Word: noland
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...roughly a decade, the works of a slight, wiry, North Carolina-born painter named Kenneth Noland, 45, have been vehemently praised and just as savagely dissected in art magazines, while remaining relatively unappreciated by the general museum going public. The reason is that Noland's paintings, from the time he first began to attract attention with his "target" canvases of 1957, have remained icily symmetrical, uncompromisingly abstract, and thus seemingly impersonal. The debate has raged over whether (as his foes charged) they are merely decorative, or whether (as his friends claimed) they are simply so difficult that most people...
...past few years, however, Noland's reputation seems to have widened amazingly. His latest work, marked by a softer, subtler spectrum of colors, and currently on view at Manhattan's Lawrence Rubin Gallery, is so much in demand that the gallery is charging up to $28,500 per painting. The artist himself and his svelte wife Stephanie can afford to divide their time between a farm in Vermont and Manhattan, where he recently bought and is renovating a flophouse on the Bowery. Noland's style has been studied and imitated by fellow artists from Rome to British...
...Noland did not want to identify anything, or to represent anything. His aim was to strip away the bonds of drawing and free himself to explore "the infinite range and expressive possibilities of color." To do this, he laid a 6-ft. square of canvas on the floor and walked around it until he lost track of its top and bottom. He decided that the "most neutral" place to start from was its center, and proceeded to pour, stain and swab paint in concentric circles outward. Noland played with half a dozen colors in such target paintings, devising hundreds...
Developing Insight. Geometric painters are a dime a dozen these days. But few of them command the critical respect or the youthful following that Noland inspires. One obvious difference, for anyone who has seen a Noland painting, is that he somehow imparts through his brush, his sponges and his rollers a zest and vigor, a freshness and exuberance that other geometricists lack. As he analyzes it, the impression derives from his own deeply felt delight in the act of painting and his evolving style. In human relationships, Noland will explain with an engaging leer, "you're involved with someone...
...What many were slow to understand is how any painting which does not have recognizable figures or objects in it can have any relation to reality, feeling or soul. Admittedly, this quality of feeling is difficult to derive from the impersonal, sometimes almost machine-tooled canvases of Louis or Noland. It is certainly there, but hidden, just as men make it a point of honor not to cry and to keep a stiff upper lip. On the other hand, Helen Frankenthaler's art deals outspokenly with emotion. It bubbles forth with irresistible elation, and could have been used long...