213:. The three developed similar concepts of simplicity in different directions. Reinhardt considered himself a painter from a very early age and began winning prizes for painting in grade school and high school. Feeling that he had already acquired all the technical skills in high school he turned down scholarships at art schools and accepted a full scholarship at Columbia University which he attended from 1931 to 1935. Reinhardt studied under the art historian Meyer Schapiro. He took painting classes as an undergraduate at Columbia's Teachers College and after graduation began to study painting with
336:. Reinhardt's lithograph, known as "No War" from its first two words of text, shows both sides of an air mail post card addressed to "War Chief, Washington, D.C. U.S.A." with a list of 34 demands that includes "no napalm," "no bombing," "no poverty," "no art of war," and admonitions concerning art itself, "no art in war" and "no art on war." That same year, Reinhardt received a
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Reinhardt is best known for his so-called "black" paintings of the 1960s, which appear at first glance to be simply canvases painted black but are actually composed of black and nearly black shades. Among many other suggestions, these paintings ask if there can be such a thing as an absolute, even in
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Reinhardt's earliest exhibited paintings avoided representation, but show a steady progression away from objects and external reference. His work progressed from compositions of geometrical shapes in the 1940s to works in different shades of the same color (all red, all blue, all white) in the 1950s.
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His writing includes comments on his own work and that of his contemporaries. His concise wit, sharp focus, and sense of abstraction make them interesting reading even for those who have not seen his paintings. Like his paintings, his writing remains controversial decades after its composition. Many
256:, exhibiting first at the Wakefield Bookshop, the Mortimer Brandt Gallery and then when Parsons opened her own gallery on 57th street. Reinhardt had regular solo exhibitions yearly at the Betty Parsons Gallery beginning in 1946. He was involved in the 1940 protest against
201:, and lived with his family in the Riverside section along the Niagara River. His cousin Otto and he were close, as well as the extended family, but work took his father to New York City. He later studied art history at
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and was its editor in his senior year (1934–35). In 1940 he was the designer of "The
Chelsea Document", a public exhibition of five 4x8 foot panels. Other commercial art work was done "for such varied employers as the
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group, with whom he exhibited for the next decade. Reinhardt described his association with the group as "one of the greatest things that ever happened to me". He participated in group exhibitions at the
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Most famous for his "black" or "ultimate" paintings, he claimed to be painting the "last paintings" that anyone can paint. He believed in a philosophy of art he called
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and other) from
September 2010 to January 2011. Both worked at Yale University in 1952/53 when J. Albers offered Reinhardt a guest professorship.
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active in New York City for more than three decades. As a theorist he wrote and lectured extensively on art and was a major influence on
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in 1942 and he worked full-time at this daily newspaper until 1947, with time out while drafted for active duty in the
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501:, the first large scale exhibition in Europe focusing on Reinhardt's cartoons, comics and collages, was exhibited in
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he produced several thousand cartoons and illustrations most notably the series of famous and widely reproduced
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Gallery, and he had his first one-man show at the
Artists Gallery in 1943. He then went on to be represented by
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264:? His works were displayed regularly throughout the 1940s and 1950s at the Annual Exhibitions held at the
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held a major exhibition of
Reinhardt's black paintings, cartoons, and photographic slides, curated by
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in 1947 and taught there until his death from a heart attack in 1967. He also taught at the
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Der EinfluĂź der Kunst der chinesischen
Kalligraphie auf die westliche informelle Malerei
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series. Reinhardt also illustrated the highly influential and controversial pamphlet
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and against what he described as "the disreputable practices of artists-as-artists".
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McCausland, Elizabeth (May 1940). ""The
Chelsea Document" (exhibition review)".
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Josef Albers Museum Opens
Exhibition of the Last Paintings Made by Ad Reinhardt
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Ad
Reinhardt at work on one of his 60x60" Abstract Black Painting, circa 1960
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In 1967 he contributed one of 17 signed prints that made up the portfolio
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American
Abstract Expressionism of the 1950s An Illustrated Survey,
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New York School
Abstract Expressionists Artists Choice by Artists,
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Ad Reinhardt Papers at the Smithsonian's Archives of American Art
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and used his writing and satirical cartoons to advocate for
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black, which some viewers may not consider a color at all.
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to feature an entire room of black paintings (13 in all).
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Upon finishing college he was accredited as a painter by
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Exhibition at the Josef Albers Museum Quadrat in Bottrop
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Oxford Dictionary of Modern and Contemporary Art, p. 592
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Kill for Peace: American Artists Against the Vietnam War
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Oxford Dictionary of Modern and Contemporary Art, p. 592
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Oxford Dictionary of Modern and Contemporary Art, p. 591
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Artists and Writers Protest Against the War in Viet Nam
136:(December 24, 1913 – August 30, 1967) was an
587:"Whitney Museum of American Art: Ad Reinhardt: No War"
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Museum Quadrat in Bottrop, Germany showed Reinhardt's
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Institute of Fine Arts, Reinhardt became a teacher at
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Abe Ajay correspondence with Ad Reinhardt, 1963–1967
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on the Guggenheim's Reinhardt conservation activity
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389:(1943) originally intended for distribution to the
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177:(AAA) and part of the movement centered on the
867:Informelle Malerei und chinesische Kalligrafie
268:. He was also part of the protest against the
698:(in Swedish). Malmö Konsthall. Archived from
576:University of Texas Press. 2013. p. 110, 112.
529:An Inside Look at the Abstract Expressionists
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461:exhibition, which closed September 14, 2008.
436:magazine. He illustrated many books such as
906:Ad Reinhardt bio at Guggenheim Museum site
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819:. p. 16; p. 38; p. 298–301
472:and earlier works along with works from
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203:Columbia College of Columbia University
262:How modern is the Museum of Modern Art
660:"JOSEF ALBERS MUSEUM QUADRAT – Texte"
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279:Having completed his studies at the
260:, designing the leaflet that asked
1007:Columbia College (New York) alumni
987:20th-century American male artists
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953:Maryland Institute College of Art
507:EMMA – Espoo Museum of Modern Art
349:of his writings are collected in
205:, where he was a close friend of
943:Page from the Guggenheim Website
722:"Ad Reinhardt / Art vs. History"
696:"Ad Reinhardt – Art vs. History"
1027:Burials at Green River Cemetery
949:Audio Recording of Ad Reinhardt
811:(New York School Press, 2000.)
787:(New York School Press, 2003.)
272:in 1950 which became known as "
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1022:Painters from New York (state)
1002:Artists from Buffalo, New York
982:20th-century American painters
871:Informel, Begegnung und Wandel
505:in June–September 2015 and in
369:Reinhardt joined the staff of
359:University of California Press
289:California School of Fine Arts
266:Whitney Museum of American Art
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837:Associated University Presses
851:MĂĽller-Yao, Marguerite Hui:
395:A Good Man and His Good Wife
1017:Federal Art Project artists
911:Art Collection at MOMA site
334:Artists and Writers Protest
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997:American abstract painters
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270:Metropolitan Museum of Art
227:National Academy of Design
185:. He was also a member of
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45:Adolph Friedrich Reinhardt
916:American Abstract Artists
883:Stratenschulte, Julian:
855:, Diss. Bonn, Köln 1985.
756:(Harry N. Abrams, 1981.)
245:American Abstract Artists
175:American Abstract Artists
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1012:Brooklyn College faculty
930:Archives of American Art
865:MĂĽller-Yao, Marguerite:
901:Ad Reinhardt Foundation
822:Busch, Julia M. (1974)
432:, Ice Cream World, and
332:organized by the group
223:American Artists School
173:He was a member of the
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591:collection.whitney.org
453:has shown Reinhardt's
197:Reinhardt was born in
183:Abstract Expressionism
120:Abstract Expressionism
928:from the Smithsonian
485:David Zwirner Gallery
478:Hommage to the Square
430:Saturday Evening Post
338:Guggenheim Fellowship
297:University of Wyoming
229:under Karl Anderson.
181:that became known as
179:Betty Parsons Gallery
126:Geometric abstraction
527:New York art world:
509:in March–April 2016.
438:Who's Who in the Zoo
955:'s Decker Library,
553:. 20 December 2023.
281:New York University
241:Federal Art Project
157:monochrome painting
111:The Black Paintings
87:Columbia University
831:2007-09-29 at the
807:2007-09-29 at the
798:Marika Herskovic,
783:2007-09-29 at the
774:Marika Herskovic,
483:In the fall 2013,
444:Recent exhibitions
422:The New York Times
383:How to Look at Art
795:. p. 278–281
770:978-0-8109-1554-1
750:Lippard, Lucy R.
728:on 2 January 2018
457:as part of their
451:Guggenheim Museum
199:Buffalo, New York
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77:New York City, US
59:Buffalo, New York
55:December 24, 1913
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250:Peggy Guggenheim
138:abstract painter
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726:the original
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700:the original
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671:the original
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168:abstract art
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107:Notable work
72:(1967-08-30)
23:Ad Reinhardt
977:1967 deaths
972:1913 births
646:Photo Notes
377:. While at
123:Minimal Art
966:Categories
621:2024-05-31
616:www.gf.org
514:References
426:New Masses
351:Art as Art
215:Carl Holty
207:Robert Lax
193:Background
164:Art-as-Art
100:Art theory
51:1913-12-24
459:Imageless
391:U.S. Army
375:U.S. Navy
316:Paintings
829:Archived
805:Archived
781:Archived
680:19 April
596:19 April
365:Graphics
361:, 1991.
344:Writings
187:The Club
116:Movement
951:, from
732:1 April
706:1 April
221:at the
150:minimal
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869:, in:
859:
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648:: 4–5.
434:Listen
428:, the
418:Macy's
412:, the
400:Jester
295:, the
674:(PDF)
663:(PDF)
311:Works
875:ISBN
857:ISBN
841:ISBN
813:ISBN
789:ISBN
766:ISBN
758:ISBN
734:2016
708:2016
682:2018
598:2018
493:MoMA
464:The
449:The
303:and
258:MoMA
217:and
209:and
155:and
140:and
67:Died
61:, US
41:Born
887:at
839:),
414:CIO
291:in
276:."
238:WPA
153:art
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