Ad Reinhardt

Reinhardt, Ad

Reinhardt, Ad (b Buffalo, NY, 24 Dec. 1913; d New York, 30 Aug. 1967). American painter. From the beginning of his career his painting was abstract, but it changed radically in style over the years. During the 1930s he worked in a crisp, boldly contoured geometrical style that owed something both to Cubism and to the Neo-Plasticism of Mondrian. In the 1940s he passed through a phase of all-over painting which has been likened to that of Mark Tobey, and in the late 1940s he was close to certain of the Abstract Expressionists, particularly Motherwell, with whom he jointly edited Modern Artists in America (1950), a book based on conversations with contemporary artists. During the 1950s he turned to monochromatic paintings. At first they were usually red or blue, but from the late 1950s he devoted himself to all-black paintings with geometrical designs of squares or oblongs barely perceptibly differentiated in value from the background colour—works that were influential on the development of Minimal art. His reduction of his work to ‘pure aesthetic essences’ reflects his belief in the complete separation between art and life—‘Art is Art. Everything else is everything else.’ Reinhardt's views were extremely uncompromising and he was a noted critic of trends in modern art of which he did not approve, as a polemical writer, as a lecturer, and as a satirical cartoonist.

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Reinhardt, Ad

Reinhardt, Ad (1913–67). American painter. From the beginning of his career his painting was abstract, but it changed radically in style over the years. During the 1930s he worked in a crisp, boldly contoured geometrical style that owed something to both Cubism and to the Neo-Plasticism of Mondrian. In the 1940s he passed through a phase of All-over painting which has been likened to that of Mark Tobey, and in the late 1940s he was close to certain of the Abstract Expressionists, particularly Motherwell, with whom he jointly edited the book Modern Artists in America (1950), based on conversations with contemporary artists. During the 1950s he turned to monochromatic paintings. At first they were usually red or blue, but from the late 1950s he devoted himself to all-black paintings with geometrical designs of squares or oblongs barely perceptibly differentiated in value from the background colour—works that were influential on the development of Minimal art. His reduction of his work to ‘pure aesthetic essences’ reflects his belief in the complete separation between art and life—‘Art is Art. Everything else is everything else.’ Reinhardt's views were extremely uncompromising and he was a noted critic of trends in modern art of which he did not approve, as a polemical writer, as a lecturer, and as a satirical cartoonist.

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IAN CHILVERS. "Reinhardt, Ad." The Concise Oxford Dictionary of Art and Artists. 2003. Retrieved May 31, 2012 from Encyclopedia.com: http://www.encyclopedia.com/doc/1O3-ReinhardtAd.html

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Ad Reinhardt

Ad Reinhardt (Adolph Reinhardt), 1913–67, American painter, b. New York City. Both a painter and an art theorist, Reinhardt is best known for his black paintings, begun in 1960. Associated with minimalism (see modern art ), the paintings appear all black and exhibit only slight variations in hue and the presence of form on close scrutiny. In rejecting the conventional attributes of painting, he attempted to abstract the pure and contemplative qualities he admired in Eastern art.

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"Ad Reinhardt." The Columbia Encyclopedia, 6th ed.. 2011. Encyclopedia.com. 31 May. 2012 <http://www.encyclopedia.com>.

"Ad Reinhardt." The Columbia Encyclopedia, 6th ed.. 2011. Encyclopedia.com. (May 31, 2012). http://www.encyclopedia.com/doc/1E1-ReinhardA.html

"Ad Reinhardt." The Columbia Encyclopedia, 6th ed.. 2011. Retrieved May 31, 2012 from Encyclopedia.com: http://www.encyclopedia.com/doc/1E1-ReinhardA.html

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Free newspaper and magazine articles

Ad Reinhardt.
Magazine article from: ArtUS; 3/22/2009
Talking at cross purposes: Piet Mondrian & Ad Reinhardt.
Magazine article from: New Criterion; 2/1/1998
'Beat' to beatific: Joseph Masheck discusses the influence of Thomas Merton...
Magazine article from: Art and Christianity; 9/22/2011

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