canaday of The New York Times as "dazzling", "works of art created entirely by calculation", "executed with mechanical precision", but nonetheless "really beautiful". The demand for Anuszkiewicz's paintings became so great that his gallery could not keep up with the requests.

By the mid-stage of his career Anuszkiewicz was working primarily on extended sequences of works. In 1970 he began the series known as Portals, a set of paintings consisting of upright rectangles formed from soft colors with vertical lines breaking up the color field and framing central, luminous rectangles. This led in turn to his Spectral series in the mid-1970s, first shown at his new gallery, the Andrew Crispo Gallery. This series was even more mathematical in compositional approach than his previous work, consisting of predominantly light colors in cool and warm hues that played off against one another within carefully measured geometrical frameworks, set around a central square.

Later Period

In the 1980s Anuszkiewicz began his Centered Square, a set of works which possessed a certain aura of classical austerity. Increasingly, Anuszkiewicz focused on creating the optical sensation of a shimmering atmosphere of color, that seem to radiate from the canvas, an effect that became known as 'film color.' The central squares in these works can therefore be seen as either solids or as brilliant planes of light. During 1981-84 he was also working on the Temple Series, inspired by a trip to Egypt in 1981. These monumental works possess a kind of inner luminosity as well as an implied three-dimensional monumentality. With his Translumina series, which he developed over twenty years, he began working with explicitly sculptural effects and media, creating large-scale wood constructions in low relief, and also working with sheets of aluminum and steel. In 2000 he created a series dedicated to Piet Mondrian, also with painted steel. He continued throughout the first decade of the twenty-first century to compose works using acrylic on canvas, including a series based on the Twin Towers in 2011.

Anuszkiewicz still lives and paints at his home in Englewood, New Jersey, never signing his paintings on the front because he does not want to compromise the precise visual effect of his carefully planned compositions. His signature is not necessary, though, to identify these remarkable works, created methodically and consistently on a compositional model perfected over more than half a century. From a recognisiable set of antecendents - including Impressionism, Neo-Impressionism, Constructivism, and Concrete Art - Anuszkiewicz has created a unique oeuvre which, while it played a crucial role in defining the parameters of Op Art, still continues to develop, reminding us afresh how colors placed side by side can cause a pulsating feeling, and the illusion of movement and vibration.

The Legacy of Richard Anuszkiewicz

Anuszkiewicz's geometric paintings dazzle the mind and eye with their exquisite use of color, seeming to glow with an inner light. In a 1985 New York Times article, David Shirey wrote: "[w]e would not know so much about color today, nor feel so much about it, were it not for Richard Anuszkiewicz. He has changed the way we think about and respond emotionally to color, and has even affected our spiritual response to it." His work has inspired us, challenged us, and, in poetic fashion, connected us with our spirits. In Anuszkiewicz's words: "[l]ike the Impressionists, I want the viewer to mix the colors in his eye. I do not want to mix them on the palette. This way, I get greater intensity of color and greater purity, too. Unlike the Impressionists, however, I've freed such explorations from subject matter and discovered greater freedom in non-objective art."

Anuszkiewicz is considered one of the founders and giants of Op Art in America, although he maintains that he doesn't belong to a group, and his work has also been described as perceptual art and scientific art. In the era since that movement was defined and celebrated (roughly speaking the first half of the 1960s) his work has either been rebelled against - for example by Minimalists such as Donald Judd - or praised, criticized or emulated. But it has rarely been ignored. In pop culture, meanwhile, his work, and that of the Op Art movement more generally, would prove influential on the fashion, advertising and music industries.

These external responses to Anuszkiewicz's art, however, have rarely impacted on the personal vision which has guided his development. His longevity, meanwhile, has ensured that this vision continues to invigorate the Op Art movement half a century after its conception. As Dennis Dooley wrote: "Anuszkiewicz's paintings force us, again and again, and in wonderfully imaginative ways, to reflect on our experience as human beings in a physical world - as well as one defined by cultural associations."

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Content compiled and written by Lisa Marder

Edited and revised, with Summary and Accomplishments added by Greg Thomas

"Richard Anuszkiewicz Artist Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Lisa Marder
Edited and revised, with Summary and Accomplishments added by Greg Thomas
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First published on 15 Jan 2020. Updated and modified regularly
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