498:"If anything, Simpson's paintings became more predictable before they grew less so. By the time he was preparing to leave for Sacramento, he'd cast aside cubism to make straightforwardly expressionist landscapes—thickets of childlike brushstrokes that were skillful exercises in the standard Bay Area style of the period. The transition that followed was both radical and natural. His surroundings completely changed, Simpson enlisted primitivism in a wholly new way. Specifically he took up the stacked structure commonly seen in children's drawings, which he ingeniously applied to the extreme horizontals of the Sacramento skyline? No longer was Simpson's primitivism a mannered affectation. It was fully internalized to his composition."—
476:. He exhibited the paintings in his 130-room villa in Varese, eventually even converting the stables into galleries for his growing collection. Dr. Panza bought his first Simpson painting in 1990. He went on to acquire over 140 of Simpson's works, mostly his earlier iridescent metallic paintings and then his later interference pigment paintings. Simpson has described Dr. Panza as simultaneously "supportive and critical, generous and parcimonious, very opinionated." Dr. Panza died in 2010 at the age of 87. His home was turned into a public museum run by Fondo per l'Ambiente Italiano, the Italian national trust, in 2000. Upon his death, Dr. Panza donated a large number of Simpson's interference paintings to the
495:"Spending time with a David Simpson painting, one experiences shifts of light and color like that which happens when looking at the sky or ocean. Those transitions may appear subtle or spectacular, depending on a work's size and the conditions of its installation, but each canvas is active and also activates viewers in the space around it. In the mid 1980s, Simpson began working with interference paints, an acrylic coated in micro-particles of mica, which upon interacting with light, cause effects like the swirling spectrum of colors visible on the surfaces of oil puddles or soap bubbles. Simpson's skill with the medium is masterful."—Louis Grachos.
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rise to nuances of color and optical illusions of depth. Using only one color pigment for each painting and a specially-designed, hand-crafted trowel, Simpson applies on average about thirty coats of paint to each canvas, creating a modulated surface space with which the paint interacts in ripples and layers. In 2011, Simpson had his seventh solo show, Nonsense Poems, at the Haines
Gallery in San Francisco, which featured 19 new interference paintings with one-syllable titles such as Blink and Ring. Three paintings of particular importance during this period are
492:"In the 1970s, Simpson's painting would have taken its place more readily in the narrower context of color-field abstraction, a tendency more associated with New York than the Bay Area. How lucid and soulful Simpson's big paintings of the period look today. They may appear to present themselves wholly at a glance, because they conceal nothing, but it takes time to size up how any one of these pictures operates in terms of color, composition or visual poetics."—Kenneth Baker.
242:(best known for her ten-foot masterpiece, The Rose), on Bay Street in San Francisco. During that time, Simpson and Dee ran the San Francisco Art Institute's cafeteria to help with Simpson's tuition fees. During their shifts at the cafeteria, Defeo babysat the Simpson's newborn daughter, Lisa. Defeo, who worked in numerous mediums including drawing, collage, photography, jewelry, and sculpture, was the subject of a retrospective at the
368:, Simpson's abstract paintings of the 1970s and 1980s consist of flat, color-blocked rectangles, squares and other geometric shapes seeming to vibrate from relational energy. These meticulously-envisioned paintings involve minute spatial calculations. They depict vividly-colored geometric configurations in push-pull interactions of marked reverberation and intensity. Particularly notable works from this period include
353:"I placed blocks of color bands right around the edge of the painting instead of in the center. I wanted to keep the center open. very different from the traditional American landscapes I'd been doing earlier. I wanted to create space so you had room to breathe again in aesthetic terms. I likened them to dense fog pressed up against a window pane."—David Simpson
518:. Featuring essays and 120 color illustrations, the book traces Simpson's progression through numerous artistic phases. About the book Simpson has said, " is an exquisite creation. It does a wonderful job of showing how my work varied and developed over the years." The survey book includes exhibition reviews from the Richmond Independent and the
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In the late 1980s, Simpson began experimenting with interference paints, soon becoming fascinated with the mercurial characteristics of the medium. Interference paints, which have only six pigment variations containing micro-particles covered with titanium oxide, reflect and refract light, giving
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movements. Since 1958, Simpson has had more than 70 solo exhibitions of his paintings in galleries and museums worldwide. His paintings have been included in hundreds of group exhibitions throughout the United States and Europe. During the early 1960s
Simpson was included in two seminal group
294:"During the last several years I have been interested in paintings made up primarily of horizontal stripes and bands. Some of these appear as landscape—some as pure paintings. I've always been more interested in the painting than the landscape," –David Simpson, 1962.
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painting (1915)—Kenneth Baker wrote in 2001, "Each shape pulses with assertions of its own position and scale in the picture's internal space." In 2009, the
Modernism Gallery in San Francisco held a solo show of Simpson's relational abstraction paintings.
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in 1928 to
Frederick Simpson, an interior decorator and expert on 19th century fabrics and furniture and Mary Adeline White, a housewife. After Frederick died in 1936, Mary supported Simpson and his older brother, Robert, by working at the
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Simpson has had three notable artistic periods during which he produced cohesive works of particular resonance and importance. These phases are the
Landscape-Based Abstractions, the Relational Abstractions, and the Interference Paintings.
309:. Simpson has related these works to "Indian blankets, or East-Indian madras, or the American tradition of landscape." Their abstract glazes and references to fog and sky caught the attention of the critic
192:, a poet and faculty member at the San Francisco Art Institute. Before it was turned into one of the inaugural student-run cooperative galleries in the area, the space had been an auto-repair shop.
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on
September 26, 1954 that the Six Gallery was "sponsored by six people interested in art, music, poetry, integrity and other worthwhile things." Many well-known artists, including
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While in school, Simpson worked the graveyard shift at a gas station and managed the campus cafeteria to cover tuition costs. Simpson has said that studying under professors like
464:. He spent the following twenty years amassing one of the most important private collections of postwar American art in the world—over 2,500 pieces by artists including
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were in the audience, but
Simpson, home sleeping after a night shift at his gas station job, missed the reading. The Six Gallery closed in 1957.
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424:(2012). Simpson has created hundreds of interference paintings since he began working with interference pigment more than twenty years ago.
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painter. His reductive, abstract landscapes of this period were inspired by the level earth floor and color-smeared sky of the
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109:. After staying on an extra year to help fellow hospital staff with the repercussions of war, Simpson left the Navy in 1949.
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Trends in
Twentieth Century Art: A Loan Exhibition from the San Francisco Museum of Art, January 6 to February 1, 1970
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Smith, Roberta (May 15, 2010). "Deborah
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830:. University of California, Santa Barbara Art Gallery; San Francisco Museum of Art. 1970. p. 8.
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Raskin, Jonah (September 30, 2005). "Six at the Six at 50 - Return of S.F.'s Poetic Beat". SFGate.
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94:. Simpson has a stepson, Gregory Vose, born in 1949, and a daughter, Lisa Simpson, born in 1953.
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Latson, Jennider (October 7, 2014). "Drunk Poetry Fans and the First
Reading of 'Howl'".
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218:" publicly for the first time at a reading at the Six Gallery."Howl's" future publisher
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Baker, Kenneth (January 24, 2009). "David Simpson's 1970s Abstractions Still Radical".
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Curtis, Cathy (December 5, 1995). "Tracking David Simpson's Revival in Laguna Beach".
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In 1953, Simpson and Dee lived in the same house as Hedrick and his wife, the artist
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helped him realize that he, too, could make a living teaching and producing art.
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392:—which takes its name from Russian painter and geometric abstract art pioneer
270:. In 1965. Simpson became an assistant professor in the art department of the
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210:, held their first one-person shows at the Six Gallery. On October 7, 1955,
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After teaching at Berkeley for twenty-five years, Simpson retired in 1990.
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in 1945, when he was seventeen-years-old. For three years, he served as a
1186:""Albright-Knox Art Gallery Acquires 71 Works from the Panza Collection""
125:, earning his BFA in 1951. He went on to receive his Master of Arts from
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Baker, Kenneth (May 12, 2001). "Subtle Abstractions of David Simpson".
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24:(born 1928) is an American abstract painter and educator, who lives in
337:. In 1958, Simpson had the first solo exhibition of his career at the
262:, where he taught for two years before joining the teaching staff of
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Art in the San Francisco Bay Area, 1945-1980: An Illustrated History
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From the beginning of his career Simpson has described himself as a
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Landscape-based abstractions/horizontal stripe paintings (1955–1963)
274:. Five years later, he was promoted to full professor with tenure.
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440:(1923-2010) was a pre-eminent contemporary art collector based in
1132:""Giuseppe Panza, Collector of Postwar American Art, Dies at 87""
448:, and a major collector of Simpson's work. He began purchasing
1161:"A Palace of Wonders - Panza Villa Exhibits Illusionary Works"
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published a survey book of Simpson's life's work entitled,
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David Simpson - University of Wyoming Art Museum interview
345:, both times showing his horizontal stripes paintings.
313:, who included Simpson in his seminal 1964 exhibition
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In 1959, Simpson accepted a teaching position at the
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564:David Owsley Museum of Art Ball State University
349:Relational abstractions (late 1970s–early 1980s)
798:"An Interview with David Simpson - August 2016"
914:"Fillmore: The Beats in the Western Addition"
588:John D. and Catherine T. MacArthur Foundation
452:pieces in the late 1950s before moving on to
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1048:""What Set Bay Area Painters Apart in 60s""
407:Interference paintings (late 1980s–present)
184:, an artist who became the director of the
321:alongside thirty other artists including
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528:Selected public and private collections
1213:(study), 1995, accession TCM.2003.28.3
572:, Cornell University, Ithaca, New York
1327:San Francisco State University alumni
843:"The "6" Gallery: Roots and Branches"
339:San Francisco Art Association gallery
105:stationed near the Mexican border in
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978:. Santa Fe, NM: Radius Books. 2016.
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626:, Varese, Italy; Lugano, Switzerland
1209:Honolulu Museum of Art wall label,
1072:Baker, Kenneth (January 24, 2009).
1046:Baker, Kenneth (January 24, 2009).
168:painter and integral member of the
1332:San Francisco Art Institute alumni
1317:20th-century American male artists
666:University of California, Berkeley
648:San Francisco Museum of Modern Art
600:Madison Museum of Contemporary Art
272:University of California, Berkeley
28:. His work is associated with the
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1322:Artists from Berkeley, California
802:Charlotte Jackson Fine Art Tumblr
753:list of artists in the exhibition
88:National Tuberculosis Association
1102:"David Simpson - Nonsense Poems"
612:National Collection of Fine Arts
570:Herbert F. Johnson Museum of Art
319:Los Angeles County Museum of Art
180:abstraction; Jack Ryan, a poet;
156:In 1954, Simpson co-founded the
63:Los Angeles County Museum of Art
1130:Grimes, William (May 1, 2010).
176:, an abstract artist known for
117:Simpson used payments from the
1312:American contemporary painters
1307:Abstract expressionist artists
1287:20th-century American painters
244:Whitney Museum of American Art
127:San Francisco State University
61:in 1964; that traveled to the
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1159:Frank, Rose (July 18, 2014).
976:David Simpson Works 1965-2015
516:David Simpson Works 1965-2015
256:American River Junior College
1020:. No. O.C. Art Reviews.
632:, Philadelphia, Pennsylvania
618:Oakland Museum of California
552:Columbia Broadcasting System
16:American painter (born 1928)
650:, San Francisco, California
264:Contra Costa Junior College
131:San Francisco State College
123:San Francisco Art Institute
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1260:December 29, 2016, at the
1253:Post-Painterly Abstraction
1242:Artist bio, Haines Gallery
1232:Charlotte Jackson Fine Art
940:""The Rose" Is Not a Rose"
630:Philadelphia Museum of Art
596:, Laguna Beach, California
315:Post-Painterly Abstraction
81:David Simpson was born in
55:Post-Painterly Abstraction
762:Retrieved August 17, 2010
608:, New York City, New York
554:, New York City, New York
534:Albright-Knox Art Gallery
478:Albright-Knox Art Gallery
234:Connection with Jay Defeo
1302:Painters from California
758:August 29, 2018, at the
560:, Sacramento, California
388:(1983). About Simpson's
92:Sierra Madre, California
77:Early life and education
1081:San Francisco Chronicle
1033:San Francisco Chronicle
1001:San Francisco Chronicle
540:Baltimore Museum of Art
521:San Francisco Chronicle
438:Giuseppe Panza di Biumo
214:read his famous poem, "
49:in New York curated by
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847:Community of Creatives
672:University of Nebraska
584:, San Jose, California
576:Honolulu Museum of Art
450:abstract expressionist
428:Critics and collectors
260:Sacramento, California
199:San Francisco Examiner
71:Art Gallery of Toronto
51:Dorothy Canning Miller
1247:Peyton Wright Gallery
662:, Redding, California
656:, Seattle, Washington
620:, Oakland, California
542:, Baltimore, Maryland
268:San Pablo, California
220:Lawrence Ferlinghetti
107:El Centro, California
606:Museum of Modern Art
602:, Madison, Wisconsin
548:, Hamilton, New York
433:The Panza collection
382:Five Square Rotation
83:Pasadena, California
47:Museum of Modern Art
26:Berkeley, California
674:, Lincoln, Nebraska
590:, Chicago, Illinois
536:, Buffalo, New York
366:Russian avant-garde
331:Helen Frankenthaler
186:Richmond Art Center
97:Simpson joined the
1165:The New York Times
1136:The New York Times
870:The New York Times
841:Ryan, John Allen.
654:Seattle Art Museum
644:, Portland, Oregon
638:, Phoenix, Arizona
636:Phoenix Art Museum
578:, Honolulu, Hawaii
558:Crocker Art Museum
546:Colgate University
488:Critical reception
182:Hayward Ellis King
178:hard-edge painting
1109:Hainesgallery.com
1017:Los Angeles Times
985:978-1-934435-54-0
912:Solnit, Rebecca.
692:Thomas Albright,
594:Laguna Art Museum
566:, Muncie, Indiana
482:Buffalo, New York
311:Clement Greenberg
307:Sacramento Valley
174:Deborah Remington
166:neo-expressionist
103:Hospital Corpsman
67:Walker Art Center
59:Clement Greenberg
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386:Intra Muros
362:Mark Rothko
222:, the poet
208:Manuel Neri
190:Jack Spicer
158:Six Gallery
57:curated by
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679:References
470:Carl Andre
466:Dan Flavin
458:minimalism
399:Red Square
396:'s famous
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380:, (1980),
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364:, and the
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299:reductive
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194:Herb Caen
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756:Archived
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416:(2012),
376:(1979),
372:(1974),
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442:Milan
1197:2017
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980:ISBN
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887:Time
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