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contributed to his aesthetic development and also provided fodder for his broad, deep intellectual interest in the world’s belief systems. Beginning in 1962, he created several long series of paintings; many of these contained sub-series. The Sun-Box series, begun in 1962, explored hard-edged geometries on flat grounds. After 1971, all of his paintings were part of the
Infinity Field series. These abstractions are characterized by broad areas of color delineated by slim lines or shapes; the effect is subtle and meditative. Among the Infinity Fields are the Lefkada sub-series, inspired by the Greek island where Stamos spent much of his time from 1970 until his death.
396:. Over twelve years of litigation and appeals, it was revealed that many of Rothko's paintings, which had been sold or consigned by his estate to the Marlborough Gallery in Manhattan, were sold at intentionally deflated prices to favored clients while the gallery collected inflated commissions as high as 50 percent, compared with the 30 percent usually charged for an artist of his caliber; the executors, meanwhile, divided the estate's proceeds from Marlborough as their fees. Stamos willingly joined the conspiracy, and was enticed to switch his representation from the
203:, among others. During this period, the late 1930s and early 1940s, Stamos held a variety of odd jobs: printer, florist, hat-blocker, and book salesman. Through one job, at Herbert Benevy's Gramercy Art frame shop on East 18th Street, he met members of the European avant-garde, including Arshile Gorky and Fernand Léger.
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Stamos never recovered as an artist. Galleries on the level of
Emmerich or the pre-scandal Marlborough would not represent his work. The lack of support from top galleries gave collectors a lesser sense of security regarding the value of his work and, possibly with general assessments of his work
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Around 1950, Stamos began exploring a new approach to abstraction. Inspired by East Asian aesthetics, he created his Tea House series of paintings, characterized by softly defined geometric forms painted with a limited palette and often overlaid by dark calligraphic brushwork. Later in the 1950s,
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The artist’s paintings from the 1940s combine muted earth-toned colors with biomorphic imagery, suggesting geologic shapes or inchoate organic forms. This dovetails with Stamos’ interest in natural history; as artist
Barnett Newman observed in the introduction to Stamos’ 1947 exhibition with Betty
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Stamos traveled widely during much of his adult life. In 1947, he traveled by train to New Mexico and the
Pacific Northwest. In 1948 and 49, he visited Europe, including parts of Greece, and possibly Egypt. For the next four decades, Stamos traveled widely and frequently. These trips both
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gave him a solo exhibition at her
Wakefield Gallery and Bookshop. Parsons became an important ally and connection to the contemporary New York art world; Stamos would show regularly with her until 1957. By the mid-1940s, his career was becoming well established—he exhibited at the
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Gallery, “His ideographs capture the moment of totemic affinity with the rock and the mushroom, the crayfish and the seaweed. He re-defines the pastoral experience as one of participation with the inner life of the natural phenomenon.”
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Gallery by a more generous contract with the
Marlborough. The defendants were found guilty and fined over $ 9 million; Stamos paid his share of the fine by signing over his house to the Rothko estate, but he was granted
405:. While the case did much to enhance Rothko's reputation, it did serious damage to the reputation of both the gallery and Stamos. Another perspective on the case was published in the New York Law Journal in 1988.
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in the 1940s and 50s. He was born on
Manhattan's Lower East Side to Greek immigrant parents; his mother was from Sparta, and his father was raised in Lefkada. As a teenager, he won a scholarship to the
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Newman, Barnett (1947). ' 'Theodoros Stamos' '. New York: Betty
Parsons Gallery. Quoted in Kafetsi, Anna (1997). “Theodoros Stamos: An Unorthodox ‘Irascible’ Reception Plan,” in Kafetsi, ed (1997), p.
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Stamos worked with compositions that became increasingly reductive and simplified. He explored the use of layers of thin pigment, carefully worked, to create depth in his broad expanses of color.
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A little over a year after his suicide in 1970, Rothko's daughter sued the estate's executors, as well as the
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in 1948. Also during this period, Stamos’ work began attracting the attention of collectors. The Museum of Modern art purchased Stamos’
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of the 1940s and who posed for a famous picture in 1950; members of the group considered as the 'first generation' of
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as an artist, caused his work to be perceived as low, second-tier or third-rank Abstract Expressionism by 1998.
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in 1946. And Edward Wales Root, who became both a supporter of Stamos’ career and a benefactor of the
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A Betrayal The Art World Can't Forget; The Battle for Rothko's Estate Altered Lives and Reputations
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Wise, Daniel (1983). "Lawyer Helps Artist Regain Status After IRS Nightmare."
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195:'s influential An American Place Gallery, where he encountered the work of
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and the Cummington School of Fine Arts. Stamos was also a member of the
162:. His later years were negatively affected by his involvement with the
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138:: Θεόδωρος Στάμος) (December 31, 1922 – February 2, 1997) was a
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painter. He is one of the youngest painters of the original group of
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American Abstract Expressionism of the 1950s An Illustrated Survey,
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New York School Abstract Expressionists Artists Choice by Artists,
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Governor Nelson A. Rockefeller Empire State Plaza Art Collection
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Partheni, Orsalia (1997). “Chronology” in Anna Kafetsi, ed.,
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from 1950 until 1954 and from 1955 to 1975 he taught at the
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of his estate, however this led to his involvement in the
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In 1943, when Stamos was 21 years old, prominent dealer
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739:Theodoros Stamos: Contemplations on the Universal
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790:Hollis Taggart Galleries | Images and Biography
785:MoMA exhibition, 2010-2011, Wall Street Journal
425:since 1962. Its acquisition was funded by the
246:a group of abstract painters who protested the
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494:Theodoros Stamos, 1922–1997: A Retrospective
242:During the late 1940s he became a member of
174:Stamos was one of the original and youngest
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724:Theodoros Stamos: A Communion with Nature
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830:Art Students League of New York faculty
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741:. New York: Hollis Taggart Galleries.
726:. New York: Hollis Taggart Galleries.
711:. New York: Hollis Taggart Galleries.
381:Mark Rothko chose his friend to be an
322:in an article featured in an issue of
709:Theodoros Stamos: Infinity and Beyond
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634:"Empire State Plaza Art Collection"
215:annually from 1945 to 1951, at the
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233:Munson-Williams-Proctor Institute
16:Greek-American artist (1922–1997)
855:American people of Greek descent
314:. These artists are part of the
689:(New York School Press, 2000.)
672:(New York School Press, 2003.)
452:Art Students League of New York
349:Art Students League of New York
825:Abstract expressionist artists
820:American contemporary painters
805:20th-century American painters
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770:Kouros Gallery images and Bio
318:and they were referred to as
722:Mattison, Robert S. (2010).
656:(New York, Abrams, (n.d.).)
653:Stamos text by Ralph Pomeroy
508:Partheni (1997), pp. 475-76.
481:Theodoros Stamos (1922-1997)
860:Painters from New York City
531:retrieved October 25th 2008
332:photograph was published.
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850:Greek contemporary artists
548:Sawyer, Kenneth B (1960).
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357:National Gallery of Greece
248:Metropolitan Museum of Art
780:Stamos on Artnet magazine
737:Groves, Jeffrey. (2017).
146:painters (the so-called "
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423:Art Institute of Chicago
221:Art Institute of Chicago
765:Phillips Collection bio
707:Olds, Kirsten. (2008).
429:Fund for Acquisitions.
256:abstract expressionists
244:The Irascible Eighteen,
185:American Artists School
104:American Artists School
810:American male painters
612:"Classic Boundaries I"
577:Judith H. Dobrzynski,
462:Black Mountain College
447:Abstract expressionism
345:Black Mountain College
176:Abstract Expressionist
144:abstract expressionist
124:Abstract expressionism
304:Bradley Walker Tomlin
276:Richard Pousette-Dart
596:New York Law Journal
427:Mary and Leigh Block
419:Classic Boundaries I
306:, Theodoros Stamos,
225:Museum of Modern Art
223:in 1947, and at the
328:where the infamous
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683:Marika Herskovic,
666:Marika Herskovic,
583:The New York Times
536:2008-06-22 at the
359:. He is buried in
250:'s policy towards
229:Sounds in the Rock
217:Carnegie Institute
760:NY Times obituary
747:978-0-9985000-0-3
732:978-0-9800745-5-0
680:. p. 318-321
300:Robert Motherwell
260:Willem de Kooning
252:American painting
156:Willem de Kooning
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77:(1997-02-02)
840:1997 deaths
835:1922 births
387:Rothko Case
377:Rothko Case
371:Rothko Case
312:Mark Rothko
284:Jimmy Ernst
197:Arthur Dove
164:Rothko case
160:Mark Rothko
90:Nationality
799:Categories
618:10 January
468:References
258:included:
148:Irascibles
49:1922-12-31
562:Art Topos
330:Nina Leen
170:Biography
100:Education
534:Archived
441:See also
383:executor
219:and the
120:Movement
114:Painting
61:New York
645:Sources
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614:. 1961
550:Stamos
365:Greece
361:Lefkas
310:, and
413:Works
394:fraud
136:Greek
743:ISBN
728:ISBN
713:ISBN
691:ISBN
674:ISBN
658:ISBN
620:2016
417:His
325:Life
199:and
158:and
72:Died
43:Born
518:36.
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
