Ways to support us
About The Art Story a 501(c)3 Non-Profit Org
Frank Stella Photo

Frank Stella

American Painter and Printmaker

Born: May 12, 1936 - Malden, Massachusetts
"I like real art. It's difficult to define REAL but it is the best word for describing what I like to get out of art and what the best art has. It has the ability to convince you that it's present - that it's there. You could say it's authentic... but real is actually a better word, broad as it may be."
1 of 8
Frank Stella Signature
"What you see is what you see."
2 of 8
Frank Stella Signature
"A sculpture is just a painting cut out and stood up somewhere."
3 of 8
Frank Stella Signature
"Making art is complicated because the categories are always changing. You just have to make your own art, and whatever categories it falls into will come later."
4 of 8
Frank Stella Signature
"I think that many gestures artists make, gestures that seem casual and improbable but surprisingly effective in making art, can be made available to architecture."
5 of 8
Frank Stella Signature
"Painting is a flat surface with paint on it."
6 of 8
Frank Stella Signature
"You can only take advantage of those gifts that you really have - that are part of your character, and you're lucky to be born with those gifts. I have a gift for structure, and the strength of all the paintings I made in the sixties lay in their organization, their sense of what pictorial structure could be."
7 of 8
Frank Stella Signature
"The crisis of abstraction followed from its having become mired in the sense of its own materiality, the sense that the materials of painting could and should dictate its nature. That's not enough, and the belief that it was killing painting."
8 of 8
Frank Stella Signature

Summary of Frank Stella

In 1959, Frank Stella gained early, immediate recognition with his series of coolly impersonal black striped paintings that turned the gestural brushwork and existential angst of Abstract Expressionism on its head. Focusing on the formal elements of art-making, Stella went on to create increasingly complicated work that seemed to follow a natural progression of dynamism, tactility, and scale: first, by expanding his initial monochrome palette to bright colors, and, later, moving painting into the third dimension through the incorporation of other, non-painterly elements onto the canvas. He ultimately went on to create large-scale freestanding sculptures, architectural structures, and the most complex work ever realized in the medium of printmaking. Stella's virtually relentless experimentation has made him a key figure in American modernism, helping give rise to such developments as Minimalism, Post-Painterly Abstraction, and Color Field Painting.


  • A decisive departure from Abstract Expressionism, Stella's Black Paintings series consists of precisely delineated parallel black stripes produced by smoothly applied house paint. The striped pattern serves as a regulating system that, in Stella's words, forced "illusionistic space out of the painting at a constant rate." This device was intended to emphasize the flatness of the canvas and prompt the viewer's awareness of painting as a two-dimensional surface covered with paint - thereby overturning the notion of painting as window onto three-dimensional space that emerged in the Renaissance and dominated the medium for many centuries thereafter.
  • Created according to a predetermined, circumscribed system imposed by the artist, the Black Paintings served as an important catalyst for Minimalist art of the 1960s. Similar to Stella's parallel stripes and smooth handling of paint, Minimalist artists created abstract works characterized by the use of repeated geometric, industrial-appearing shapes stripped of all thematic or emotional content.
  • Stella was an early practitioner of nonrepresentational painting, rather than artwork alluding to underlying meanings, emotions, or narratives, and has remained one to this day. Working according to the principle of "line, plane, volume, and point, within space," Stella focuses on the basic elements of an artwork - color, shape, and composition. Over time, Stella succeeded in dismantling the devices of three-dimensional illusionism; his shaped canvases underscored the "object-like" nature of a painting, while his asymmetrical Irregular Polygons explored the tension between the arrangement of colors on the flat surface of the canvas as well as the optical effect of the advancing and receding forms.
  • Baroque artists such as the early-17th-century Italian painter Caravaggio developed illusionistic "tricks" that convincingly suggested that their subjects emerged out of the canvas and into the space of the viewer. Several centuries later, Stella took such innovations one step further by literally extending painting into the third dimension in his painterly reliefs, which entered the viewer's space with their incorporation of protruding materials.

Biography of Frank Stella

Frank Stella Photo

Frank Stella was born the oldest of three children to first-generation Italian-American parents. In his sophomore year of high school at Phillips Academy in Andover, Massachusetts, he began learning to paint from the abstractionist Patrick Morgan, who taught there. Stella continued taking art courses at Princeton University, while earning a degree in history. His Princeton professors, painter Stephen Greene and art historian William Seitz, introduced Stella to the New York art world by bringing him to exhibitions in the city, thereby shaping his earliest artistic aesthetic.

Progression of Art


The Marriage of Reason and Squalor, II

Belonging to the artist's groundbreaking series Black Paintings, The Marriage of Reason and Squalor is composed of black inverted parallel U-shapes containing stripes separated by thin lines of unpainted canvas. The repeated geometric pattern, in combination with the work's lack of figuration or expressive brushwork, prompts the viewer's recognition of it as a flat surface covered with paint, rather than a depiction of something else, upending the centuries-long concept of painting as window onto illusionistic three-dimensional space. The Black Paintings' stark simplicity, impersonal handling of the medium, and use of repeated geometric forms made them enormously influential on the emergence of Minimalism, whose practitioners likewise pursued the viewer's pure interaction with the art object. Along with three other of the Black Paintings, this work was included in the seminal MoMA exhibition Sixteen Americans. As if denying the painting's evocative title, Stella issued his famous maxim "What you see is what you see," in relation to this painting.

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


Harran II

In his exploration of formal issues, Stella habitually worked in series, developing increasingly complicated variations on selected themes. In contrast to the monochrome Black Paintings, the Protractor series, to which Harran II belongs, deploys a vivid palette and composition consisting of rectangular shapes superimposed on curving and circular forms. As in The Marriage of Reason and Squalor, Harran II's stripes emphasize the flatness of the composition, reminding the viewer that a painting is merely canvas covered with paint. This concept is reinforced by the use of the shaped canvas, which, challenging the conventional rectangular format, further denies the painting's status as illusionistic window and enhances its "object-like" quality. Harran II - whose title comes from the name of an ancient city in Asia Minor - invites parallels with sculpture as well as architecture. Measuring a massive 10 x 20 feet, the work is architectural in scale, while its composition was based on the semicircular drafting tool for measuring and constructing angles.

Polymer and fluorescent polymer paint on canvas - Solomon R. Guggenheim Museum, New York


Michapol I

The shaped canvas recurs in the works of Stella's Polish Village series, to which Michapol I belongs. Each composition is developed from color variations and interlocking geometric forms influenced in part by Russian Constructivism. Also inspired by Polish synagogues of the 17th through the 19th centuries, the works of the Polish Village series are large-scale collages, in which the artist pasted felt, paper, and wood onto the stretched canvas. Despite their sculptural qualities, Stella described the impulse behind Michapol I and the other works of the series as "pictorial."

Mixed media on canvas - The Museum of Contemporary Art, Los Angeles



The present piece is part of Stella's Indian Bird series, in which the artist further expanded the category of "painting." Stella deployed painted curlicue aluminum forms that jut out into the viewer's space - increasing the works' object-like nature and diminishing their appearance as paintings hanging on a wall. Stella's use of assembled parts and three-dimensional elements notwithstanding, he still regarded the Indian Bird series - at the time his most sculptural work - as consisting of paintings or painted reliefs. Seen by some at the time as "disco-like," the series' garishly colorful palette - produced by adhering particles of metal shaving or ground glass to a first layer of color, which were then painted or stained over - was also new to his oeuvre. Stella began the series during his 1977 stay in Ahmedabad, naming the individual works after birds found on the Indian subcontinent.

Enamel and glitter on metal - San Francisco Museum of Modern Art, San Francisco


The Fountain

In the Fountain, Stella further explores the boundaries between artistic media. Although mural-sized, the piece - measuring 7 x 23 feet - is not a painting, but a print. The Fountain is Stella's most extensive work on paper to date and his culminating achievement in the medium of printmaking - a vital aspect of Stella's work since the 1960 - utilizing seven processes and sixty-one different colors. The piece belongs to a large, diverse series Stella created between 1985 and 1997 based on Herman Melville's Moby Dick. As such, for Stella it constitutes an homage of sorts to Abstract Expressionism, a number of whose artists also created works inspired by Ahab's epic struggle with the whale. Fittingly, and in keeping with the nonrepresentational nature of Stella's work, The Fountain is abstract, reflecting Stella's goal of conveying both a sense of motion and the power of the story, rather than the specific narrative.

Print, relief, intaglio, stencil, collage and hand-coloring - National Gallery of Australia, Canberra


Prinz Friedrich von Homburg, Ein Schauspiel, 3X

Given Stella's creation of numerous, at times large-scale, paintings with protruding three-dimensional elements, the production of freestanding sculptures or architectural structures might have seemed the next logical step for the artist. Prinz Friedrich von Homburg, Ein Schauspiel, 3X is just that - a massive composition whose spiraling forms and clusters continues the visual lexicon of the artist's painterly reliefs. Sitting outside the National Gallery of Art, it is one of Stella's first monumental works - weighing in just under ten tons and measuring an enormous 31 x 39 x 34 feet. The title comes from the name of a play by the 18th-century German playwright Heinrich von Kleist about love and war.

Stainless steel, aluminum, painted fiberglass and carbon fiber - National Gallery of Art, Washington, D.C.

Similar Art

Influences and Connections

Influences on Artist
Frank Stella
Influenced by Artist
Open Influences
Close Influences

Useful Resources on Frank Stella

video clips

Related Artists

Related Movements & Topics

Do more

Content compiled and written by Rachel Gershman

Edited and published by The Art Story Contributors

"Frank Stella Artist Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Rachel Gershman
Edited and published by The Art Story Contributors
Available from:
First published on 21 Jan 2012. Updated and modified regularly
[Accessed ]