235:. At this time he made a gradual transition from abstract paintings that had no clear subject to ones that, while continuing to be abstract in character, had the natural environment as their subject. Of this transition, Berthot said: "Even though my work now is landscape-based, it is more abstract than it was a few years ago. It is dealing with the space in the middle. At first I was painting the volume of the tree in space. Next, what I felt was that space itself has volume. And now, it is the light that has volume." The painting, "Chapel Trail Near Alter Road" shows the direction that his work took at this time. His drawings similarly enlarged the scope of their subjects as the untitled tree drawing of 2002 shows.
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lyricism" that could be accessed "not at a cognitive level but at a more elemental, intuitive one." Berthot later told an interviewer that in it "gradually feeling began to predominate." The paintings of this period continued to employ ovals and rectangles in canvases on which the "materiality of pigment," as one critic noted, produced "a highly tactile surface." Another critic wrote that "the shimmering, encrusted surfaces of the 'ovals' are reminiscent of Claude Monet's late
Waterlilies. The use of gold with deep reds and bright blues recall Medieval icons." Of his work at this time, Berthot said: "I try to break the code of painting and let it take on its own life without any code."
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said: "His clear method ... is not a closure but an opening.... You have to have a form and method and within that form and method, at a certain point you have to become the servant of the painting." Summing up this attitude on another occasion he said that as he worked a time would come when he felt that a painting would take over his consciousness "to dictate what it wanted to be." His paintings were his companions as well as the focus of his life. When the
Phillips Collection asked to mount a major retrospective of combining the many works of his that it owned along with the work then in his studio, he declined saying he could not live without having the paintings around him.
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encountered over the years of his career. While he was undergoing treatment for leukemia during the last few years of his life, Berthot produced paintings that have been seen to possess a high level of emotional content. Writing in 2015, a friend of his, the artist Elisa Jensen, referred to them as "haunting, haunted, living, breathing, and absolutely undeniably alive." Concerning one of them, called "Night, Wood, and Rock," a friend said it was "pure essence, stripped of all inessentials," and that his close observation of it infused him with a "serene acceptance of life's glory, suspended always above death, no matter death's imminence or seeming finality."
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to uncover the tension points, or focal points, that were inherent in the vertical and horizontal axes of a grid. He said he sought "a balance between the object and the opening," and thereby "to gradually achieve balance between my two influences: the systemic and the felt." "Yellow Bar With Red," of 1977 is typical of paintings in this period. Another well-known painting from this period, "Walken's Ridge," 1975-1976, is somewhat unusual. Although a pure abstraction, it has the size and shape of Monet's Water Lily paintings—14 feet wide in two equal sections— and has, as
Berthot said, the feel of a landscape.
429:. At this time his grandmother, Cora Barr (1887–1969) became his primary caregiver. His grandfather, Thomas Barr (1886–1967), owned and worked the farm. Including Sara, his grandparents had three of their eleven children living with them when she returned home. The youngest of them was thirteen years older than Berthot and in that rural setting he had no companions his own age. The farm was self-sufficient but austere; there was electricity but no indoor plumbing. Before her marriage Cora had a relationship with a boyfriend who was an artist. She encouraged Berthot's early interest in drawing.
187:"Lovella's Thing" is a good example of his style at this time. Shortly before his death, Berthot explained the way in which it evolved: "With Lovella's Thing I originally thought of painting the middle a flat, blank color, but when I got into it, putting down a lot of acrylic washes, I just started to paint it in a more felt way. So it became a kind of dialect between something very concrete and something very felt. I liked the blunt presence the shape had on the wall and then penetrating the surface in the middle in what I suppose could be called a Rothkoesque kind of way."
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that builds into something almost three-dimensional, like a blueprint of the universe.... Berthot's taste for abstraction hasn't left him. His fields of paint shift and move, full of questions and implications. The trees almost fight the colors around them, asserting their noble presences in great fogs of paint. Springing from their gridlike backgrounds, they trumpet their organic shapes, but don't deny their kinship to the abstract."
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wanted something more organic, more felt." He said that he wanted to "make the painting something you experience rather than just see." His "Hard Line" of 1980-83 is an early example of this approach, showing a rectangle in a muted background having bright accents that a critic said were and unexpected fiery flame. In 1994, Pepe Karmel, writing in the
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145:, 175 miles to the south. As a child, he received his first drawing lessons from his maternal grandmother who was also his primary caregiver. Having completed his education at local public schools, he briefly enrolled in a commercial art school in Pittsburgh before moving on to New York where, from 1960 to 1962, he attended evening classes at
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153:. Berthot later credited a Pratt instructor, Hank Raleigh, with getting him a start as a professional painter. The classes he took gave him relatively little grounding in the technique or history of art, but he learned much from hours spent in museums. He also learned much from other artists, particularly
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Regarding the painting's design he said: "I was concerned about getting to the middle of the canvas. That seemed to be the biggest problem in painting at the time, including my painting. I started thinking about it and decided to try putting some kind of form in the middle — to just do the same
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While
Berthot was in evening school at Pratt, a teacher asked him to take over a class for another teacher who had not shown up. He did well enough so that he was offered a job in the fall of 1961. He later said he liked the work partly because it required him to tell people what to do, "rather than
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During the 1970s he exhibited frequently in commercial galleries and museums. He was given a solo show at O.K. Harris in 1975, appeared in a charity exhibition at the Cayman
Gallery in 1977, was selected to appear in a show called "Artists Choose Artists" at the CDS Gallery (1982), and appeared in a
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In the mid-1970s
Berthot's style evolved. His work continued to have a painterly, lyrical quality, but he added bright colors to the muted palette of earlier work and introduced rectangular bars and ovals into canvases that were now simple rectangles. Regarding the bars, he later said that he worked
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In 1998 a critic explained this transition:"Jake
Berthot, long a master of abstraction, has moved to the country and started painting forests.... In a sense, Berthot begins, as he always has, with abstraction. He pencils a skeleton of grids and crosshatches over his canvas, a construction of lines
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Berthot was born on March 30, 1939, in
Niagara Falls, New York. His father was Earl H. Berthot (1911–1962) and his mother Sara Catherine Barr Berthot (1912–2002). His birth name was John Alex Berthot. When he was two years old his parents separated and his mother took him to her parents' eight-acre
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During the early 1990s, Berthot continued to employ bars and ovals in paintings. Of this period in his career, Berthot later said, "I reached another point where the idea was closing in on itself, there was too much idea; the paintings started to feel too literal, too much like a figure in space. I
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tradition. He would apply a thick painterly surface to large shaped canvases that were seen to employ the reductive means of minimalism, but expressing instead of restraining emotion. Despite its simplicity of means, his work was said to deal "more in feelings than in analysis." Painted in 1969,
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He went through the public school system where he lived and afterwards attended a commercial art school in
Pittsburgh. At the age of 20 in 1959, he moved to New York City, enrolled in a school to learn window display, and got a job in that occupation in a store in the Bronx. Shortly afterwards, he
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Throughout his career, Berthot consciously kept aloof from the labeled art movements of his time. He once said, "I am not interested in the new but in trying to make paintings that refuse to grow old," and on another occasion, speaking of an affinity he felt with Cézanne's approach to his work, he
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museums in New York. He was given solo shows at the Feiner
Gallery, 42 Fifth Avenue, in 1963, and the O.K. Harris Gallery, 465 West Broadway, in 1970, and was included in group exhibitions at the Jewish Museum, in 1970, the Whitney Museum, in 1971. Before showing at O.K. Harris Berthot had been
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Until about 2004 he continued to be represented by the McKee Gallery and thereafter by the Betty Cunningham Gallery which, since his death, has also represented his estate. Museum exhibitions from the early 1990s include: "Slow Art: Painting in New York Now" at P.S.1, Long Island City, New York
219:, said of works like these: "Despite the lack of recognizable imagery, the paintings seem haunted by a nostalgia for representation." The oval shape appears as well in Berthot's drawings and etchings of this period some of which had representational content, including most often an ovoid skull.
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married his first wife, the poet, Ginny MacKenzie, whose job, teaching at Pratt Institute, enabled him to take evening art classes there. In the early 1980s he and MacKenzie divorced and he moved briefly to Maine. Sometime later he married Kristin Flynn and some years later they too divorced.
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During the course of his career critics had pointed to an increasing emotional impact in his paintings and one or two of them had said that while the paintings could be comprehended entirely on their own merits, it was possible to see in them Berthot's responses to the personal difficulties he
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During the 1980s Berthot began to exhibit etchings and drawings along with his paintings. The drawings were often graphite on a background of a gray enamel. The lines frequently formed ovoid shapes and were accompanied by quasi-calligraphic markings. A critic said this work contained a "poetic
109:. While continuing to be abstract his paintings thereafter contained figurative elements and were seen to have greater emotional content. Throughout his career his work frequently appeared in solo and group exhibitions in both commercial and public galleries. It has been collected by the
1532:"United States Census, 1930," database with images, FamilySearch; citing enumeration district (ED) ED 49, sheet 19A, line 30, family 374, NARA microfilm publication T626 (Washington D.C.: National Archives and Records Administration, 2002), roll 2018; FHL microfilm 2,341,752
320:. The Museum of Modern Art included works by Berthot in "New Works on Paper" (1981), "An International Survey of Recent Painting and Sculpture" (1984), and "Contrasts of Form: Geometric Abstract Art, 1910-1980" (1985). His work was also included in exhibitions at the
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In 2006 Berthot, who was right-handed, fell from a ladder while pruning a tree seriously injuring his right wrist. While it was mending he was unable to paint as usual and later said that the loss of dexterity was a useful obstacle for him to try to overcome.
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During the 1980s Berthot continued to show at the McKee Gallery. He also showed at the Cava Gallery, Philadelphia, in 1987 and the Nielson Gallery, Boston, in 1998 and 2000. During this time his work continued to appear in museum exhibitions including the
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Berthot seems to have understood this himself. In a 2006 interview he said that his work changed after 1987 so that it subsequently had "more to do with simultaneity of feeling and seeing that leads to thought, rather than thought leading to feeling.".
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One critic noted "shifts in feeling" in his work at the time of his separation from his first wife, his move to Maine, and the theft of some of his paintings, saying these events could partially explain the "contentious attitude" of this work.
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In 2006, 11 years after his move to the rural home and studio in Accord, N.Y., Berthot seriously injured his right wrist when he fell from a ladder while pruning a tree and about six years after that he was diagnosed with a virulent form of
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Apart from a brief period spent in Maine, Berthot had lived in New York City from the time he moved there in 1959 until the day in 1994 when he moved his home and studio about 100 miles north of the city to a rural spot in
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As noted below, Berthot bequeathed the paintings in his studio to the Phillips Collection, which, after his death, did mount a large retrospective exhibit of the works in its collection with those it had been bequeathed.
391:. Not long before he died, he bequeathed the paintings that remained in his studio to the Phillips Collection. He received a Guggenheim Fellowship in 1981, and a National Endowment for the Arts Grant in 1983.
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between 1969 and 2014, it aimed "to exhibit the broadest spectrum of the most adventuresome art being offered." Run by a sister of Milton Resnick, the Feiner Gallery was located at 42 5th Avenue in New York.
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things I'd been doing but reverse it. Rather than having the bars on the outside, I would create an internal situation; rather than having the void in the middle, I would move it out to the sides."
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Contrasts of form : geometric abstract art, 1910-1980 from the collection of the Museum of Modern Art, including the Riklis Collection of McCrory Corporation [exhibition catalog]
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Berthot later said he understood that the separation took place because his father was abusive and because he had abandoned his mother and himself.
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who, as he later said, took him under his wing and through his friendship and guidance I became more aware of the real possibility of painting."
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solo exhibition at the McKee Gallery (1983). In addition, paintings of his appeared in shows at the Whitney Museum Downtown Branch (1974),
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Named John Alex Berthot at birth, he used Jake Berthot as his professional name all his life. His surname is pronounced BEAR-TOE.
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The O.K. Harris Gallery, also known as OK Harris Works of Art, was one of the first galleries located in the area called
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Jake Berthot, "Walken's Ridge," 1975-1976, oil on canvas mounted on wood, two panels, 60.125 x 152.7 inches overall
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Paul Richard (May 7, 1975). "A Baltimore Show That Highlights Many Of the Shortest Distances Between Two Points".
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Berthot was born on March 30, 1939, in Niagara Falls, New York, and, from age two, was raised on a truck farm in
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had enabled him to work full-time in his studio by giving him a living allowance equal to his teaching salary.
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BAMPFA - Art Exhibitions - Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley
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368:(2010), and "Jake Berthot: From the Collection and Promised Gifts" at the Phillips Collection (2016).
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Edward J. Sozanski (January 8, 1987). "DRAWINGS THAT SEEM TO SPRING FROM THE ARTIST'S SUBCONSCIOUS".
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Hilton Kramer (May 2, 1976). "ART VIEW: Our Venice Offering—More a Syllabus Than a Show".
850:"Downtown Scene: Heart: Sculptures by Ivan Biro Show Skillful Display of Polyester Compositions"
105:. His style changed in 1995 when he moved his studio from New York City to a rural community in
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Robert Taylor (May 25, 1980). "REVIEW / ART; ; BROCKTON EXHIBIT LUMINOUS AND COMPELLING".
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93:(1939–2014) was an American artist whose abstract paintings contained elements of both the
1528:"Sarah Barr in household of Thomas Barr, Lawrence, Clearfield, Pennsylvania, United States"
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1490:"Acclaimed Painter Jake Berthot Shows 'Recent Work' at SUNY Ulster as Visiting Artist ".
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Jake Berthot, "Chapel Trail Near Alter Road," 2000, oil on panel, 26.675 x 26.125 inches
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Robert Taylor (May 29, 1988). "BERTHOT RETROSPECTIVE COMES FORTH LIKE THE RISING SUN".
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Geoff Gehman (November 11, 1984). "SHOW AT VALLEY COLLEGES PROVES SMALL ART IS BIG".
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Peter Schjeldahl (October 13, 1974). "New Abstract Painting: A Variety of Feelings".
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Hilton Kramer (February 13, 1981). "ART: SHOW OF NEW WORKS SETS EXAMPLE AT MODERN".
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Cate McQuaid (May 4, 2000). "ODDLY VITAL ABSTRACTIONS THAT PEER INTO THE GRAVE".
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Grace Glueck (November 25, 1983). "ART: PAULA MODERSOHN-BECKER'S EXPRESSIONISM".
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Modern and Contemporary Art at Dartmouth: Highlights from the Hood Museum of Art
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Jake Berthot, "Night Wood and Rock," 2012-2014, oil on linen, 20.5 x 24.5 inches
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Jake Berthot, "Lovella's Thing," 1969, acrylic on shaped canvas, 84 x 72 inches
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827:"Left Bank Art Blog: Studio Romance: Jake Berthot's Paintings 1969–1988"
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360:(1998), "Against The Grain" at Museum of Modern Art (2006), an exhibition at
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supporting himself as an art instructor. He later said the gallery's owner,
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styles. During the first 36 years of his career his paintings were entirely
1099:"OK Harris Works of Art: A New Acquisition | Archives of American Art"
1277:. Hudson River Museum at Yonkers. 1983. pp. 18–19. GGKEY:LK3X9ZTFJH3.
744:"In Conversation; Jake Berthot with Ron Janowich | The Brooklyn Rail"
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1207:"Corcoran's 34th Biennial Exhibition of Contemporary American Painting".
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David L. Shirey (May 29, 1971). "Lyrical Abstraction Show at Whitney".
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Cate McQuaid (October 29, 1998). "Berthot forsakes fields for forest".
1469:. Hood Museum of Art and University Press of New England. p. 79.
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1171:"STEVEN ALEXANDER JOURNAL: A TRIBUTE TO JAKE BERTHOT by Eric Holzman"
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them telling me what to do." Berthot subsequently taught classes at
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Jake Berthot, "Hard Line," 1980-1983, oil on linen, 60 x 50 inches
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1439:"Jake Berthot [Exhibitions, Awards, Public Collections]"
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344:(1987). In 1988 he was given a retrospective exhibition at the
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Grace Glueck (May 23, 1982). "In the Arts: Critics' Choices".
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1400:"Display Ad 105 — The Nation's Leading Art Galleries".
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from which he did not recover. He died on December 30, 2014.
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Christine Temin (January 1, 1987). "MFA IS THRICE BLESSED".
1326:"John Berthot Obituary - Kingston, NY | Daily Freeman"
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Robert McDonald (November 14, 1986). "AT THE GALLERIES".
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673:"Jake Berthot, 75, Abstract Painter Inspired by Nature"
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Berthot's works are owned by the Museum of Modern Art,
1506:"Jake Berthot: From the Collection and Promised Gifts"
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125:, and other major American art museums. He received a
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364:, Dartmouth (2009), an exhibition at the gallery of
356:, Seattle, Washington (1997), "Jake Berthot" at the
267:Berthot's earliest exhibitions were at the Feiner,
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1122:"GALLERY OPENINGS, MUSEUM SHOWS: IN THE MUSEUMS".
997:"Turnings and Returnings: The Art of Jake Berthot"
975:Pepe Karmel (December 30, 1994). "Art in Review".
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529:south of Houston Street in Manhattan. Operated by
1211:. Washington, D.C. February 21, 1975. p. B1.
1086:(Video). Accord, N.Y.: frauleinspiel on Youtube.
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570:""I Choose To Be Free"; Jake Berthot, 1939-2014"
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1082:Jake Berthot (interviewee) (January 22, 2008).
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352:(1992), "Square Painting/Plane Painting at the
1053:"Jake Berthot, Mortality, And Two Masterworks"
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707:Magdalena Dabrowski; John Elderfield (1985).
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389:Berkeley Art Museum and Pacific Film Archive
1417:"Jake Berthot [Exhibition Catalog]"
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944:. Philadelphia, Pennsylvania. p. D.6.
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1274:Six Painters [exhibition catalog]
1508:. Phillips Collection. November 19, 2016
1463:Brian Kennedy & Emily Burke (2009).
1356:. Allentown, Pennsylvania. p. F.01.
995:Gregory Orr; Jake Berthot (Fall 2006).
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1292:. Boston, Massachusetts. p. E.4.
848:David L. Shirey (December 26, 1970).
597:"Paid Notice: Deaths BERTHOT, JAKE".
332:colleges (1984), Mandeville Gallery,
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1389:. Boston, Massachusetts. p. 72.
1035:. Boston, Massachusetts. p. D1.
964:. Boston, Massachusetts. p. B2.
338:Museum of Contemporary Art San Diego
271:, and O.K. Harris galleries and the
1494:. Washington, D.C. October 5, 2010.
1256:. Boston, Massachusetts. p. 1.
635:"Beer with a Painter: Jake Berthot"
633:Jennifer Samet (December 7, 2013).
334:University of California, San Diego
715:. Museum of Modern Art, New York.
671:Roberta Smith (January 17, 2015).
375:, Whitney Museum of American Art,
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1126:. October 12, 1963. p. 133.
601:. January 9, 2015. p. B.09.
568:Elisa Jensen (January 1, 2015).
178:Berthot began his career making
1226:. Washington, D.C. p. C13.
131:National Endowment for the Arts
1573:20th-century American painters
1404:. March 12, 2004. p. E29.
1097:Liza Kirwin (March 13, 2016).
1001:VQR; Virginia Quarterly Review
151:New School for Social Research
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1144:. March 31, 1970. p. 82.
149:and from 1960 to 1961 at the
1051:Ed Breslin (July 31, 2014).
385:Houston Museum of Fine Arts
342:Museum of Fine Arts, Boston
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1444:. Betty Cunningham Gallery
1419:. Betty Cunningham Gallery
410:University of Pennsylvania
373:Metropolitan Museum of Art
354:Center on Contemporary Art
115:Metropolitan Museum of Art
1568:American abstract artists
913:"Jake Berthot; MATRIX 78"
324:(1984), the galleries of
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427:Clearfield, Pennsylvania
420:Personal life and family
231:in the foothills of the
143:Clearfield, Pennsylvania
381:National Gallery of Art
348:, Brandeis University.
294:Baltimore Museum of Art
137:Early life and training
123:National Gallery of Art
1578:American art educators
768:Joann Cerrito (1996).
263:Exhibitions and awards
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1492:Targeted News Service
942:Philadelphia Inquirer
414:School of Visual Arts
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127:Guggenheim Fellowship
911:Constance Lewallen.
771:Contemporary Artists
318:Museum of Modern Art
111:Museum of Modern Art
1173:. February 25, 2015
774:. St. James Press.
746:. February 11, 2006
358:Phillips Collection
322:Berkeley Art Museum
310:Hudson River Museum
306:Brockton Art Museum
61:Niagara Falls, N.Y.
1402:The New York Times
1305:The New York Times
1239:The New York Times
1194:The New York Times
1157:The New York Times
1142:The New York Times
1140:"Jewish Museum ".
1124:The New York Times
1057:Shawangunk Journal
977:The New York Times
857:The New York Times
800:The New York Times
677:The New York Times
599:The New York Times
362:Hood Museum of Art
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233:Catskill Mountains
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37:Jake Berthot, 2006
1476:978-1-58465-786-6
1415:Michael Brennan.
1372:Los Angeles Times
829:. January 3, 2015
781:978-1-55862-183-1
377:Guggenheim Museum
182:paintings in the
119:Guggenheim Museum
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72:December 30, 2014
47:John Alex Berthot
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308:(1980), and the
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1307:. p. C.21.
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979:. p. C.26.
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887:. p. C.17.
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637:. Hyperallergic
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408:(1982-92), the
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346:Rose Art Museum
298:Venice Biennale
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168:
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147:Pratt Institute
139:
133:grant in 1983.
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1241:. p. D29.
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885:New York Times
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802:. p. 183.
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679:. p. A1.4
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425:truck farm in
421:
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396:
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302:Aldrich Museum
264:
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217:New York Times
167:
166:Artistic style
164:
162:
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155:Milton Resnick
138:
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129:in 1981 and a
103:non-figurative
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76:(aged 75)
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63:, Pennsylvania
59:
57:March 30, 1939
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1374:. p. 10.
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1159:. p. 24.
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45:
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34:
29:
22:
19:
1535:. Retrieved
1531:
1522:
1510:. Retrieved
1500:
1491:
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1446:. Retrieved
1433:
1421:. Retrieved
1410:
1401:
1395:
1387:Boston Globe
1386:
1380:
1371:
1354:Morning Call
1353:
1347:
1335:. Retrieved
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1254:Boston Globe
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1193:
1187:
1175:. Retrieved
1165:
1156:
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1141:
1123:
1102:. Retrieved
1092:
1084:Jake Berthot
1083:
1077:
1065:. Retrieved
1060:
1056:
1033:Boston Globe
1032:
1009:. Retrieved
1004:
1000:
976:
970:
962:Boston Globe
961:
941:
920:. Retrieved
916:
884:
861:. Retrieved
859:. p. 14
856:
843:
831:. Retrieved
799:
770:
748:. Retrieved
710:
681:. Retrieved
676:
639:. Retrieved
598:
573:. Retrieved
539:
521:
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402:Cooper Union
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336:(1986), the
314:
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245:
221:
216:
213:
201:
189:
177:
140:
91:Jake Berthot
90:
89:
74:(2014-12-30)
25:Jake Berthot
18:
1563:2014 deaths
1558:1939 births
404:(1974–81),
395:Art teacher
366:SUNY Ulster
81:Nationality
1552:Categories
1512:August 23,
1448:August 20,
1423:August 20,
1337:August 21,
1331:Legacy.com
1177:August 29,
1104:August 29,
1067:August 29,
1011:August 20,
922:August 20,
863:August 19,
833:August 22,
750:August 21,
722:0870702874
683:August 18,
641:August 20,
575:August 20,
551:References
387:, and the
340:, and the
326:Muhlenberg
269:Park Place
227:along the
184:minimalist
95:minimalist
53:1939-03-30
1537:August 3,
531:Ivan Karp
330:Lafayette
282:Ivan Karp
439:leukemia
312:(1983).
304:(1978),
300:(1976),
296:(1975),
292:(1975),
180:abstract
277:Whitney
1473:
778:
719:
273:Jewish
161:Career
1442:(PDF)
853:(PDF)
453:Notes
1539:2017
1514:2017
1471:ISBN
1450:2017
1425:2017
1339:2017
1179:2017
1106:2017
1069:2017
1063:(31)
1013:2017
924:2017
865:2017
835:2017
776:ISBN
752:2017
717:ISBN
685:2017
643:2017
577:2017
527:SoHo
328:and
275:and
97:and
69:Died
43:Born
1007:(3)
1554::
1530:.
1362:^
1328:.
1313:^
1262:^
1132:^
1114:^
1059:.
1055:.
1041:^
1021:^
1005:93
1003:.
999:.
985:^
950:^
932:^
915:.
893:^
873:^
855:.
808:^
790:^
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731:^
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651:^
607:^
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558:^
383:,
379:,
121:,
117:,
113:,
1541:.
1516:.
1479:.
1452:.
1427:.
1341:.
1196:.
1181:.
1108:.
1071:.
1061:7
1015:.
926:.
867:.
837:.
784:.
754:.
725:.
687:.
645:.
579:.
55:)
51:(
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