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Ad Reinhardt Photo

Ad Reinhardt Artworks

American Painter

Born: December 24, 1913 - Buffalo, New York
Died: August 30, 1967 - New York, New York

Progression of Art


Study for a Painting

This early composition by Ad Reinhardt exhibits the artist's profound interest and understanding of the Cubist art of Pablo Picasso and George Braque. The palette is typical of the style and is comprised of four colors essential for a Cubist painting: black, white, brown, and gray. The abstract shapes are dynamically arranged on the flat surface where the biomorphic curves intermingle with hard edges and straight lines. This small gouache presents Reinhardt as a talented young artist with a gift for absorption of the most relevant styles of painting of the time.

Gouache on paper - The Museum of Modern Art, New York



Painted in the same year as the Cubist gouache, this canvas presents quite a stark contrast with Reinhardt's earlier artistic pursuits. Here he is obviously quoting Stuart Davis, the American artist who was a key influence on young Reinhardt. The booming palette employed by the artist has turned this arrangement of rectangular shapes into a feast of color - hot pink, orange, yellow, and red comprise a luminous symphony that inevitably engages the viewer. Later in his life Reinhardt abandoned such bright pigments. This example yet again testifies to the amazing versatility possessed by the young artist in terms of adopting and adapting various styles of modernist painting.

Oil on canvas - The Museum of Modern Art, New York


Abstract Painting, Red

This is one of the paintings belonging to the Red Series. Here the artist immersed himself completely into the exploration of the color red, one of the most expressive among the primary colors. This composition is abstraction par excellence; the squares are arrayed into a rigid pattern with the variations of red hues defining its strict geometry. The artist himself maintained throughout his life that these paintings were completely free of narrative. One cannot help but wonder, however, whether a list of references could be decoded in this canvas due to its expressive palette, impressive size (9'x3.5'), and the almost totemic outline of the squares.

Oil on canvas - The Museum of Modern Art, New York


Abstract Painting, Blue

The Blue Series followed the Red Series of paintings and this is one of its most successful examples. The rectangular shapes of various shades of blue and green are suspended within a resplendent azure surface. They are solid blocks of color and yet they seem quite mesmerizingly weightless. It feels as if the artist attempted an abstract revision of the famed Water Lilies series (1899-1926) by Claude Monet, creating a harmonious, modernist peace. The velvety surface, construed by the application of numerous layers of oil pigments, further softens the stern geometry of the floating blocks.

Oil on canvas - The Museum of Modern Art, New York


The Abstract Painting

The artist devoted his late years almost exclusively to the creation of the Black Paintings (1953-67), the canvases of bewildering power that brought him the most fame. For Reinhardt, the color black in itself was an absolute point of abstraction. The purity of blackness consumes every other shape or color. The primary inspiration for the Black Paintings was the work of the Russian artist Kazimir Malevich, particularly his famed Black Square of 1914. None of the Reinhardt's Black Paintings (1953-67) were ever completely black, but, rather, consisted of a careful arrangement of tonalities that were meticulously applied in multiple layers. In this particular example, the blackness of the canvas is dissected by two rectangular shapes, which form a cross. The superimposed silhouettes carry the shades of gray and indigo blue. Reinhardt believed that his Black Paintings (1953-67) were the absolute zero of art. He developed this concept further in his theoretical writings, connecting it to such complex philosophies as Negation Theology, Neo-Platonism, and Zen Buddhism.

Oil on canvas - The Solomon R. Guggenheim Museum, New York


How to Look at Modern Art in America

In this famous cartoon of 1946 Ad Reinhardt tried to encapsulate the essence of the artistic modernism with its history and inherent conflicts within the American context. The tree of modern art has its roots deep in history - the Greeks are here, and so are Persian miniatures and Japanese prints. The roots represent the four pillars of Post-Impressionism: Vincent Van Gogh, George Seurat, Paul Cézanne, and Paul Gauguin. The tree is burdened by the weights of "subject matter" and "business as art patron," and a cartoon within the cartoon mocks the perpetual debate of representation versus abstraction. By juxtaposing business and art, Reinhardt aptly comments on the situation of the avant-garde in the United States, where the public and, more importantly, the patrons were rather biased against the abstract art, often calling it "degenerate" and "subversive."

N/A - Originally printed in P.M. in 1946; Re-printed in ARTnews in 1961

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Content compiled and written by Ivan Savvine

Edited and published by The Art Story Contributors

"Ad Reinhardt Artist Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Ivan Savvine
Edited and published by The Art Story Contributors
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First published on 01 Aug 2012. Updated and modified regularly
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