From the Yale University Art Gallery
Red Abstract, 1952
Reinhardt began exhibiting his work in New York City in the 1940s, when ambitious painters were recasting European models and the aims of modernist art. Yet while Abstract Expressionists like Jackson Pollock, Mark Rothko, and Barnett Newman incorporated a subjectivist ethos and biomorphic forms, Reinhardt insisted on the purely visual aims of abstract painting and by the late 1940s worked exclusively with nonsymbolic, geometric forms. In the 1950s, Reinhardt limited his palette to a single color, moving from red to blue. Red Abstract offers no trace of painterly gesture, nor any subject apart from the intricate visual rhythms and relationships that comprise the picture field. After 1953, Reinhardt made only black canvases. An influential teacher and writer, Reinhardt’s theories on art impacted mimimalist artists of the next generation.
via: Snake Ranch
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