323:, who, in 1936 became the first chairman of American Abstract Artists, provided one such influence in the direction of abstractionism. As Opper put it, "he was one of the first to argue that there is probably something in art besides the image that you show." Another motivation for his transition to abstractionism came from his feeling for color. During the time that his work was still representational, the reviews he received in New York newspapers noted his facility in handling color. He later explained that some of his motivation for abandoning representation came partly from his feeling for color. In 1968 he said, "the more I became aware of color and design the more I came in conflict with the object that I was painting. So it soon became a problem either I let the color go — and keep the composition as it should be, naturalistically or representationally — or I should take freedom with color and design."
386:, Opper commented on the effort that underlay this rigor and control. He said ""I think after all any mature painter — and I hope I am one — doesn’t show the agonies that he goes through any more than you do in your writing. But, you know, it doesn’t come easy. But it has to look as though it came easy." This is not to say that Opper made careful plans before beginning a painting. He did not start even with an idea, but rather made a beginning and responded to his instincts about the painting as it progressed. In 1990 he said: "I start and as it changes, I change. As it demands, I try to fulfill it. If you're very sensitive to what you're doing, if one area doesn't work, it's because some other area doesn't work. The whole is the sum of its parts. That's what my school of abstract art is about, a school that evolved from nature, not conceptual, not geometric, not hard-edged. It's only art."
225:, took one of his paintings for a show called "Abstract and Surrealist American Art." Presenting a cross-section of modernist American painting and sculpture, the exhibition uncovered an abstractionist movement that was then beginning to gain momentum, particularly in New York. In 1953 Opper participated in a group show held at a New York commercial gallery and in 1955 he was the last of a series of abstract expressionist artists to be given solo exhibitions at the Egan Gallery. In reviewing the show, a critic said Opper's painting "exemplified with gusto the leading contemporary abstract trends in its brushfuls of richly stirred color applied in shaggy strokes and sharp accents."
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earlier abstractions had conveyed a sense of space, his paintings from the early 1950s onward used areas of color to effect a two-dimensional means of creating dramatic intensity on the picture plane. Of this approach to his work Opper said: "I was trying to paint a painting where you would not be aware of the painterliness, you would not be aware of the unusual – anything about that painting except the painting. And this is I think the absence of anything that had a flair or that showed a certain kind of competency of technique." One critic referred to Opper's use of "peninsular shapes that reach out into abstract seas of luminous color."
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the 1940s, a move to
Wyoming for another teaching position, led him to work, he later said, in "a kind of abstract style from nature." He went on to explain, "You could only recognize it as from nature in the sense that there was a form that was maybe a mountain, a big shape." During a subsequent move to another teaching position, this time in Alabama, he later said he was working in highly simplified forms that he saw as "close to Matisse in quality."
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correcting society's ills. He later said, "I was torn between the needs of the society and the needs of the war on one hand, and on the other hand what I felt were aesthetic needs of painting. So finally the only solution that I was able to make for myself was to begin to separate the two. I was quite active socially, as much as I could be. And as far as my paintings were concerned I began to abstract from nature and work very abstractly."
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more moderate than the union both in its objectives and its actions. Membership was limited to "artists of standing" as determined by the executive committee. It held group exhibitions in New York and other major cities. Unwillingly tangled in international politics, particularly with respect to the Soviet invasion of
Finland in 1939, the group lost its impetus and gradually declined.
289:. Following Marin, he began to make works on paper, particularly seascapes and landscapes. His response to Matisse was more complicated. In a 1990 interview he said, "Here were these marvelous paintings, so simple a child could do them. What an amazing thing that is! Simplicity is the hardest thing in the world to do. All you leave is the guts. You take everything else out."
160:, who was teaching at the Thurn School of Art. Hofmann influenced his approach to art, although not as an instructor. In 1934 Opper moved to Manhattan and a year later began to work in the studio that Hofmann had set up as the School of Fine Arts on East 57th Street. There he met modernist painters who sought Hofmann's guidance and began to develop his own modernist style.
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least interesting decorative components. As they move toward a mural-size scale, they acquire another kind of interest. Their blunt, elementary color forms take on an almost sculptural presence, and the passage from one panel to another—in the large "Quartet," especially—suggests that there is something more at work here than as easy taste for beautiful effects.
232:, leading one critic to note "abstract seas of luminous color" in his paintings and another to lament the inadequacy of language to convey the paintings' visual impact. In 1966 Opper began an association with the Grace Borgenicht Gallery which lasted into the 1990s. Many of his appearances in that gallery were solo exhibitions that were reviewed by critics of the
107:(1908–1994) was an American painter who transitioned from semi-abstract paintings in the late 1930s to fully abstract ones in the 1950s. He became known for his handling of color and in particular his ability to create dramatic intensity on the picture plane by means of juxtaposed, more-or-less rectangular areas of color. He was associated with the
421:. In the summer of 1952 he returned to North Carolina as an artist-in-residence at the Burnsville School of Fine Arts, a college campus of the Woman's College UNC, located in the mountains. That fall he moved back to Woman's College UNC in Greensboro as an associate professor. From 1957 until he retired in 1974, he was a professor of art at
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Waldman (1906-1997), Carrie Opper Cohen (1910-1967), and Sylvia Opper Brandt (1916-1999). In 1934 Opper married
Estelle Rita Hausman in Manhattan. They remained married until their deaths 60 years later. She had been born in Cleveland, Ohio, in 1910, and like him, died in 1994. They had one daughter, Jane Opper, and one son, Joseph Opper.
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itself. The interest of such painting, beyond its immediate optical pleasure, lies in the subtle ways in which each are of color affects the whole design. Without making any large demands on the mind of the viewer, the show nonetheless brings us the kind of work that only an experienced painter could bring off with such assurance.
599:. It arose as a Depression-era effort by city artists to obtain government funded work the great number of them who were unemployed. The Federal Art Project itself and its unusually generous wages and working conditions resulted largely from this effort. The union was radical in its social views and combative in its methods.
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A sizable group of acrylic studies on paper is closest to his best known work, characterized primarily by vertical units that can best be described as hovering somewhere between broad, mottled paint strokes and specific shapes. The studies gain their sense of dynamics from the nudging and jostling of
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In an exhibition of abstract paintings in which large, irregular blocks of vivid color "float" in a space confined by an internal boundary, it is the larger works that make the most emphatic impression. Reduced to the dimensions of the ordinary easel painting, these pictures tend to shrink into their
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Mr. Opper paints irregular, more or less rectangular, slabs of color shouldering one another at uneven angles. It sounds monotonous enough and, like other personal formulas in color-field painting, desperately limited. Yet, within these boundaries Mr. Opper discovers a range of variety and balance in
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The delicate adjustments of color in John Opper's hyper-refined non-objective paintings at the Stable
Gallery are so exclusively addressed to the eye that any verbal attempt to describe them can only, by comparison, be gross and inexact. If this artist has been influenced by anything exterior to the
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In his first New York one-man show at the
Artists' Gallery, John Opper establishes himself as a water colorist of sparkling brilliance and unfailing vivacity. At this stage of the game Mr. Opper is most concerned with bring out flashing harmonies with a freely moving brush. If forms and colors fairly
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When Opper took a teaching job in North
Carolina following the war, he was able to spend more time painting and his style shifted from semi-abstract to fully abstract. In the 1960s, looking back on this period, he said, his painting had "more abstract expressionism in it than anything." At the end of
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As his work became more abstract, he changed his palette. Where before he had used colors that appear in nature, he began to juxtapose bright, intense colors against one another. In the early 1970s a critic noted that the focus of Opper's paintings was "the optical pleasure of pure color." Where his
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As he began to work in an abstractionist style Opper began to see a division between artists who took a more rational, carefully planned approach to their work and ones whose work was more intuitive. As he saw it, on the one side were the geometric abstractionists who tended to show the influence of
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In putting together the show, Kuh and co-curator
Frederick S. Sweet spent months crisscrossing the country to select works that fairly represented the maturity toward which the abstractionist movement was then striving. On one of her trips she traveled to Laramie, Wyoming, where Opper was teaching,
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Opper's birth name was John Samuel Opper. He was born on
October 29, 1908, in Chicago, Illinois, to Joseph (or Joe) Opper (1885-1947) and his wife Mary Milstein Opper (1887-1968). Both parents were born in Kiev, Ukraine. Opper had one brother, Leon Jay Opper (1918-1992) and three sisters, Ann Opper
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During the 1930s and 1940s Opper painted mainly on paper in water-colors and gouache. He also used oil on canvas and made some lithographic prints. During the 1950s oils predominate and thereafter acrylics on canvas or paper. His works are mostly easel-size or, if larger, small enough to be painted
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Mr. Opper, on the other hand, is an expressionist whose works are completely predicated on visual control. He carefully structures and balances to achieve a rigorous composition, and he has distilled his visual vocabulary to the simplest common denominator, with forms carefully locked into a tight
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Some painters get better as they get older, and John Opper is one of them. The formal ideas employed in his new color abstractions are anything but complicated. A half-dozen irregular vertical forms, say, are placed against a pinkish-ocher "field." What could be simpler? But each of these vertical
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The rough slats and blocks of color that fill Mr. Opper's big canvases often enough add up to a strikingly decorative painting, as in "November, 1966," done in a beautiful range of reds and tan. He has also produced a group of small collages, made of painted strips of paper on painted grounds. But
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The
American Artists' Congress was a nation-wide organization to help artists cope with the effects of the Great Depression and to show common cause with other organizations in opposition to fascism and threat of war. Like the Artists Union it was an offshoot of the John Reed Clubs. However it was
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His early training gave him excellent technical facility. An able draftsman, he could create realistic depictions of natural subjects, particularly still lifes. However, he did not enjoy the work and, after seeing semi-abstract and abstract works by
European artists and after meeting with American
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The focus of these abstract paintings is on the optical pleasure of pure color. The forms are rather simple—large, irregular rectangles with soft feathery edges, or segments of rectangles—and the space they occupy is a shallow, luminous space that allow each area of color to speak for
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He was of two minds about these extended periods of time he spent away from the emerging abstract expressionist art scene in Manhattan. He missed the productive ambiance that he experienced when he mixed socially with other experimental artists, but on the other hand he was uncomfortable with the
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As a color outfielder, Mr. Opper is related to the more lenient branch of the family in which fluid improvisations and interplay of textures as well as of color are not yet rejected as old-fashioned concessions to the art of painting. He works with wide, vertical, irregular bands of pigment held
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John Opper at the Stable Gallery ... shows simple schematic oils that in their deep-dyed colors have a certain melancholy depth. Mr. Opper usually uses peninsular shapes that reach out into abstract seas of luminous color. He keeps the edges ambiguous, so that the boundaries between what appears
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At the end of the 1930s Opper was making a transition from representational to semi-abstract paintings. His transition from semi- to pure abstraction was slowed during three years that he spent making technical drawings for a marine architectural firm during the Second World War. Nonetheless, he
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He took on war-related work between 1942 and 1945 and produced less art than he had in the 1930s. Nonetheless, he contributed to group exhibitions during this time and in 1942 was given another well-received solo exhibition at the Artists Gallery. Although he spent most of the post-war period in
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movement and frequently showed in galleries that specialized in abstract expressionist art. Late in life, he described his style by what it was not. He said, "The whole is the sum of its parts. That's what my school of abstract art is about, a school that evolved from nature, not conceptual, not
204:, who commended Opper's "sparkling brilliance and unfailing vivacity." Before leaving the Artists' Congress he helped organize its fourth annual exhibition in 1940. Entitled "Art in a Democracy," the show featured artists across the country who worked in the Federal Art Project. Writing in the
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wrote that he was overwhelmed by its overall high quality, saying "there are too many noteworthy contributions to permit of enumeration and evaluation." The Congress was then torn by dissension and on its last legs. Opper had come to the conclusion that he could not create art as a means of
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John Opper's show of paintings at the Egan Gallery ... is his first in fifteen years. It could have little relationship with the past for it exemplifies with gusto the leading contemporary abstract trends in its brushfuls of richly stirred color applied in shaggy strokes and sharp
382:, called attention to the rigor and visual control evident in Opper's work and said "he distilled his visual vocabulary to the simplest common denominator, with forms carefully locked into a tight relationship with one another." Ten years earlier, in an oral history session with
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jostle one another in their excitement, rather than settle into deep-knit structure, that is all to the good, for Mr. Opper is a young artist. And in some works, notably "Old Garage" and "Road to Staten Island," there is evidence that he is going more deeply into the matter.
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John Opper in his water-colors at the Artists' Gallery makes a heart-warming report of progress. Here and there is homage to Marin, but Opper is definitely finding himself. He is not afraid of color or of dashing composition, and most of these papers are decidedly
176:, called this effort a "revolt against literary subject-paintings" and said that the great majority of paintings in a current exhibition were simply "objects." The same year, after a brief attempt to support himself as an art instructor, Opper joined the
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398:, a Cleveland settlement house school. Having moved to Manhattan he obtained a similar job at a school for delinquents. At the close of World War II he spent a year teaching at the University of North Carolina Woman's College in Greensboro (now the
2058:"John Opper, 04 Oct 1994”. “ New York City Certificate of Death: Certificate No. 156-94-052757; Document No. C275528. Date Issue 05 Oct., 1994. Filed in Vital Records, Department of Health, Borough of Manhattan New York City, New York.”
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If color by itself, and not as an ornament or a coating for form, is sought, that quest should be satisfied at the exhibition of John Opper's paintings at the Stable Gallery, .. They swim in chromatic seas most beguiling to the
1012:"Abstract Artists Open Show Today: They Arrange 'Demonstration of Revolt Against Literary Subject--Paintings' All Exhibitors American; Gertrude Greene, Charles Shaw and George Morris Among 39 Represented; Announced as a Revolt"
1918:"Illinois, Cook County, Birth Certificates, 1871-1940," database, FamilySearch; Chicago, Cook, Illinois, United States, reference/certificate 99395, Cook County Clerk, Cook County Courthouse, Chicago; FHL microfilm
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in Manhattan as an easel artist and remained for three years. He later said that the project was a lifesaver for impoverished artists, particularly abstract artists such as himself. At the same time, he joined the
1894:"United States Social Security Death Index," database, FamilySearch; citing U.S. Social Security Administration, Death Master File, database (Alexandria, Virginia: National Technical Information Service, ongoing)
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The Stable Gallery opened in a former stable in Manhattan in 1953. It became known for a series of controversial exhibitions, called "Stable Annuals," in which the work of contemporary American artists such as
2016:"New York, New York City Marriage Records, 1829-1940," database, FamilySearch; citing Marriage, Manhattan, New York, New York, United States, New York City Municipal Archives, New York; FHL microfilm 1,684,966
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neighboring color units that push at indefinite boundaries. More action comes from the interplay of tones and the resulting perceptual vibrations, and still more from occasional suggestions of shifting planes.
193:. He grew disenchanted with this organization, in turn, and left it after submitting work to two of its group exhibitions. By his account, during these two years his work was both semi-abstract and anti-war.
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within the area of the canvas as self-contained compositions, occasionally brought into balance by the introduction of a perfectly weighted spot of color unexpectedly, but most inconspicuously, placed.
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The first large and comprehensive demonstration of the contemporary American revolt against literary subject-paintings that have come to dominate the official and governmental art-revivals.
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Here I am 81 years old, and I'm just as excited about painting as I was when I was 17. I'm painting differently than I was then, and I think I'm painting better, and that's what's exciting.
128:, Ohio. He became interested in drawing at a young age. While in high school he took art classes and enrolled in a correspondence art course. In his senior year he attended classes at the
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From the beginning of the 1960s until the beginning of the 1990s, Opper showed frequently in solo exhibitions and in group shows. In 1961 and 1962 he was given solo exhibitions at the
455:, Long Island, and the colder months in Greenwich Village. Beginning in 1989 he spent most of the year in Sarasota, Florida, while continuing to spend summers on Long Island.
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Opper was given his first solo exhibition at the Artists Gallery in 1937. The water colors and temperas he showed drew favorable comment from Howard Devree, critic for the
172:, a group formed by New York artists to promote and exhibit a style of art that was then derided by critics and shunned by collectors. In 1937 the influential critic,
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concrete and what appears fluid are never fixed. In the most sensitive of his abstractions, Mr. Opper uses thin veils of color giving his paintings an interior glow.
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competition for recognition in that environment. He later reported that he "wasn't a natural self-promoter. And I thought I'd be sore as hell to be on that scene."
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Dr. John Opper, formerly of the Woman's College of the University of North Carolina, has been appointed Associate Professor of Art Education at New York University.
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to teach for a session. Returning again the next summer, Hofmann taught in the session which Opper attended. Later that year he set up his own school in Manhattan.
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artists who were experimenting along these lines, he expanded his range and began to make semi-abstractions. In a 1968 oral history interview he said paintings by
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elements is painted with a startling richness of effect, and the play of each against the others is handled with the elegance and panache of a master juggler.
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Stuart Preston (1962-03-11). "Art: Variety Is the Spice of 10 Shows: Thomas Sears Young Exhibits Sculpture Painter's Transition Figures by Tony Vevers".
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teaching positions outside New York, he was able both to continue painting and to show the works he made. In 1947, the curator of modern painting at the
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Susan F. Rossen; Charlotte Moser (1990). "Primer for Seeing: The Gallery of Art Interpretation and Katharine Kuh's Crusade for Modernism in Chicago".
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The Borgenicht Gallery opened in Manhattan in 1951 aiming to exhibit works by contemporary artists. At first it represented American painters such as
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Founded by Hugh S. Stix in 1936 and run by Frederica Beer, the Artists Gallery was supported by donations and charged no fees on artists' sales.
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Barbara Delatiner (1989-09-17). "An Abstract Pioneer Gains Recognition: John Opper's large canvases have 'an interplay of controlled colors.'".
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Dore Ashton (1960-02-11). "Art: Saucy Impastoes: Paintings of Yektai at the Poindexter — Sarai Sherman, Opper Have Shows".
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Howard Devree (1937-10-10). "A Reviewer's Notebook: Brief Comment on Some of the Recently Opened Exhibitions in the Galleries".
693:. Its owner, Eleanor Ward, closed the gallery in 1970 out of dissatisfaction with the commercialism of the Manhattan art scene.
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relationship with one another. The paintings are suffused with a calm, contemplative aspect that appeals strongly to the mind.
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John Canaday (1968-10-12). "Art: A Very Good Month: 'Ritual Vessels of Bronze Age China' Joins List of Fine Shows in Town".
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Stuart Preston (1961-03-19). "Visual Grasps: The Art of Sweden's Evert Lundquist -- Battle of Styles on the Home Front".
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200:, who said his realist and semi-abstract landscapes were vigorous, germane, and expressive and from Jerome Klein of the
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At age 24, when his studies at Western Reserve were coming to an end, Opper got a job as a part-time art instructor at
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and who made neat and clean, clearly defined art, and on the other side were those who tended to show the influence of
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his first solo exhibition in 1948 and, over the years, showed many of the abstract expressionist artists of the time.
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Among the artists he met in the Artists Union there were several who shared Opper's doubts concerning social realism.
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Debut — Water-colors and temperas by John Opper comprise the first show of the season at the Artists' Gallery.
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In about 1930 modernist artist, Ernest Thurn, established a summer art school in Gloucester. In 1933 Thurn invited
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from a stationary position. As one critic said, "Like de Kooning, Opper preferred to work within his arm's reach."
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417:, while he studied for a doctor of education degree at the university. Concurrently, he taught evening classes at
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Howard Devree (1953-06-07). "Diverse Moderns: Stress on Expressionist and Abstract Approaches in the New Shows".
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Howard Devree (1953-06-07). "Diverse Moderns: Stress on Expressionist and Abstract Approaches in the New Shows".
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In a casual meeting, Hofmann said he had a good sense of color and should try to paint in a less academic style.
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Hilton Kramer (1979-11-02). "Greece and France Join Met in Show Of Aegean Art: Aegean Art In Show At the Met".
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continued to exhibit during these years and was becoming known for his oils in addition to the water colors.
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critic called "outstanding." In 1989, 1990, and 1997 his work appeared in retrospective exhibitions at the
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943:. Washington, D.C., National Museum of American Art and Smithsonian Institution Press. pp. 139–142.
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John Opper, Untitled, acrylic on Arches France paper, 1976, 30 3/8 Ă— 22 3/8 inches. Estate of John Opper
236:(1966, Grace Glueck; 1968 and 1971, John Canaday; and 1973, 1974 and 1979 Hilton Kramer). In 1978 the
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Between 1941 and 1945 Opper worked for a marine architectural company making pipe system drawings of
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John Opper: Paintings from the 1960s and 1970s by Lisa N. Peters, February 8-March 10, 2018.
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Charles Egan operated his gallery for a decade following the close of World War II. He gave
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Susan C. Larsen (1974). "The American Abstract Artists: A Documentary History 1936-1941".
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726:. Its owner was artist, Grace Borgenicht Brandt (1915-2001). The gallery closed in 1995.
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the play of one color against others that make his show a stimulating visual experience.
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Roberta Smith (2001-07-21). "Grace Borgenicht Brandt, 86, New York Art Dealer, Dies".
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Grace Glueck (1984-01-07). "Eleanor Ward Is Dead At 72; Dealer for New U.S. Artists".
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Gerald M. Monroe (1975). "The American Artists Congress and the Invasion of Finland".
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Edward Alden Jewell (1943-01-31). "Ave, Vale: Whitney Memorial — Other Shows".
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Bruce Lambert (1993-03-18). "Charles Egan, 81; Art Gallery Owner Helped de Kooning".
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John Opper, Untitled, mixed media on paper mounted on board, 1950, 25 1/2 x 20 inches
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mind's eye that might be the appearance of the sun's spectrum during total eclipse.
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Weatherspoon Art Museum, University of North Carolina, Greensboro, North Carolina
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John Opper, Untitled, oil on canvas, 1935, 24 x 18 inches. Smithsonian Art Museum
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Opper died in New York City on October 4, 1994, and is buried in East Hampton's
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The other painters he met at Hofmann's school included including Byron Browne,
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Jerome Klein (1937-11-09). "The Critic Takes a Glance Around the Galleries".
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Grace Glueck (1966-12-10). "Art: 32 Robert Jacobsen Sculptures Shown Here".
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During the time he worked in the Federal Art Project, he tried his hand at
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Pauline Johnson (December 1957). "Regional, State and Professional News".
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The Patricia and Phillip Frost Collection: American Abstraction, 1930-1945
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Edward Alden Jewell (1940-04-06). "Artists Congress Holds Exhibition".
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paired Opper's paintings with those of another abstract expressionist,
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1466:"Finding Aid to the Grace Borgenicht Gallery Records, circa 1953-1996"
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Hilton Kramer (1973-01-13). "Art: Walkowitz Work Shows New Aspects".
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in order to examine and select a painting of his for the exhibition.
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and who made art in a freer, looser style, showing greater warmth.
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John Canaday (1971-04-10). "Art: Vivin Evokes the Paris That Was".
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Phyllis Braff (1997-06-15). "Intuitive and Sensuous Photography".
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Hilton Kramer (1974-01-26). "Art: The Klee Gift for Complexity".
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Gerald M. Monroe (Autumn 1972). "The Artists Union of New York".
857:"Oral history interview with John Opper, 1968 Sept. 9-1969 Jan 3"
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Mary Ann Marger (1990-05-07). "Thinking in the Abstract Series".
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Oral history interview with John Opper, 1968 Sept. 9-1969 Jan 3
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Blanton Museum of Art, The University of Texas at Austin, Texas
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John Opper, YRG 20, acrylic on canvas, c. 1970, 28 x 28 inches
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John Opper, Untitled, acrylic on canvas, 1981, 44 x 44 inches
1689:"The Visual Music of a New York School Painter's Late Works"
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and subsequently returned to Cleveland where he enrolled at
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The Visual Music of a New York School Painter's Late Works
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David L. Shirley (1978-12-17). "Art: An Appealing Style".
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impressed him, but he found greatest influence in work by
1890:"John Samuel Opper and Estelle Rita Hausman, 02 May 1934"
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Grey Art Gallery, New York University, New York, New York
1855:"Lee Hall, Artist and de Kooning Biographer, Dies at 82"
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Judson, Alice (June 1930). "The Gloucester Art Colony".
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Stuart Preston (1955-09-25). "Variety in Early Shows".
932:
930:
451:
After retiring from NYU in 1974 Opper spent summers in
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2086:
https://www.berrycampbell.com/artist/John_Opper/info/
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was the public face of its radicalism and pugnacity.
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487:The Metropolitan Museum of Art, New York, New York
132:. Graduating about 1926 he briefly studied at the
1473:Archives of American Art, Smithsonian Institution
861:Archives of American Art, Smithsonian Institution
1261:A. Z. Kruse (1940-04-14). "Art in a Democracy".
2081:, by Peter Malone, March 9, 2016, Hyperallergic
1968:. New York, New York. 1994-10-07. p. D17.
1514:often their scale works to their disadvantage.
1196:. New York, New York. 1940-04-28. p. 126.
507:Smithsonian American Art Museum, Washington DC
1740:. New York, New York. 1937-04-10. p. 18.
1036:. New York, New York. 1947-10-19. p. X9.
8:
1235:. New York, New York. 1940-04-18. p. 7.
477:The Cleveland Museum of Art, Cleveland, Ohio
185:and became business manager of its journal,
112:geometric, not hard-edged. It's only art."
735:See for example, Edward Alden Jewel in the
428:Notable students of Opper included painter
1231:"WPA Artists in Exhibit of Art Congress".
884:"Biographical Chronology, 1930–1939"
492:Milwaukee Art Museum, Milwaukee, Wisconsin
402:). Between 1945 and 1947 he taught at the
400:University of North Carolina at Greensboro
168:In 1936 Opper became a founding member of
29:
18:
378:In 1978 David L. Shirley, writing in the
1980:"1990 Distinguished Alumnus: John Opper"
497:Museum of Modern Art, New York, New York
1305:Art Institute of Chicago Museum Studies
785:. St. Petersburg, Florida. p. 1D.
762:
528:
502:Parrish Art Museum, Watermill, New York
415:Teachers College, Columbia University
296:, taking a lead from artists such as
264:Artistic style and critical reception
7:
1964:"John Opper, 85, Abstract Painter".
1631:. New York, New York. p. NJ32.
1987:Cleveland Institute of Art Magazine
1657:. New York, New York. p. LI19.
1416:. New York, New York. p. X19.
1360:. New York, New York. p. X10.
1178:. New York, New York. p. 182.
406:; and between 1947 and 1949 at the
1672:. New York, New York. p. 12.
1609:. New York, New York. p. C1.
1590:. New York, New York. p. 27.
1571:. New York, New York. p. 27.
1552:. New York, New York. p. 19.
1530:. New York, New York. p. 31.
1511:. New York, New York. p. 33.
1496:. New York, New York. p. A13.
1435:. New York, New York. p. 22.
1397:. New York, New York. p. 32.
1379:. New York, New York. p. B10.
1285:. New York, New York. p. X8.
1216:. New York, New York. p. 11.
1018:. New York, New York. p. 21.
1010:Edward Alden Jewell (1937-04-06).
136:and there encountered the artists
14:
1755:. New York, New York. p. X7.
1454:. New York, New York. p. 10.
1342:. New York, New York. p. X8.
1250:. New York, New York. p. 19.
747:, and an anonymous critic in the
1791:"Burnsville School of Fine Arts"
1736:"Attractions in the Galleries".
1265:. Brooklyn, New York. p. 6.
1126:Archives of American Art Journal
966:Archives of American Art Journal
937:Virginia M. Mecklenburg (1989).
2136:Burials at Green River Cemetery
1767:"Cedar Knolls School for Girls"
1717:Smithsonian American Art Museum
413:From 1949 to 1952 he taught at
2126:Abstract expressionist artists
2116:20th-century American painters
1853:Grimes, William (2017-05-17).
1094:"American Artists' Congress".
1:
557:"year later,""1934," "School
1795:Encyclopedia of UNCG History
2131:Federal Art Project artists
1914:"John S Opper, 29 Oct 1908"
1687:Peter Malone (2016-03-09).
2152:
2111:American abstract painters
250:Cleveland Institute of Art
191:American Artists' Congress
150:Western Reserve University
124:, Illinois, and raised in
2012:"John Opper, 04 Oct 1994"
1046:"objects," "influential"
466:Public museum collections
170:American Abstract Artists
154:Gloucester, Massachusetts
28:
1138:10.1086/aaa.15.1.1557148
1102:(3): 192–194. Mar 1936.
1096:American Magazine of Art
978:10.1086/aaa.14.1.1556919
909:American Magazine of Art
436:Personal life and family
219:Art Institute of Chicago
140:, as an instructor, and
1032:"Edward Alden Jewell".
743:, Howard Devree in the
134:Cleveland School of Art
130:Cleveland Museum of Art
116:Early life and training
78:New York City, New York
1771:Jewish Women's Archive
739:, Jerome Klein in the
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109:abstract expressionist
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1993:(6): 7. November 1990
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568:Rosalind Bengelsdorf
460:Green River Cemetery
298:José Clemente Orozco
252:and in galleries in
238:Montclair Art Museum
89:Green River Cemetery
1192:"Artists Gallery".
691:Robert Rauschenberg
631:"Devree," "Klein"
423:New York University
244:, in a show that a
178:Federal Art Project
174:Edward Alden Jewell
1859:The New York Times
390:Career in teaching
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679:Willem de Kooning
661:Willem de Kooning
640:"Times," "Eagle"
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1938:"Joe Opper"
1288:convincing.
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2095:Categories
2045:2019-05-08
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2021:2019-04-27
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972:(1): 2–7.
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758:References
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287:John Marin
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