Frank StellaEstados Unidos, 1936–2024Gray Scramble (Single), VIII
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Museu de Arte de Cleveland
Cleveland, Estados Unidos
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Stella’s early paintings represent his reaction against the seemingly loose, gestural brushstroke associated with Abstract Expressionism. In Gray Scramble (Single), VIII, Stella combines bands of sequential values and of differing colors. In contrast to the depth created by the alternating light and dark bands of color, the uniformity of the paint surface emphasizes the two-dimensionality of the canvas. Using commercial paint and a house-painter’s brush, Stella carefully crafted his works to create an immediate visual impression of simplicity and monumentality. The strict geometry and crisp edges of the painted bands illustrate Stella’s desire for precision, whereas the resulting symmetry contributes to an “all-over” quality reminiscent of Jackson Pollock’s drip paintings.
Museu de Arte de Cleveland
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- Número de inventário
- 2003.355
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- Museu de Arte de Cleveland
- Imagem: Museu de Arte de Cleveland — © Frank Stella / Artists Rights Society (ARS), New York
Entretanto, na vida de Frank Stella
A vida inteira1960s
Travels in the Middle East
He visits circular-plan cities in the Middle East and is especially intrigued by the arches and decorative patterns he sees in the architecture and art of Iran; these cities will later give their names to works of the Protractor series.
1965–1966
Guggenheim: “The Shaped Canvas” and “Systemic Painting”
His work is included in two exhibitions at the Solomon R. Guggenheim Museum: The Shaped Canvas (1965) and Systemic Painting (1966).
27 de junho de 1968 – 6 de outubro de 1968
Exhibition: 4. documenta
1970
Retrospective at the Museum of Modern Art
The Museum of Modern Art in New York presents a retrospective of Stella's work, making him the youngest artist to receive one.
1970
Boycott of the American Pavilion in Venice
Invited to the 35th Venice Biennale, Stella joins a boycott by artists opposed to the US wars in Vietnam and Cambodia and withdraws his works from display at the American Pavilion.
1970s
Introduces relief: “maximalist” painting
He brings relief into his work and calls such painting “maximalist” for its sculptural qualities; in the Eccentric Polygon series the shaped canvases take on still less regular forms and collage elements appear, such as pieces of canvas glued to plywood, and aluminum then becomes the main support of his paintings.
