Kenneth Noland (1924 - 2010)

Lot 134: Kenneth Noland, 1924-2010, Enter, 1969

Montefiore Auction House

April 25, 2018
Tel Aviv, Israel

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Description: Enter, 1969, Acrylic on canvas, Signed, dated and titled on the reverse.
Dimensions: 25x366 cm
Artist or Maker: Kenneth Noland, 1924-2010
Medium: Acrylic on canvas
Notes: The Kenneth Noland Foundation inventory number: F2-N0334. "I wanted to have color be the origin of the painting. I was trying to neutralize the layout, the shape, the composition. . . . I wanted to make color the generating force." (Kenneth Noland, Washington Post, 1977) An American breakthrough artist, and one of the most important of his generation. The artist's thoughts, feelings and aspirations of the craft of painting and the color in it, contribute to our understanding of his work as a whole, and in particular, "The Stripes" series (1967-70) and the painting "Untitled, 1969". Since, Kenneth Noland's "The Stripes" are the height of his creation, refining his artistic development, side by side with the story of the American art of the 60's. Similar to most of the paintings in the series, the above painting is a monumental artwork in which stripes of color and sub-tones stretch to infinity. The human eye's natural inclination is to scan from side to side, however, by stretching the canvas to an infinite width, Noland's horizontal stripes enable us to look at a colorful surface without any disturbance. As a result, the continuity of the color is sharpened on the expanse of the form. Unlike abstract artists of his time, who used stripes in their creation, Noland's horizontal stripes succeed where others have failed; They create an obscure enigmatic presence, overpowered by the color which stands as the painting's main theme. For good reason, Noland stood at the head of the group of artists called "The Washington's Color School" – a sub-movement of the American artistic movement known as the "Color Field" (of its known artists are Mark Rothko and Bernett Newman). Indeed, in the words of Hilton Kramer, a critic for the New York Times: "The fate of abstract art in America in the 1960s and 70's can scarcely be understood without some knowledge of his [Noland's] work."
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