Summary of Kenneth Noland
Kenneth Noland's Color Field painting, which was categorized by Clement Greenberg as belonging to the "Post-Painterly Abstraction" movement, was some of the most focused and consistent art produced in mid-20th-century America. After studying under such artists as Ilya Bolotowsky and Josef Albers and working alongside fellow second-generation Color Field abstractionists like Helen Frankenthaler and Morris Louis, Noland developed a signature style based on simplified abstract forms, including targets, chevrons, and stripes. Noland's paintings are characterized by strikingly minimalist compositions of shape and color. In this regard, Noland's art has influenced a wide range of contemporary abstractionists who continue to experiment with highly simplified forms and pure saturated color.
- Noland's concentric circles were not targets, the diagonals of his chevrons did not indicate receding space, and his broad horizontal stripes were decidedly not literal horizons. Each was solely a means of exploring pure color. This reductive approach also foreshadowed the emergence of Minimalism.
- Noland applied Josef Albers's theory of "the interaction of colors" to his own compositions, which explore the relationships between contrasting or complementary colors; painted in thin yet opaque layers, each tone reveals its particular characteristic weight, density, and transparency.
- As a member of the Color Field contingent that practiced hard-edge abstraction, Noland was interested in removing all texture, gesture, and emotional content from his paintings. He even executed some works on shaped canvases that were filled by their compositions from edge to edge, leaving no marginal space for suggestions of depth or background. In these shaped works, the viewer no longer looks "into" the picture; instead, the work of art coexists in the viewer's space as a complete object.
Biography of Kenneth Noland
Kenneth Noland was born on April 10, 1924 in Asheville, North Carolina, one of five sons of Harry Caswell Noland and Bessie Noland. Noland's father was a physician; Noland later described him as a "Sunday painter," an amateur artist who painted in his spare time. Having access to his father's brushes, paints, and canvases, the young Noland played and experimented with these materials, which instilled in him a love of painting and the visual arts. Another early influence was an exhibition of Monet's paintings that he viewed at the National Gallery in Washington, D.C.