Ellsworth Kelly
Singular Forms
October 30 – December 29, 2013
Upon moving to New York City, he reacted against the expressive use of paint by most painters of the abstract expressionist movement, instead finding himself drawn towards the "flatter" surfaces of Barnett Newman's work and the "target" paintings of Jasper Johns. He began to produce works which emphasized the picture-as-object, rather than the picture as a representation of something, be it something in the physical world, or something in the artist's emotional world. Stella married Barbara Rose, later a well-known art critic, in 1961. Around this time he said that a picture was "a flat surface with paint on it - nothing more". This was a departure from the technique of creating a painting by first making a sketch. Many of the works are created by simply using the path of the brush stroke, very often using common house paint.
This new aesthetic found expression in a series of new paintings, the Black Paintings (69) in which regular bands of black paint were separated by very thin pinstripes of unpainted canvas. Die Fahne Hoch! (1959) is one such painting. It takes its name ("The Raised Banner" in English) from the first line of the Horst-Wessel-Lied, the anthem of the National Socialist German Workers Party, and Stella pointed out that it is in the same proportions as banners used by that organization. It has been suggested that the title has a double meaning, referring also to Jasper Johns' paintings of flags. In any case, its emotional coolness belies the contentiousness its title might suggest, reflecting this new direction in Stella's work. Stella’s art was recognized for its innovations before he was twenty-five. In 1959, several of his paintings were included in "Three Young Americans" at the Allen Memorial Art Museum at Oberlin College, as well as in "Sixteen Americans" at the Museum of Modern Art in New York (60).
