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in this period. A critic said of this work, in general, that "Ms. Park effortlessly reconciled painting and drawing, deriving a lively formal vocabulary from clusters of loops and spheres." Of the work on paper in particular, another critic wrote: "Complex interactive layering animates the painted surfaces, which often conceal as much as they reveal. Organic and calligraphic shapes jockey for position, yet are held firmly in place by implicit structure." Later in the decade she made some larger oil paintings mostly employing subtler color choices than before. Her handling of oils at this time included the use of a palette knife to apply and scrape off pigment. Discussing this technique, a critic for the
343:. Another critic described them at some length: "There is a special kind of refinement in the way Charlotte Park's paintings and drawings stretch the eye and increasingly absorb the mind with gentle, abstract color delineations and their subtle, lost and found, dissolving echoes. These echoes establish soft, engaging visual complexities... Part of the unusual effect is in the feeling of participation in visually completing the suggested connections, or associations. Some lines meet in ways that invoke illusions of structures; others curve and float independently, offering a more abstract engagement. The sense of boundless white infinity is important as a field for reflections and vibrancy."
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Museum of Modern Art's current tribute to the movement, which was drawn almost entirely from its collection." An East
Hampton artist who knew her well said that Park believed her husband was too introverted to become successful without active management on her part. He says "it was clear that it would take a huge effort just to keep Jim’s career alive. Charlotte knew how things were slanted, and that only he really had a chance at that point in time, so she put her weight behind him so they both could survive as artists. Unfortunately, there really was no better choice at the time."
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171:. During most of her career she neither sought nor received praise from critics and collectors, but late in life was celebrated for the quality of her artistic achievements and had her work shown in prestigious solo and group exhibitions. At the end of her life a critic said, "Hers was a major gift all but stifled by a happily embraced domesticity and by the critical bullying of a brutally doctrinaire art world."
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subtly muted and harmonized. Complex interactive layering animates the painted surfaces, which often conceal as much as they reveal. Organic and calligraphic shapes jockey for position, yet are held firmly in place by implicit structure. These are not mere virtuoso formal exercises, however; their emotional undercurrents are as strong as their technical qualities.
1483:"United States Census, 1940," database with images, FamilySearch; citing enumeration district (ED) 16-88, sheet 12A, line 17, family 241, Sixteenth Census of the United States, 1940, NARA digital publication T627. Records of the Bureau of the Census, 1790 - 2007, RG 29. Washington, D.C.: National Archives and Records Administration, 2012, roll 1685
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Park, first brought Park and her brother, George, to live with her own parents, Frank W. and Hattie A. Hawkes, in their home in
Concord. Later, after remarrying, she brought them to Washington, D. C. to live with her and her new husband, Harold Blaisdell Shepard. In 1941, while living in Washington, D.C., Park worked as a volunteer for the
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and dignity. Her husband’s success allowed them both to paint and live the way they wanted to live, unencumbered by having to hold steady jobs. Occasional teaching was the only ancillary work they performed; she taught art at MoMA and was a favorite of the many artists’ kids who took her classes there."
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Park worked on both paper and canvas. She made gouaches, oils, collages, and acrylics. Her paintings tended to be smaller than those of other abstract expressionist artists. In the early 1950s she often made black and white as well as colored gouache paintings on paper and also made gestural drawings
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In the 1980s, Park's output declined. Most later exhibitions of her work were retrospective. These shows include a 1981 joint exhibition with Brooks at
Himelfarb Gallery, East Hampton; a 1985 show called Hampton Artists at the Arbitrage Gallery in Manhattan; a 1991 show of works on paper from members
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An OSS colleague introduced Park to her future husband, James Brooks, in 1945. Wishing to become a professional artist, she moved to
Manhattan where she took an apartment in Gramercy Park. Brooks, who had lived in Manhattan prior to the war, returned there, and the two were married in 1947. They had
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Park was born in
Concord, Massachusetts on March 11, 1918. At the time the local registrar recorded her surname as Parke. However, other official contemporaneous records give the spelling she used. Her father, George Coolidge Park, died five months before her birth. Her mother, Harriet Maybel Hawkes
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said "It is probably too late for
Charlotte Park, now over 90 and suffering from Alzheimer's disease, to witness her ascension into the ranks of widely known Abstract Expressionists. A natural painter and gifted colorist, she is as good as several of the artists—both men and women—in the
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There is a special kind of refinement in the way
Charlotte Park's paintings and drawings stretch the eye and increasingly absorb the mind with gentle, abstract color delineations and their subtle, lost and found, dissolving echoes. These echoes establish soft, engaging visual complexities. Dominant
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are crisp, well-composed works, moving close to the surface of the canvas. Some are very active in movement suggesting a flooding openness, as if her theme were the sea. Others are more quiet, with resounding forms in orange or red held in a rich black matrix. By scraping, building up and revising,
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Park's untitled gouache in black and gray, painted about 1950 (shown at right) shows her handling of this medium in the absence of colors at this time. Her painting entitled Aztec of about 1955 (shown at left) is an example of her early use of oil on canvas while the untitled painting of about 1960
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He added that "Thanks to the joint effort, they did succeed and managed to live comfortably off the sales of his work for the last 50 years of their lives. Charlotte actually reveled in this and in her support of her husband, and had no envy or bitterness, another indication of her great character
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In the 1970s she made acrylic drawings on paper and canvas that gave the effect, as a critic said, of a geometric pattern in which "form and space can be made to seem interchangeable in the eye." During the next decade and until
Alzheimer's forced her to retire from painting she created relatively
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She showed infrequently during the 1960s. Records show that her work appeared in
Manhattan at group shows at the Tanager Gallery (1959), the James Gallery (1960), and the Alonzo Gallery (1969) and, on Long Island, in group shows at East Hampton Guild Hall (1960), Setauket Gallery North (1965), and
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Park was a first-generation abstract expressionist who favored both geometric and gestural forms. Although she drew inspiration from natural objects, her paintings are non representational. She liked to visit other East
Hampton artists in their studios and picked up ideas from seeing their work.
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This body of her work has not been seen in depth for many years, and it confirms her status as a New York School abstractionist of the first rank. Seldom does a painter have such control over intense color -- for example ion 'No.6 (Montauk),' in which the sharpness of complementary contrasts is
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said she scraped, built up, and revised to create "a varied, sensuously appealing surface." At the end of the decade she made collages, often cutting up and re-assembling parts of earlier paintings. During the 1960s she leaned toward square shaped paintings having softer colors than previously.
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Ms. Park's works are a revelation, for she is little known and began to draw attention only after the death of her husband, the painter James Brooks, in 1992. Her all-over compositions with messy blocky shapes covering the entire paper have a tremendous vitality and energy. She is also a great
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Ms. Park's works are a revelation, for she is little known and began to draw attention only after the death of her husband, the painter James Brooks, in 1992. Her all-over compositions with messy blocky shapes covering the entire paper have a tremendous vitality and energy. She is also a great
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of the New York School at Elston Fine Arts in New York; a 1995 show of Women in the Fifties at the Anita Shapolsky Gallery in New York; and solo exhibitions at the Parrish Art Museum (2002) and Sanierman Modern (2010). She was given a major retrospective at the Berry Campbell Gallery in 2016.
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She showed more frequently in the 1970s, including solo exhibitions at the Benson Gallery (1973 and 1976) and the Guild Hall (1979) as well as group exhibitions in those and other Long Island galleries. Her work was also included in a 1979 group show at the American Cultural Center in Paris.
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Wallace Harrison was an Australian-born artist and art teacher who lived and studied in Paris before settling in Manhattan. During the years following the close of World War II he maintained a studio in west Greenwich Village at 14th Street and 7th Avenue where he worked and taught.
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She did not ordinarily give titles to works and when she did she used terms that evoked feelings rather than natural objects. She once said that she drew inspiration for a group of paintings she made about 1955—ones entitled Aztec, Initiation, Parade, and Lament—from the
155:(1918–2010) was an American abstract painter. She began work as a professional artist soon after the close of World War II, working in studios first in Manhattan and then in eastern Long Island. She was associated with and drew both support and inspiration from her husband
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1465:"United States Census, 1920," database with images, FamilySearch; citing ED 114, sheet 12A, line 30, family 258, NARA microfilm publication T625 (Washington D.C.: National Archives and Records Administration, 1992), roll 706; FHL microfilm 1,820,706
246:. In 1954, she participated in a group show at the Guild Hall in East Hampton. The Tanager Gallery in Manhattan presented her first solo show in 1957. Park showed often during the later 1950s, particularly in group exhibitions at Eleanor Ward's
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images are rhythms of bright spectrum colors sparsely placed against white area. This gives each work a spacious, open quality, and sets up a surface structure that works with a dialogue of visual pulls between shimmering lines of color.
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Park achieved critical recognition late in life. Writing late in her career a critic thought she was probably better known as the wife of James Brooks than as an abstract expressionist artist. Writing in 2010 a critic for the
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From its founding as the nation's first university arts school in 1869 the School of Fine Arts at Yale accepted women students. Like their male counterparts, these women were expected to follow art as a profession.
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The Leonard School for Girls was founded in 1937. It taught students from prekindergarten through high school. Subjects included arts, crafts, dramatics, music, sports, dancing, voice, and personality culture.
1447:"Massachusetts State Vital Records, 1841-1920," database with images, FamilySearch; citing Death, Concord, Middlesex, Massachusetts, United States, certificate number 28, page 104, State Archives, Boston
1426:"Massachusetts State Vital Records, 1841-1920," database with images, FamilySearch; citing Birth, Concord, Middlesex, Massachusetts, United States, certificate number 34, page 579, State Archives, Boston
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said, "At Eleanor Ward's Stable Gallery, the annual exhibitions of contemporary American art were often of far greater artistic interest than the annual or biennial surveys at the Whitney Museum."
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Park's Gypsophilia of 1973 (at left) shows her late use of acrylic on canvas and her untitled painting of about 1985 (shown at right) shows her use of acrylic on paper at an even later date.
203:(OSS) in Washington, D.C. After moving to Manhattan in 1945, Park shared studio space with Brooks, and married him two years later. Brooks obtained the studio space when his friends,
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The Peridot Gallery, at 6 E. 12th St. in Greenwich Village, specialized in shows of contemporary art by abstractionists, many of whom would, in time, be recognized as leaders of the
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The People's Art Center of the Museum of Modern Art taught free classes in painting, ceramics, collage, and assemblage to children and adults over the years between 1948 and 1970.
242:. In 1952, she participated in a group show at the Peridot Gallery; the following year she had a painting in the Annual Exhibition of Contemporary American Painting at the
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in 1939 but put off a career in art until after World War II. In 1945, Park moved from Washington, D.C., to Manhattan and there took night classes from Wallace Harrison, a
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She combines whimsicality and architectonic structure in the manner of Paul Klee, injecting the abstracted result with the confined dynamism of his 'Twittering Machine.'
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Charlotte Park's —often primary—are more isolated and are grounded in geometric abstraction. There are hints of a free grid, a sort of musical scaffolding.
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Park's work at OSS was quite likely in the Cartographic Section which produced specialty maps and other graphic aids for reports, presentations, and use in the field.
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Hilton Kramer (2001-08-06). "The Borgenicht Legacy, the Glory of the 50s There were fewer artists, fewer galleries, fewer reviews and many fewer collectors".
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219:, Long Island. After a hurricane blew the building off its foundation in 1954, they moved what remained of it to an area of East Hampton called
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Helen Harrison (2002-12-08). "Arts & Entertainment: Art Reviews; Landscapes of Fantasy, and a Devotion to Color 'Three East End Artists'".
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Charlotte Park's exhibition concentrates thoughts on pictorial considerations, particularly those that deal with space, color, and illusion.
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The Stable Gallery became famous for its mid-1950s exhibitions of Abstract Expressionists, women as well as men. Its 1954 annual included
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Dore Ashton (1959-01-09). "Art: Tenth Street Stroll: Group Show and Several Debuts Mark Exhibitions at Downtown Galleries".
1479:"Charlotte Park in household of Harold Shepard, Ward 7, Cambridge, Cambridge City, Middlesex, Massachusetts, United States"
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small paintings and drawings having areas of bright color offset by areas of white. A critic saw in these works echoes of
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465:, were also his students. A committed Cubist, he was, in the words of Frankenthaler, "a mad Francophile and crazy about
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Flora Lewis (1979-10-03). "Two Paris Shows a la Pollock: 'Jackson Broke the Ice' Recalls Early Loft Days".
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Charlotte Park, Untitled (Black and Gray IV), about 1950 Gouache on paper, 17 7/8 x 22 15/16 inches
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1461:"CCharlotte Park in household of Frank W Hawkes, Concord, Middlesex, Massachusetts, United States"
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380:. She subsequently took a position in a graphics unit of the Office of Strategic Services (OSS).
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1051:"Art: Gallery Pot-Pourri: Recent Abstractions by Charlotte Park Among Work on Exhibition Here".
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Stuart Preston (1954-08-08). "Both Old and New: Exhibitions at Yonkers and eash Hampton".
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962:"Response and Responsibility: The War Veterans' Art Center at the Museum of Modern Art"
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Park was born in Concord, Massachusetts, on March 11, 1918. She graduated from the
698:"Massachusetts State Vital Records, 1841-1920", database with images, FamilySearch
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I don't want to be known as a female artist. I want to be known as a good artist.
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Dorothy Seckler (1976). "Interview: James Brooks Talks with Dorothy Seckler".
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1557:. Denver New Haven: Denver Art Museum Yale University Press. p. 188.
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History Project, Strategic Services Unit, War Department, Washington, D.C
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Action, Gesture, Paint: Women Artists and Global Abstraction 1940-1970
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Charlotte Park, Untitled, about 1985, acrylic on paper, 14 x 14 inches
238:. Between 1955 and 1957, she taught at the People's Art Center of the
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Charlotte Park, Gypsophilia, 1973, acrylic on canvas, 18 x 18 inches
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Charlotte Park, Untitled, about 1960 Oil on canvas, 34 x 34 inches
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1443:"Harriet M Hawkes in entry for George Coolidge Park, 11 Mar 1918"
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Helen Harrison (1981-08-23). "Art: Married Artists' Own Styles".
1422:"H Maybel Hawkes in entry for George Coolidge Park, 30 Mar 1917"
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Charlotte Park, Aztec, about 1955, oil on canvas, 22 x 13 inches
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In 2016 her biography was included in the exhibition catalogue
331:(shown at right) is an example of her later use of the medium.
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Miss Park has achieved a varied, sensuously appealing surface.
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Benjamin Genocchio (2006-11-26). "Sand, Sea and Abstraction".
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and there set up a pair of adjoining studios now known as the
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Park died on December 26, 2010, at her home in East Hampton.
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Tanager, James, Alonzo, Guild Hall, Gallery North, Parrish
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1270:"Nature in an Untouched State, Before Suburbia Called".
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1953 Annual exhibition of contemporary American painting
845:"Oral History Interview With Helen Frankenthaler, 1968"
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painter who taught a geometric style of flat patterns.
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817:"Helen Frankenthaler: Paintings on Paper (1949-2002)"
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667:"Charlotte Park Paintings Reveal Major AB-EX Talent"
1364:. East Hampton, New York. 1979-04-19. p. II-7.
694:"Mabel H Hawkes in entry for Charlotte Parke, 1918"
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407:. In 2023 her work was included in the exhibition
873:Archives of American Art, Smithsonian Institution
849:Archives of American Art, Smithsonian Institution
716:Archives of American Art, Smithsonian Institution
433:The writer was Robert Pincus-Witten, writing in
1342:Phillis Braff (1978-05-03). "From the Studio".
1308:Phyllis Braff (1980-09-04). "From the Studio".
1251:R.C. Baker (2008-01-23). "The Grand Delusion".
1198:Phyllis Braff (1981-08-20). "From the Studio".
903:"Paid Notice: Deaths, Brooks, Charlotte Park".
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163:artists, including particularly her neighbors,
1393:B.H. Friedman (1984-12-06). "Downs and Park".
1293:Roberta Smith (2010-11-19). "Charlotte Park".
1169:. New York, New York. 1969-05-11. p. D25.
1055:. New York, New York. 1957-11-08. p. 32.
907:. New York, New York. 2011-01-05. p. A21.
795:. Spanierman Gallery LLC. 2007. pp. 2–9.
1020:. New York, New York. 1949-12-03. p. 13.
1005:. New York, New York. 1949-04-08. p. 23.
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922:. New York, New York. 1945-09-11. p. 5.
437:(quoted in a posting on Hamptons Art Hub).
1071:"Third Annual at the Stable Gallery, 1954"
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616:"Artists — James Brooks - Charlotte Park"
1346:. East Hampton, New York. p. II-6.
712:"James Brooks and Charlotte Park papers"
570:. In 2001 Hilton Kramer, critic for the
234:; she later became an instructor at the
990:. Whitney Museum of American Art. 1953.
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254:Southampton Parrish Art Museum (1970).
1532:. Yale University Press. p. 187.
1202:. East Hampton, New York. p. B5.
1001:"Non-Objective Art Shown at Peridot".
509:movement. In addition to her husband,
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1397:. East Hampton, New York. p. 9.
266:Artistic style and critical reception
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1644:20th-century American women painters
1379:. New York, New York. p. LI25.
1327:. New York, New York. p. LI21.
1312:. East Hampton, New York. p. 8.
1016:"7 Galleries Show 400 Art Objects".
643:. New York, New York. p. LI12.
384:no children In 1949, they moved to
1228:"Gutsy Paintings by Charlotte Park"
737:"The first female students at Yale"
1297:. New York, New York. p. C28.
1274:. New York, New York. 2007-02-18.
1255:. New York, New York. p. 60.
1184:. New York, New York. p. C21.
665:Charles A. Riley II (2016-02-29).
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1115:. New York, New York. p. 31.
1035:. New York, New York. p. X8.
1100:. New York, New York. p. 1.
378:Federal Public Housing Authority
230:In 1949, Park began teaching at
1639:Burials at Green River Cemetery
1555:Women of abstract expressionism
1529:Women of Abstract Expressionism
401:Women of Abstract Expressionism
1634:Abstract expressionist artists
1624:20th-century American painters
1165:"Display Ad: Alonzo Gallery".
496:was its founder and director.
244:Whitney Museum of American Art
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934:"People's Art Center Courses"
1142:"Charlotte Park (1918-2010)"
620:Brooks Park Heritage Project
225:Brooks-Park Heritage Project
201:Office of Strategic Services
115:Office of Strategic Services
1649:21st-century American women
1629:Painters from Massachusetts
1526:Marter, Joan (2016-01-01).
1226:Mike Solomon (2013-09-20).
966:City University of New York
461:and Park's future husband,
159:and other first-generation
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1619:American abstract painters
918:"Leonard School to Open".
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1579:"Action, Gesture, Paint"
1553:Marter, Joan M. (2016).
371:Personal life and family
232:Leonard School for Girls
211:, vacated it to move to
181:Yale School of Fine Arts
105:Yale School of Fine Arts
1497:"War Report of the OSS"
175:Early life and training
1146:Berry Campbell Gallery
960:Laurel Humble (2016).
735:Judith Schiff (2009).
507:Abstract Expressionist
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133:Abstract expressionism
52:Concord, Massachusetts
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153:Charlotte Park Brooks
96:Charlotte Park Brooks
941:Museum of Modern Art
821:Studio International
741:Yale Alumni Magazine
240:Museum of Modern Art
87:Green River Cemetery
1583:Whitechapel Gallery
1077:on February 9, 2012
544:Helen Frankenthaler
459:Helen Frankenthaler
415:Whitechapel Gallery
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1539:978-0-300-20842-9
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1362:East Hampton Star
1344:East Hampton Star
1310:East Hampton Star
1200:East Hampton Star
1098:New York Observer
802:978-0-945936-85-5
572:New York Observer
568:Elaine de Kooning
519:Willem de Kooning
405:Denver Art Museum
403:organized by the
386:Montauk, New York
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1075:the original
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823:. 2003-05-12
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511:James Brooks
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71:East Hampton
65:(2010-12-26)
1614:2010 deaths
1609:1918 births
564:Lee Krasner
417:in London.
209:Lee Krasner
169:Lee Krasner
75:Long Island
1603:Categories
1509:2019-07-04
1237:2019-07-05
1151:2019-07-09
971:2019-07-07
946:2019-07-07
854:2019-07-06
827:2019-07-06
751:2019-07-04
721:2019-07-04
676:2019-07-05
625:2019-07-04
600:References
44:1918-03-11
1258:colorist.
646:colorist.
435:Art Forum
341:Paul Klee
1588:27 April
471:Lipchitz
129:Movement
111:Employer
1081:July 9,
885:1556873
467:Picasso
413:at the
221:Springs
217:Montauk
1561:
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529:, and
395:Legacy
185:Cubist
167:, and
139:Spouse
124:artist
54:, U.S.
1500:(PDF)
937:(PDF)
881:JSTOR
421:Notes
1590:2023
1559:ISBN
1534:ISBN
1083:2019
797:ISBN
469:and
339:and
207:and
60:Died
38:Born
747:(1)
473:."
354:of
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